The Arendt Center is on vacation this week. We will be back next week. Enjoy one of our more popular weekend reads from the archives.
Earlier this month I attended a lecture by Matthias Lilienthal, the former artistic director of Hebbel am Ufer (HAU). HAU as it is affectionately known in Berlin is an organization with three performance spaces in the Kreuzberg district of Berlin, and is one of the largest, best funded, and risk-taking performance theatre complexes in the world. As one of the most important and innovative avant garde theatre directors, Lilienthal has "created, instigated and nourished many of the most important developments in theatre in recent decades," according to Tom Sellar of Yale who introduced him.
Lilienthal was interviewed after his talk by Gideon Lester, my exciting new colleague who now is director of the theatre program at Bard.
While Lilienthal is an artistic director and has a background in the theatre, he calls himself a "booker" of talent more than an artist or a curator. He is committed to theatre that has social and political impact. His mission is to constantly create friction. Friction means in his telling, "to be polemic against society and be an urban laboratory for the future." That said, Lilienthal insists that he remains an artist, someone who in his words cares most about the aesthetic experience his works bring about.
Lilienthal discussed a number of his past projects to explain what he means by a theatre of friction. One of the most famous and interesting is FOREIGNERS OUT! SCHLINGENSIEF'S CONTAINER, a performance, installation, and movie that he produced in collaboration with the filmmaker Christoph Schlingensief.
FOREIGNERS OUT! premiered in Vienna in the summer of 2000, at a time of great anti-immigrant sentiment in Austria—it was shortly after the xenophobic politician Jörg Haider came to power in Austria. Schlingensief and Lilienthal put two large containers in the public square in front of the Viennese Opera house and filled them with 15 asylum seekers. Above the asylum seekers, the artists hung a sign that read: "Foreigners Out." They then gave the Austrian population the opportunity to vote which foreigner to expel from the country. Over 10,000 Austrians voted every day and the first person sent home was a Nigerian woman.
Lilienthal speaks of a "hysterical longing for reality in today's theatre." Much of his work and the work he "books" mixes reality with theatre. His most famous performance piece, performed all over the world, is "X Wohnungen" or "X Apartments." Artists are asked to create artistic experiences that last up to ten minutes and take place in private apartments or houses. In one example that Lilienthal showed a clip from during his talk, audience members in groups of two are led into apartments of immigrants in Cologne where they are told to kneel in front of doors with keyholes. Through the keyholes they watch a Muslim woman in a burka and hijab strip naked and recline on a couch. They are then interrupted, given tea and told to go out.
Lilienthal explains that "we are playing a private reality, with voyeurism and with exhibitionism." His participatory performance art is "a kind of playful treatment of reality. You are playing with prejudgments against migrants. You are playing with your own voyeurism." The effort is partly to create discussions about Islam, religion, and sexuality. But it above all, in his words, to "to bring together experiences of reality."
Lilienthal was quite critical of the New York art scene, arguing that NYC artists are too commercial and that there is no meaningful artistic forum in the U.S. as there is in Germany. His point is that his HAU stages have, in his telling, become the center of German and European art worlds, presenting all the most interesting and most important artists from around the world under a single umbrella. He lamented the fact that there was no similarly dominant and unifying artistic space in NY or in the U.S. New York, he said provocatively, in the East Village, is a provincial state.
Lester asked Lilienthal what would he have done in NYC had he accepted a job here? He answered, (I am paraphrasing here),"I would have presented art that offers a polemic against society. I would like everyone to know me and then I would have been... perhaps they would kill me after a year."
There is something both noble and anachronistic in Lilienthal's Socratic dream to create art so full of friction and power that he would be killed for it. It is a noble dream because it imagines that art, like philosophy, might still have the power and importance to be seen as a threat to the state or the society. It is anachronistic because art and philosophy have long since lost such centrality.
When I asked Lilienthal about this, his answer was that it was different in Berlin, where the arts are more central and given more public financing and public attention. But I don't accept the argument that the arts are so much more important in Berlin than in NYC. In Berlin, as everywhere today, the intellectual world is just no longer governed by a unified aesthetic or a single dominant medium. There is a mass culture, but the premise of the mass culture is consumerism. Everybody buys what they want and art connoisseurs consume what they like. Most intellectuals and educated people now consume art and news that is hardly distinguishable from middle or low-brow tastes; indeed, the distinction between high and low is now illegitimate. But more important even than that, is the fact that those who do like the best art or best philosophy or best theatre or the best philosophy do not agree on what the "best" is.
One sees this fracturing of culture everywhere. The New York Times was, for a period of time, the arbiter of what mattered in the United States. That is no longer the case and has not been so for decades. It is not the Internet that brought about the factionalization of cultural and political opinion, but, on the contrary, the loss of any single or dominant opinion made the cacophony of voices and platforms on the Internet appealing and powerful.
Similarly, philosophy is broken into analytic and continental schools, and within each there are esoteric sub-schools so specialized that advanced papers and thinking can be read and understood by only dozens of people around the world. The same fission occurs in literature and art as well. Who now feels the need to read all the books profiled in the NY Times Book Review or the New York Review of Books? The selection criteria are ever more arbitrary and there are no longer any acknowledged gateways to culture.
