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.
The white smoke ushered in a Pope from the New World, but one firmly planted in the old one. Pope Francis I is from Argentina but descended from Italy. According to the Arch-Bishop of Paris, quoted in The New York Times, the Pope was not of the Curia and not part of the Italian system. At the same time, because of his “culture and background, he was Italo-compatible.” Straddling the new and the old, there is some glimmer of hope that Francis I will be able to reform the machinery of the ecclesiastical administration from the inside.
Amidst this tension, the new Pope signaled his desire to be seen as an outsider by choosing the name Francis I, aligning himself with St. Francis as protector of the poor and the downtrodden. At a time of near universal distrust in the ecclesiastical order, the Pope and his supporters present the choice of Cardinal Jorge Maria Bergoglio as an affirmation of simplicity and humility.
And in some respects the new Pope does appear to be a Pope for whom the life of Jesus and life of St. Francis serve as an example of humility and service. At least if such stories like this one told by Emily Schmall and Larry Rohter are to be credited:
In 2001 he surprised the staff of Muñiz Hospital in Buenos Aires, asking for a jar of water, which he used to wash the feet of 12 patients hospitalized with complications from the virus that causes AIDS. He then kissed their feet, telling reporters that “society forgets the sick and the poor.” More recently, in September 2012, he scolded priests in Buenos Aires who refused to baptize the children of unwed mothers. “No to hypocrisy,” he said of the priests at the time. “They are the ones who separate the people of God from salvation.”
Some complain that the Pope abjures liberation theology for its connection to Marxism and rejects the using of the Gospel for political and economic transformation. Nevertheless, stories like the one above are important and show an exemplary character in Pope Francis I.
Bigger questions arise about new Pope’s past connection to what is called the Dirty War in Argentina, the period from 1976-1983 in which a brutal dictatorship stole children from their communist parents and gave them to military families while also disappearing political and ideological opponents. As one of my colleagues wrote to me, “Almost alone among major Latin American Churches, the Argentine Church officially allied itself with the military in a campaign to eradicate political dissidents (mostly left-wingers).” Bergoglio was a Catholic Church official during this period and he has been accused by many in Argentina of either not doing enough to oppose the regime or, more scandalously, actively collaborating with the dirty war. In 2005, a formal lawsuit claimed that that Bergoglio had been complicit in the kidnapping and torture of two Jesuit priests, Orland Yorio and Francisco Jalics. The priests were working in a poor barrio advocating against the dictatorship. Bergoglio insisted they stop and they were stripped from the Jesuit Order. They disappeared and months later they were found drugged and partially undressed, according to the reporting of Emily Schmall and Larry Rohter.
Margaret Hebbelthwaite, in the Guardian, defends Bergoglio, whom she knows and respects. “It was the kind of complex situation that is capable of multiple interpretations, but it is far more likely Bergoglio was trying to save their lives.” And this is the account Bergoglio gives himself, as Schmall and Rohter report:
In a long interview published by an Argentine newspaper in 2010, he defended his behavior during the dictatorship. He said that he had helped hide people being sought for arrest or disappearance by the military because of their political views, had helped others leave Argentina and had lobbied the country’s military rulers directly for the release and protection of others.
I of course have no idea whether Bergoglio is the victim of baseless calumny, as he claims, or whether he actively or meekly collaborated with a ruthless dictatorship. What is clear, however, is that at the very least, Bergoglio and his colleagues in the Argentine Catholic Church over many years looked the other way and allowed a brutal government to terrorize its population without a word of opposition.
With that history in mind, it is worthwhile to consider Hannah Arendt’s essay “The Christian Pope,” published in the New York Review of Books in 1965. Arendt was reviewing Journal of a Soul, the spiritual diaries of Pope John XXIII, the former Angelo Giuseppe Roncalli. The Jewish thinker has little patience for “endlessly repetitive devout outpourings and self-exhortation” that go on for “pages and pages” and read like “an elementary textbook on how to be good and avoid evil.” Arendt had little patience with such things and little hope that clichés, no matter how well meaning, would have much impact on the moral state of our time.
What did fascinate Arendt, however, were the anecdotes Pope John XXIII tells and the stories about him that she heard while traveling in Rome. She tells of a “Roman chambermaid” in her hotel who asked her, in all innocence:
“Madam,” she said, “this Pope was a real Christian. How could that be? And how could it happen that a true Christian would sit on St. Peter’s chair? Didn’t he first have to be appointed Bishop, and Archbishop, and Cardinal, until he finally was elected to be Pope? Had nobody been aware of who he was?”