There are, of course, still important artists and writers, but they appeal to ever-more specialized and localized crowds of followers. Lilienthal's dream of a unified artistic world with a single influential cultural world is long gone. And this is true in Berlin as well as in NYC. We will never again have a situation where the chattering classes are all reading the same books and seeing the same shows. The culture is simply too diffuse and differentiated and democratized. There are no measures of quality that are widely accepted. So what we have are simply sub-groups and sub-genres and sub-cultures.
A version of this argument is made by Peter Sloterdijk in his essay Themes from the Human Zoo. Sloterdijk writes:
Because of the formation of mass culture through the media—radio in the First World War and television after 1945, and even more through the contemporary web revolution—the coexistence of people in the present societies has been established on new foundations. These are, as it can uncontrovertibly be shown, clearly post-literary, post-epistolary, and thus post-humanistic. Anyone who thinks the prefix `post' in this formulation is too dramatic can replace it with the adverb `marginal'. Thus our thesis: modern societies can produce their political and cultural synthesis only marginally through literary, letter-writing, humanistic media. Of course, that does not mean that literature has come to an end, but it has split itself off and become a sui generis subculture, and the days of its value as bearer of the national spirit have passed. The social synthesis is no longer—and is no longer seen to be—primarily a matter of books and letters. New means of political-cultural telecommunication have come into prominence, which have restricted the pattern of script-born friendship to a limited number of people. The period when modern humanism was the model for schooling and education has passed, because it is no longer possible to retain the illusion that political and economic structures could be organized on the amiable model of literary societies.
What Sloterdijk rightly sees is that literate means of cultural analysis have lost their once-dominant place in the social and political formation of society. Books and theatre and artworks have been replaced by mass entertainments and diversions, so that literate works are relegated to sub-genres of importance only to their particular fans and followers. Art and philosophy, therefore, become socially and politically marginal.
Instead of seeking to bring back a unified culture of art in which artists matter to the social and political worlds, as Lilienthal dreams, it would be more radical and more honest to admit that we live today in a world in which those who make art, write literature, and think philosophy matter ever less. To think the challenges of doing art and thinking in a world immune to the charms of art and thought is the challenge we are faced with today.
Matthias Lilienthal's talk is fascinating and, as you can see, provocative, which is justification enough to spend one hour this weekend watching him. Thanks to Theatre Magazine for posting the video of the talk. Here is your weekend read.
Hannah Arendt’s life and work defy easy categorization, so I tend to be skeptical when a writer tries to encapsulate her oeuvre in a few catchwords. After all, previous efforts at concise assessment have typically led to reductive if not tendentious misreadings. So I was both pleased and surprised by sociologist Natan Sznaider’s book Jewish Memory and the Cosmopolitan Order (2011), which sharpens our understanding of Arendt’s thought by locating her within a specific historical milieu and intellectual genealogy. Briefly put, Sznaider portrays Arendt as both a Jewish and a cosmopolitan thinker, one whose arguments strike a fine balance between the particular and the universal.
This formulation obviously raises questions about Sznaider’s conception of key terms, including “Jewish” and “cosmopolitan.” With regard to the former, he contends that Arendt should be grasped as a Jewish thinker because she was intimately involved in the political debate and activity that defined Jewish life in the years before and after the Holocaust. As Sznaider notes, Arendt defined her Jewishness first and foremost as “a political stance”. She participated in Zionist mobilization when she still lived in Germany and in the founding of the World Jewish Congress during her time in Paris. She retrieved Jewish books, manuscripts, and other artifacts from Europe in her work for Jewish Cultural Reconstruction. She spoke and wrote as a Jew when she discussed the nature of guilt, responsibility, and memory after the destruction of European Jewry. And, of course, she stirred controversy in American, German, and Israeli circles for her portrayal of Eichmann and her sharp criticisms of Europe’s Jewish leadership. Sznaider convincingly argues that Arendt’s politics, molded in the heat of twentieth-century Jewish activism, left a deep imprint on her political theory. Without grasping her specific engagements as a Jew, he insists, we cannot comprehend her more general pronouncements on rights, totalitarianism, and a host of other topics.
This point has important implications for Sznaider’s conception of cosmopolitanism. In his view, cosmopolitanism
combines appreciation of difference and diversity with efforts to conceive of new democratic forms of political rule beyond the nation-state…. It neither orders differences hierarchically nor dissolves them, but accepts them as such—indeed, invests them with positive value. It is sensitive to historic cultural particularities, respecting the specific dignity and burden of a group, a people, a culture, a religion. Cosmopolitanism affirms what is excluded both by hierarchical difference and by universal equality—namely, perceiving others as different and at the same time equal.
Sznaider’s rendering fits comfortably within recent discussions of “rooted” and “vernacular” cosmopolitanism. He insists that people only create and live forms of worldliness on the basis of their particular experiences, histories, and identities. He thereby distinguishes cosmopolitanism from “universalist” modes of thought, which in his understanding treat people as abstract individuals and do not recognize their specific attachments. Sznaider identifies universalist impulses in a number of intellectual and ideological movements, but he draws particular attention to the Enlightenment and the nationalist ideologies that emerged in Europe after the French Revolution. Both offer Jews inclusion and equality—but only, it seems, if they stop being Jewish.
In Sznaider’s reading, Arendt’s thought is cosmopolitan in precisely this “rooted” sense. Like a number of other twentieth-century Jewish intellectuals, she relied on Jewish particularity to advance broader, even “universal” claims about the nature of modern life and politics. (I use Sznaider’s language here, although I believe he could have more carefully distinguished the “universal” dimensions of Arendt’s thought from the “universalist” projects that he decries.) European Jewish experiences of persecution, for example, offered Arendt a crucial lens through which to analyze the potentials and paradoxes of minority and human rights. She also relied on the destruction of European Jewry to reflect on the emerging concept of “crimes against humanity”—without, at the same time, losing sight of the Holocaust’s irreducible specificity. Arendt’s attentiveness to both the particular and the universal is evident in her description of Nazi mass murder as “a crime against humanity committed on the bodies of the Jewish people.”
Sznaider provides a particularly good account of the ways that Arendt resisted early attempts to “generalize” the Holocaust. In her exchanges with Hans Magnus Enzensberger, for instance, she resisted the suggestion that the mass killing of Jews was but one “holocaust” among others. She also challenged the notion that the destruction of European Jewry was a paradigmatic modern event that all human beings, in one way or another, shared in common. For Arendt, such claims not only neglected the history of a specifically Jewish catastrophe, but also absolved its German perpetrators of their particular responsibility.
Sznaider’s favorable assessment of Arendt in this case represents an interesting development in his own thought: in a 2005 book that he wrote with Daniel Levy, Sznaider had been a good deal more sympathetic to the formation of a globalized Holocaust memory. At that time, he and his co-author regarded worldwide remembrance of the Nazi genocide as an important means to transcend national frames of reference and promote a cosmopolitan human rights regime. Little of that position remains in Jewish Memory and the Cosmopolitan Order. Instead, Sznaider takes critical aim at one fashionable contemporary thinker, Giorgio Agamben, for lifting the Nazi concentration camps out of their historical context and recasting them as the epitome of modern sovereign power.
I sympathize with this reading of Agamben, whose provocative claims tend to outstrip the empirical cases on which they are based. Yet in one respect Sznaider could also be more careful about the generalization if not “universalization” of Jewish experience. He is too quick at a few points to position Jews as the embodiments and carriers of modernity’s virtues, too hasty in his portrayal of the Diaspora as the paradigm for de-territorialization and cosmopolitanism as such. In a 1993 article, Daniel and Jonathan Boyarin—the one a Talmudic studies scholar, the other an anthropologist—cautioned us against “allegorizing” Jews as the exemplary Other, and we would do well to take their warning to heart. Other groups, identities, and histories inhabit the world in which we all live, and we should take seriously the insights that their own particularity might offer to our understanding of cosmopolitanism.
This last criticism notwithstanding, Sznaider’s book provides an incisive re-appraisal of Arendt’s thought. Although its central argument can be stated briefly, it does not narrow our appreciation of her work as much as enliven and expand it.
Over the course of the past two decades, the political idiom of liberalism has substantially expanded its global reach and dominance. In the vast majority of the world’s existing states, principles of individual rights and collective recognition have been or are being enshrined in constitutions and other legal codes, and actors in the public sphere and the realm of civil society are adopting liberal discourse in order to press their claims for equality and freedom. The recent Arab Spring is only one of the most recent instantiations of this larger trend.
Yet even as we acknowledge liberalism’s dominance, we should not overlook those settings where it still (and ironically) carries a counter-hegemonic charge. One such locale is the Republic of Turkey, ostensibly one of the most stable and democratic states in the wider Middle East. Here a variety of Islamic organizations have relied on liberal imaginings in their efforts to challenge the state’s anti-clerical model of secularism.
This Islamic recourse to liberalism is the central concern of Jeremy Walton’s intriguing article in the most recent American Ethnologist, “Confessional Pluralism and the Civil Society Effect.” Walton pays particular attention to the work of four Islamic NGOs in Istanbul and Ankara, all of which have adopted the language of confessional pluralism in their efforts to obtain recognition from the state and secure their inclusion in Turkish public life.[i] These organizations define “religion” as a nonpolitical, voluntary mode of social and ethical life that legitimately, indeed necessarily, takes different forms. They also insist that these varied modes of life deserve acknowledgement and protection on the basis of “the ostensibly universal values of liberty and equality.”