Arendt had a simple answer for the maid. “No.” She writes that Roncalli was largely unknown upon his selection and arrived as an outsider. He was, in the words of her title, a true Christian living in the spirit of Jesus Christ. In a sense, this was so surprising in the midst of the 20th century that no one had imagined it to be possible, and Roncalli was selected without anyone knowing who he was.
Who he was Arendt found not in his book, but in the stories told about him. Whether the stories are authentic, she writes, is not so important, because “even if their authenticity were denied, their very invention would be characteristic enough for the man and for what people thought of him to make them worth telling.” One of these stories shows Roncalli’s common touch, something now being praised widely in Bergoglio.
The story tells that the plumbers had arrived for repairs in the Vatican. The Pope heard how one of them started swearing in the name of the whole Holy Family. He came out and asked politely: “Must you do this? Can’t you say merde as we do too?”
My favorite story tells of Roncalli’s meeting with Pope Pius XII in 1944 in Paris. Apparently Pius tells Roncalli that he is busy and has only 7 minutes to spare for their conversation. Roncalli then “took his leave with the words: “In that case, the remaining six minutes are superfluous.”
And then there is the story of Roncalli’s reaction when he was given Rolf Hochhuth’s play, The Deputy, which portrayed Pope Pius XII as silent and indifferent to the persecution and extermination of European Jews. When Roncalli was asked what one could do against Hochhuth’s play, he responded: “’Do against it? What can you do against the truth?’”
These stories are essential, Arendt writes, because they
show the complete independence which comes from a true detachment from the things of this world, the splendid freedom from prejudice and convention which quite frequently could result in an almost Voltairean wit, an astounding quickness in turning the tables.
Arendt found in Roncalli the kind of independence and “self-thinking” she valued so highly and that unites all the persons she profiled in her book Men in Dark Times. For Roncalli, his “complete freedom from cares and worries was his form of humility; what set him free was that he could say without any reservation, mental or emotional: “Thy will be done.”” It was this humility that girded Roncalli’s faith and led to his being content to live from day to day and even hour to hour “like the lilies in the field” with “no concern for the future.” It was, in other words, his faith—and not any theory or philosophy—that “guarded him against ‘in any way conniving with evil in the hope that by so doing [he] may be useful to someone.’” A true Christian in imitation of Jesus, Roncalli was one who “welcomed his painful and premature death as confirmation of his vocation: the “sacrifice” that was needed for the great enterprise he had to leave undone.”
There was one exception, however, to Roncalli’s sureness of his innocence, and that was his action and service during World War II. Here is Arendt’s account:
It is with respect to his work in Turkey, where, during the war, he came into contact with Jewish organizations (and, in one instance, prevented the Turkish government from shipping back to Germany some hundred Jewish children who had escaped from Nazi-occupied Europe) that he later raised one of the very rare serious reproaches against himself—for all “examinations of conscience” notwithstanding, he was not at all given to self-criticism. “Could I not,” he wrote, “should I not, have done more, have made a more decided effort and gone against the inclinations of my nature? Did the search for calm and peace, which I considered to be more in harmony with the Lord’s spirit, not perhaps mask a certain unwillingness to take up the sword?” At this time, however, he had permitted himself but one outburst. Upon the outbreak of the war with Russia, he was approached by the German Ambassador, Franz von Papen, who asked him to use his influence in Rome for outspoken support of Germany by the Pope. “And what shall I say about the millions of Jews your countrymen are murdering in Poland and in Germany?” This was in 1941, when the great massacre had just begun.
Even in his questioning of himself in his actions during the war, Roncalli shows himself to be a man of independence and faith. Yes, he might have done more. But unlike so many who did nothing, he made his dissent known, worked to do good where he could, and yet still fell short. And then struggled with his shortcomings.
These stories of the self-thinking independence of Pope John XXIII offer a revealing and humbling reflection in relation to the new Pope Francis I. Like Roncalli, Bergoglio is praised for his humility and his simple faith. And like Roncalli, Bergoglio served the Church through dark times, when secular authorities were engaging in untold evils and the Church remained silent if not complicit. But Roncalli not only did speak up and act to protect the persecuted and hopeless, he also worried that he had not done enough. He was right.
Many are accusing Pope Francis I of war crimes and complicity. I worry about jumping to conclusions when we do not know what happened. But the new Pope carries baggage Roncalli did not—formal accusations of complicity with terror and torture. It is human to respond with denials and anger. It would be befitting, however, if Pope Francis I would throw aside such defenses and let the truth come out. That would be an instance of leadership by example that might actually serve to cleanse the dirty laundry of the Catholic Church.