When viewed from the perspective of Turkey’s party politics, these NGOs make strange bedfellows. Three of the organizations analyzed by Walton represent Alevism, a syncretic minority tradition that can be broadly defined by its emphasis on Twelver Shi’a history and belief, its incorporation of Central Asian mystical and shamanistic practices, and its distinctive ritual performances. Alevis have typically supported the Republican People’s Party (CHP, the party established by Mustafa Kemal Atatürk) because its staunch secularism has appeared to offer a bulwark against Sunni majoritarianism and discrimination. The fourth organization, meanwhile, is a Sunni association inspired by the contemporary Turkish theologian Fethullah Gülen and his project of universal religious dialogue. It also epitomizes the recent emergence of the Sunni Muslim bourgeoisie, the constituency that has played a pivotal role in the ascendance of the Justice and Development Party (AKP) under Prime Minister Recep Tayyip Erdoğan. Thanks to its overwhelming success in local and national elections over the past decade, the AKP has effectively supplanted the CHP as Turkey’s preeminent political party.
Yet as Walton rightly notes, these NGOs’ seemingly obvious political differences belie their common turn to the liberal rhetoric of pluralism and collective recognition. All of them desire public acknowledgement of their own (and others’) communities and identities, and all thereby challenge the presumption of ethnolinguistic and religious homogeneity that has prevailed in Turkish governmental discourse since the founding of the Republic in 1923. In addition, all of these organizations question the state’s long-standing effort not only to define and regulate the legitimate practice of religion (especially Sunni Islam), but also to limit religious expression to the private sphere. These rather paradoxical governmental imperatives, which remained largely unchallenged in Turkey until the 1990s, can be traced to the laicist model of secularism that the Republic adopted from the French Jacobin tradition.
In subtle or dramatic ways, all of these NGOs seek to divert Turkish secularism from its previous path. One of the Alevi organizations, for example, seeks a mode of pluralism that would grant to Alevis the same privileges—state funding for houses of worship, inclusion in the mandatory religion classes taught in public schools—that the state has historically allocated to Sunni Islam. Another Alevi association, by contrast, favors an “American-style” secularism that would limit or even prohibit state intervention in religious affairs. The Sunni organization, meanwhile, seeks to promote tolerance and public dialogue across confessional boundaries in a manner that departs markedly from the state’s efforts to privatize religious expression. Significantly, the idiom of liberalism is flexible enough to accommodate these varied and not always compatible projects.
At the same time, the liberal language of confessional pluralism creates tensions and dilemmas for the very organizations that seek to mobilize it. Above all, claims for collective recognition presume coherent and “authentic” (i.e., long-standing, non- or pre-political) religious identities as the necessary ground for communal acknowledgement and equal protection. As Walton convincingly relates, it is precisely such coherence and authenticity that prove elusive for many Islamic NGOs. Alevi associations in particular are defined by intense arguments over the very definition of Alevi identity. Does Alevism constitute a distinct and more or less uniform tradition of its own? What precisely is its relationship with Islam? Does Alevism even constitute a “religion” as the concept is commonly understood, or is it rather a body of folklore, a philosophical and political orientation, or an ethnicity? Alevi associations disagree sharply on the answers to these questions, even as they share a common discursive logic.
Walton is somewhat less persuasive, however, when he turns to Islamic NGOs’ relationship to the state and state governance. In his reading, these associations engage in a form of “nongovernmental politics” that does not aspire to occupy the position of a governing agency. In fact, they contribute to what Walton, drawing on the work of Timothy Mitchell, calls “the civil society effect”: the romantic notion that civil society constitutes “a self-evident domain of freedom and authenticity” wholly autonomous from the state. I follow Walton’s reasoning when he notes that the NGOs he analyzes have displayed an increasing skepticism toward Turkey’s dominant model of secularism and its major political parties, including the CHP and the AKP. I believe he oversteps, however, when he suggests that many if not all of these associations dismiss political society and the state. To my mind, the very language of liberalism adopted by these NGOs indicates that they care a great deal about the state and its policies. Very much in the spirit of Arendt’s celebrated pronouncements in The Origins of Totalitarianism, they grasp that rights and recognition, if they are to have real substance, must be backed and warranted by the state’s governmental power.
This wrong turn notwithstanding, Walton’s argument makes for stimulating reading. Perhaps above all, it offers a sharp challenge to the still common presumption that Islam and modern politics are hermetically separate, fundamentally irreconcilable domains. Instead, as Walton subtly demonstrates, they “authorize, animate, challenge, and contextualize each other in contextually specific ways.”
[i] For the sake of easy reading, I do not dwell on the NGOs by name, but the Alevi associations include the Cem Foundation, the Hacı Bektaş Veli Anatolian Cultural Foundation, and the Ehl-i Beyt Foundation. The Sunni association aligned with Gülen is the Journalists and Writers Foundation.
For two years I taught literature, reading and writing at a public university in one of New York City’s outer Boroughs. Of course having come out of a liberal arts “thinking” institution what I really thought (maybe hoped) I was teaching was new perspectives. Ironically, the challenge that most struck me was not administrative, nor class size or terrible grammar and endless hours of grading, the most pressing obstacle lay in creating a case for the value of “thinking.”
I state “case” because I regularly felt like my passions and beliefs, as well as my liberal arts education went on daily trial. I had originally come from a hard-scrabble immigrant reality, but my perception of reality had been altered by my education experience, and as an educator I felt the need to authenticate my progressive (core text) education with my students.
I was regularly reminded that the immediate world of the “average” student (citizen) with all its pressing, “real” concerns does not immediately open itself to “thought” in the liberal arts sense. We are a specialization, automation, struggling and hyper competitive society. The “learning time” of a student citizen is spent in the acquisition of “marketable,” and differentiating skills, while their “free time” is the opportunity to decompress from, or completely escape the pressures of competitive skill acquisition. The whole cycle is guided by an air of anxiety fostered in our national eduction philosophy, as well as the troubled economy and scattered society at large. I don’t think one can teach the humanities without listening to their students, and listening to the students calls for a deep inventory on the value of “thought” in the humanities sense, and then ultimately in how to most truthfully communicate this value to the students.
I need to add here that my students were quite smart and insightful. This made it even greater of a challenge. Their intelligence was one of realism. I needed to both acknowledge and sway their perspective, as well as my own.
Each semester I began with a close-reading of David Foster Wallace's commencement speech at Kenyon College, “What is Water.” He begins his speech with the parable of two fish swimming by an older fish which as it swims by asks, How is the Water?” The little ones swim on and only later ask each other, “What is water?” Didactic parable, cliche -- yes -- but Wallace goes on to deconstruct the artifice of commencement speeches, parables, and cliches, and then rebuilds them. Having so skillfully deconstructed them he has invited his listers into the form making, and as he communicates the truth beneath what had earlier seemed lofty or cliche, the listers follow him towards meaning making. Ultimately Wallace states that education is “less about teaching you how to think, and more about teaching you of the choice in what to think about.” To have agency is to be a meaning maker. And as more and more cultural institutions artfully vie for the citizens devotion and loyalty -- politics, religion, but even more so, corporate houses and pop culture designs, in the ever growing noise of institutional marketing the call to choose seems ever more muted.
The choice, for so many students today, is simply in how to most skillfully compartmentalize themselves and their lives in the face of the anxieties of their immediate world. The choice for many young teachers, facing their own set of related anxieties, is in how far are they willing step away from the ideal of learning-living-teaching integration model -- so easy is it today as an educator to simply become disenchanted, frustrated and aloof. Sometimes, “thinking” is the process of choosing what to keep and what to give away.
Wallace's insightful, no b.s, humorous and sincere tone resonated with my students, that is of course until they found out that Wallace killed himself. Then, that’s what everyone wanted to focus on. I can not blame them. There is a ‘text’ to ‘personal’ mystery, a ‘content’ to ‘context’ disjunction that opens itself at such a revelation, a mystery that the “thinking” mind wants to explore. The modern “thinking” mind draws little separation between the lofty and the sublime, the public and the personal. Such is a byproduct of a generation raised on reality television and celebrity stories. I, in all sincerity cannot judge this. My generation, the X’s who came of age on the cusp of the Millennials, were culturally educated by MTV, The Real World and Road Rules, and thus we crave hip, colorful, appropriately gentrified spaces to occupy -- think of artist collectives, or Facebook and Google working environments (bean bags, chill and chic prescription sunglasses, lounge happy hour with juice bars, untraditional working hours, colorful earth tones). I digress, I meant to make some observation of “thinking.”
I was excited to teach what excited me: I began with Wallace, then Kafka, O’Connor (Flannery or Frank), Platonov, Carver, Babel, Achebe Kundera, Elliot, etc... It is, essentially, the seven sisters freshmen reading list, a popular catalogue of classic stories peppered with some international obscurity. It is the “cool” thing in liberal arts. But, over and over my students came to me complaining that they could not find this relevant to their lives. After such reports I would tweak my lesson plans to give a greater introduction to the works, going deeper into the philosophical tenets of the stories, and into the universal reward of being able to utilize the tools of the thinking, writing mind. Induct, deduct, compare, contrast, relate, “give it greater shape,” I would say. “Breath life into it.”
To have the skills to decipher plot, to record the echo of a narrative, to infer characterization from setting, to understand the complex structure of a character, to be invited to participate in the co-creation of a narrative which gently guides you through action but leaves the moral implications up to the reader. These are “indispensable,” I would advise my students. “Indispensable for human agency.” Some would slowly gravitate to my vision, as I prodded further and further into their motivations for being in school, career, and other ‘relevant’ choice. Yet, they often felt only like visitors in my library, preparing to check out and return to the “default” education thinking mode as soon as the quarter, mid, or end semester exam periods began. The pressures of what they call “the real world” are much stronger then the ghosts of books and introspective thought -- vague, powerless, intangible.
“The real world:” Here I am reminded of the scene from the Matrix when Morpheus unveils to Neo “the desert of the real.” A barren waste land of human energy as only a power source nourished for consumption. The Matrix, I will add here, is based on a work by Jean Baudrillard, a french philosopher who warns of a modern society as a place existing in consumption and entertainment, devoid of meaning making -- the urge towards agency, in hibernation; the map towards meaning, defunct. In describing this new world he coined the phrase “the desert of the real.” Again, I fall into tangental thought.
I needed to find a way to invite, seduce, capture my students. I tried using myself as a conduit.
I pride myself on the fact that I am an immigrant, a former “at risk” student, that my tattoos all have mythological meaning and thought behind them, that I am a high-school drop out with credentials to my name, a top tier education, a masters degree, etc... I felt like these could help me bridge for my students the platforms of reality-setting discourse and humanistic thought. I had, and still do, believed that real “thinking” is indispensable in being human, in being free, and in the ability to have fun and play with the world.
Again, my students would, at times, meet me in the middle space I wanted to create, though rarely did this space become living for them, instead they lay their heads to the sound of another’s palpitation and breath, and then moved on. Maybe I planted a seed, I like to think. But then, maybe, they were bringing me somewhere as well.
They could not recklessly follow me, or I them. It was an issue of pragmatic bonds. For a moment, my class, or an individual student I was reading with would delve into the power of words with me and the ending of Andrei Platonov’s “Potudon River” would finally break through the events of the page: “Not every grief can be comforted; there is a grief that ends only after the heart has been worn away in long oblivion, or in distraction amidst life’s everyday concerns.” And my students would draw new understanding of the passage, enter it through a word or phrase that could unlock that middle space between their worlds and the world of literature, philosophy, metaphor. “Grief,” “long oblivion,” life’s everyday concerns,” all the sudden my students would give these new meaning, now only slightly guided by the story and letting their lives find a grip to the reigns. They would find new connections, and again they would return to the “real” world.
More and more I struggled to make thinking relevant. “Will this help me get a better job?” I was asked.
Thinking about it I had to encounter my own struggles with this question. I know the answers. I know the programed liberal arts answer, and the “real” answer. I know that the liberal arts answer exposes the “real” as something at best lacking, at its worst empty. I also know that the real, is real; it happens in real time, removed from the concerns of literature, poetry, and philosophy which concern themselves with the work of mans eternity.
“Unlikely,” I would answer. For gods sake, though I was teaching all these things I cared so deeply about, I also worked nights as a bartender to satisfy the demands of the real. I had to produce something consumable and all of my learning and thoughts on thinking are not that.
Here I acknowledge that this answer is not entirely true. We can find jobs which call for liberal arts skills, but these are few and far between and rarely afford a comfortable standard of living. We may also posit the argument that liberal arts skills will contribute to ones ability to perform better and have a greater understanding of ones job, but this argument does not lend itself to substantial evidence, no matter how much I may actually believe it. This was the litmus test of my “thinking,” and it only survives in embracing the privacies of my world, that I chose my private world despite and above the “real.”
“Unlikely.” And where does that leave us?
Ultimately, all I have as a conscious being is the ability to tell stories, to choose and create my narrative from the scattered world I am provided. Ultimately, after deconstructing both the “real” and the “lofty” I could only encourage my students to choose their own themes. To the question of “what is water?” I could only answer, “the desert.”
Oddly enough, and as “unlikely” as it may seem, when I answered with honesty, to them as well as myself, they followed. -- we could talk.
One of the great documents of American history is the Constitution of the Commonwealth of Massachusetts, written in 1779 by John Adams.
In Section Two of Chapter Six, Adams offers one of the most eloquent testaments to the political virtues of education. He writes:
Wisdom and knowledge, as well as virtue, diffused generally among the body of the people, being necessary for the preservation of their rights and liberties; and as these depend on spreading the opportunities and advantages of education in the various parts of the country, and among the different orders of the people, it shall be the duty of legislatures and magistrates, in all future periods of this commonwealth, to cherish the interests of literature and the sciences, and all seminaries of them; especially the university at Cambridge, public schools, and grammar-schools in the towns; to encourage private societies and public institutions, rewards and immunities, for the promotion of agriculture, arts, sciences, commerce, trades, manufactures, and a natural history of the country; to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in their dealings; sincerity, and good humor, and all social affections and generous sentiments, among the people.
Adams felt deeply the connection between virtue and republican government. Like Montesquieu, whose writings are the foundation on which Adams’ constitutionalism is built, Adams knew that a democratic republic could only survive amidst people of virtue. That is why his Constitution also held that the “happiness of a people and the good order and preservation of civil government essentially depend upon piety, religion, and morality.”
For Adams, piety and morality depend upon religion. The Constitution he wrote thus holds that a democratic government must promote the “public worship of God and the public instructions in piety, religion, and morality.” One of the great questions of our time is whether a democratic community can promote and nourish the virtue necessary for civil government in an irreligious age? Is it possible, in other words, to maintain a citizenry oriented to the common sense and common good of the nation absent the religious bonds and beliefs that have traditionally taught awe and respect for those higher goods beyond the interests of individuals?
Hannah Arendt saw the ferocity of this question with clear eyes. Totalitarianism was, for here, the proof of the political victory of nihilism, the devaluation of the highest values, the proof that we now live in a world in which anything is possible and where human beings no longer could claim to be meaningfully different from ants or bees. Absent the religious grounding for human dignity, and in the wake of the loss of the Kantian faith of the dignity of human reason, what was left, Arendt asked, upon which to build the world of common meaning that would elevate human groups from their bestial impulses to the human pursuit of good and glory?
The question of civic education is paramount today, and especially for those of us charged with educating our youth. We need to ask, as Lee Schulman recently has: “What are the essential elements of moral and civic character for Americans? How can higher education contribute to developing these qualities in sustained and effective ways?” In short, we need to insist that our institutions aim to live up to the task Adams claimed for them: “to countenance and inculcate the principles of humanity and general benevolence, public and private charity, industry and frugality, honesty and punctuality in their dealings; sincerity, and good humor, and all social affections and generous sentiments, among the people.”
Everywhere we look, higher education is being dismissed as overly costly and irrelevant. In many, many cases, this is wrong and irresponsible. There is a reason that applications continue to increase at the best colleges around the country, and it is not simply because these colleges guarantee economic success. What distinguishes the elite educational institutions in the U.S. is not their ability to prepare students for technical careers. On the contrary, a liberal arts tradition offers useless education. But parents and students understand—explicitly or implicitly—that such useless education is powerfully useful. The great discoveries in physics come from useless basic research that then power satellites and computers. New brands emerge from late night reveries over the human psyche. And those who learn to conduct an orchestra or direct a play will years on have little difficulty managing a company. What students learn may be presently useless; but it builds the character and forms the intellect in ways that will have unintended and unimaginable consequences over lives and generations.
The theoretical justifications for the liberal arts are easy to mouth but difficult to put into practice. Especially today, defenses of higher education ignore the fact that colleges are not doing a great job of preparing students for democratic citizenship. Large lectures produce the mechanical digestion of information. Hyper-specialized seminars forget that our charge is to teach a liberal tradition. The fetishizing of research that no one reads exemplifies the rewarding of personal advancement at the expense of a common project. And, above all, the loss of any meaningful sense of a core curriculum reflects the abandonment of our responsibility to instruct students about making judgments about what is important. At faculties around the country, the desire to teach what one wants is seen as “liberal” and progressive, but it means in practice that students are advised that any knowledge is equally is good as any other knowledge.
To call for collective judgment about what students should learn is not to insist on a return to a Western canon. It is to say that if we as faculties cannot agree on what is important than we abdicate our responsibility as educators, to lead students into a common world as independent and engaged citizens who can, and will, then act to remake and re-imagine that world.
John Adams was one of Hannah Arendt’s favorite thinkers, and he was because he understood the deep connection between virtue and republicanism. Few documents are more worth revisiting today than the 1780 Constitution of the Commonwealth of Massachusetts. It is your weekend read.
Hannah Arendt spoke of having acquired, through her life, a "love of the world." When writing about education she argues that "education is the point at which we decide whether we love the world enough to assume responsibility for it." And in politics, she insists, we must care for and love the world more than oneself. What then is the world?
The world is related to human making and to the things and artifacts that human beings make. What defines the things of a world is that those things gather individuals together.
In the public realm, a politician is that person who speaks and acts in such a way that those around him come to see those institutions and values that they share and treasure. The common world is the world that emerges when a plurality of people bind themselves to stories, traditions, institutions, rituals, and practices that they share and that they love. Like a table that unites those who sit around it in a common conversation or feast, the common world brings different people together. It stands between them, both joining and separating them.
In the private realm, a world is founded in property, and property has an essential role in the public realm too. For property is what one owns, what is proper to one, and thus defines one over against others in the common world. Property provides the boundaries between people and also serves as the boundary between the commonality of the public realm and the uniqueness of the private realm. It is no accident that original Greek word for law, nemein, also means to distribute and to possess, as well as to dwell. Property, in English, also names the laws of propriety, what is right and given to each.
In both the public and the private realms the world consists of things that endure. Worldly things must not only be common. They must also last. Since we must love the world more than our own lives—since we must be willing to pursue the world as an ideal and sacrifice ourselves to the glory and good of the world we share with others—the world must offer us the promise of permanence and thus immortality.
How are to understand the worldly conditions of permanence and immortality? We might ask: What is a house?
This is one of the many questions at issue in Jonathan Franzen's essay "House For Sale," about his return to his mother's house in Webster Grove, Missouri to sell the house after her death. Here is how Franzen describes his mother's house.
This was the house where, five days a month for ten month, while my brothers and I were going about our coastal lives, she had come home alone from chemotherapy and crawled into bed. The house from which, a year after that, in early June, she had called me in New York and said she was returning to the hospital for more exploratory surgery, and then had broken down in tears and apologized for being such a disappointment to everyone and giving us more bad news. The house where, a week after her surgeon had shaken his head bitterly and sewn her abdomen back up, she'd grilled her most trusted daughter-in-law on the idea of the afterlife, and my sister-in-law had confessed that, in point of sheer logistics, the idea seemed to her pretty far-fetched, and my mother, agreeing with her, had then, as it were, put a check beside the item "Decide about the afterlife" and continued down her to-do list in her usual pragmatic way, addressing other tasks that her decision had rendered more urgent than ever, such as "Invite best friends over one by one and say goodbye to them forever." This was the house from which, on a Saturday morning in July, my brother Bob had driven her to her hairdresser, who was Vietnamese and affordable and who greeted her with the words "Oh, Mrs. Fran, Mrs. Fan, you look terrible," and to which she'd returned, an hour later, to complete her makeover, because she was spending long-hoarded frequent-flyer miles on two first-class tickets, and first-class travel was an occasion for looking her best, which also translated into feeling her best; she came down from her bedroom dressed for first class, said goodbye to her sister, who had traveled from New York to ensure that the house would not be empty when my mother walked away from it—that someone would be left behind—and then went to the airport with my brother and flew to the Pacific Northwest for the rest of her life. Her house, being a house, was enough slower in its dying to be a zone of comfort to my mother, who needed something larger than herself to hold on to but didn't believe in supernatural beings. Her home was the heavy (but not infinitely heavy) and sturdy (but not everlasting) God that she'd loved and served and been sustained by, and my aunt had done a very smart thing by coming when she did.
Franzen offers us a house in many valences.
It was where his mother lived. Where she was sick. Where she thought about dying and God. Where she recovered from surgery and made herself up. Above all, it was his mother's house. Later he writes that the house was "my mother's novel, the concrete story she told about herself." In this house she "pondered the arrangement of paintings on a wall like a writer pondering commas." It was a house in which she showed herself. It was thus an invitation. And "she wanted you to want to stay."
The problem is that Franzen does not want to stay in his mother's house. He grew up in the house, but he resents it. The house his mother made, was filled with "sturdy and well made" furniture that "my brothers and I couldn't make ourselves want." He has fled the house and returns only to remove those photos that for his mother made the house hers, to act like a conqueror, he admits, and repossess the house from his mother. But only to then sell it.
If Mrs. Fanzen's house is her novel and if it was a house in which she both concealed and showed herself, her son's house in NYC is something else entirely. Here is how Franzen describes his own dwelling place:
I now owned a nice apartment on East Eighty-first Street. Walking in the door, after two months in California, I had the sensation of walking into somebody else's apartment. The guy who lived here was apparently a prosperous middle-aged Manhattanite with the sort of life I'd spent my thirties envying from afar, vaguely disdaining, and finally being defeated in my attempts to imagine my way into. How odd that I now had the keys to this guy's apartment.
House for sale is, amongst other themes like the loss of religion, the loss of family, and the loss of the American middle class, about the loss of the American house. It is also therefore, in an Arendtian vein, a story about the loss of our world, the property that both hides and nurtures our souls and separates and distinguishes us from our fellow citizens. Denuded of our habitus and property, we are defenseless against the conformity of society. Without desks and bookshelves passed down over generations that fit us, over and against our choices, into a private world, we are consumers who build a temporary bulwark whether styled by Ikea or the local antique store. Such a house is not meant to last and to be passed down across the generations. It will be used and, eventually, sold or walked away from. With nothing that defines us in a lasting and immortal vein, our lives have no depth or meaning beyond our accomplishments. There is no weight or law that claims us and obligates. We are free, but free, unsure why we are here or what it all means.
I recently encountered Jonathan Franzen's essay within an extraordinary theatrical experience. The play "House For Sale" is based on his essay by the same name.
It has been adapted for the stage by Daniel Fish. I have now been to see it twice. The play is hilarious, brutal, and shattering. It makes Franzen's essay come alive in ways miraculous and uplifting. The final scene itself is worth dropping every plan you have, flying to NYC, and rushing to the Duke Theatre on 42nd St. to catch it. I can't recommend this highly enough. But hurry, it is playing for only a few more performances. You can buy tickets here.
Or, if you simply can't get to NYC, buy The Discomfort Zone, Franzen's book of essays in which "House For Sale" originally appeared. It is your weekend read.
The modern era is the age of the enlightenment, in which man throws off the shackles of religion and tradition and stands on his own feet. And yet it hardly seems as if we are living in the age of freedom. In an age of mass bureaucracy and scientific determinism, we are more wont to hear of helplessness and despair than of self-rule. For Hannah Arendt, freedom, like politics, is endangered by the rise of a social realm of government, scientific rationality, and bureaucratic administration. For Max Weber, the modern age is marked by a Herrenlose Sklaverei, a servitude without a master. The enlightenment, it seems, has taken an unexpected turn. What then is the Destiny of Freedom?
That is the question Professor Philippe Nonet poses in a two-part lecture he gave recently at the Hannah Arendt Center.
We are, Nonet argues, before the necessity of a decision regarding freedom. Until now, freedom has been thought as an attribute of the will. But freedom of the will leads, Nonet argues, to the rise of modern technique that threatens to extinguish the freedom of man. Freedom of the will thus threatens to transform itself into utter servility—the Herrenlose Sklaverei of Max Weber's famous formulation. This is the destiny of freedom insofar as freedom is thought from out of the will.
And yet, there is the possibility of a new opening of freedom, understood as freedom from the will, that Nonet finds in the thinking of Martin Heidegger.
We hope you enjoy these extraordinary lectures. You can watch them here.