On this first weekend of Pope Francis I new reign, it is well worth revisiting Hannah Arendt’s The Christian Pope. It is your weekend read.
"Education is the point at which we decide whether we love the world enough to assume responsibility for it and by the same token save it from that ruin which, except for renewal, except for the coming of the new and young, would be inevitable."
—Hannah Arendt, The Crisis in Education
Hannah Arendt writes that the fact that we are born into the world—the fact of natality—is the essence of education. She means that every newborn baby comes into the world both free and yet also constrained. Newcomers are free insofar as there is no way of knowing in advance what a young person will become or who she will be. The newcomer is constrained, however, because he is always born into an already-existing world, one with particular customs, limitations, and opportunities. To educate that newcomer is to respond both to the freedom and constraint into which he is thrown. As free, the child must be taught to act courageously in new and surprising ways. As constrained, the newcomer must accept the responsibility as a member of an already existing world, one he must somehow make his own.
From the Latin educare, to educate means to lead into or draw out. Education is the activity of leading a child into the world, of drawing her into the world. Parents educate their children by drawing them out of their private selves and into the world of the family, their community, and their society.
Schools educate, in turn, by drawing students out of the confines of their families and into the wider political and social world. Education is always an entry into an old world. And yet, it is always a new experience with infinite possibilities for every new initiate.
Education, Hannah Arendt tells us in the quotation above, is about the love for the world. To have children, something she did not do, and to educate young people, something she did brilliantly, is to bring new young people into an old and existing world. To make that choice is to "assume responsibility" for that world, to love it enough—in spite of all of the evil and ugliness—to welcome the innocent. Only when we decide to assume such an awesome responsibility for the world as it is and to love that world, can we begin the activity of education.
Education is also a process of saving the world from ruin—a ruin that is inevitable for all mortal and human endeavors. Made by humans acting together, the world will disappear if we do not care for it and refresh it. The world is not a physical entity but is the "in-between" that connects us all. Like a "table that is located between those who sit around it," the world is the world of things, actions, stories, and events that connect and divide all persons living together in a common world. Without newcomers who are introduced into the world and taught to love it as their own, the world will die out.
There are of course some who reject the love for the world that makes education possible. There are always reasons to do so, ranging from poverty and racism to war and famine. Rebellion is, of course, sometimes justified. There are times, as with Arendt's judgment of Adolf Eichmann, where one must say simply: A world with such people as Eichmann in it is not a world I can love. That is why Arendt argues that Eichmann must be killed. But such judgments of non-reconciliation are, for Arendt, inappropriate in the act of educating young people.
To love the world enough to lead students into it means also that we love our children enough to both bring them into the world and leave to them the chance of changing it. Arendt writes:
And education, too, is where we decide whether we love our children enough not to expel them from our world and leave them to their own devices, nor to strike from their hands their chance of undertaking something new, something unforeseen by us, but to prepare them in advance for the task of renewing the common world.
If we love our children, and our world enough, then we do not make the decision to expel the children from that world. We don't make the decision of rebellion or non-reconciliation for them. The point is that education of the young must leave to the young the right of "undertaking something new, something unforeseen by us."
A teacher must not cross the line and tell the student what to do about the world, for that is the right of the student himself. All the teacher can and should do is prepare students for such a decision, by leading them into an existing world and offering them examples of those who, through freedom and constraint, have throughout history worked to renew and re-inspire our common world.
While teaching is never easy, it is particularly difficult in the 21st century, at a time when the "common world," the world of things that unite us, is changing at such a pace that that teachers and students increasingly live in very different worlds. It's one thing for teachers to not be up on the latest fashions or music; but when teachers and students increasingly get their news from different media, live in different virtual realities, and communicate differently about the worlds they inhabit, the challenges grow. Teaching is of course still possible, but it takes significantly more effort and reflection to think about what that common world is into which we are leading our students. The love of the world has never been so difficult or so necessary.
Thinking through the Human Condition: Arendt and Anthropology
Common wisdom has it that the U.S. now faces an “obesity epidemic.” Ample statistical evidence would seem to support this claim. According to recent research published in the Journal of the American Medical Association, sixty-eight percent of adults, and thirty-two percent of children and adolescents, qualify as obese or overweight as determined by the Body Mass Index (BMI). The BMI is the biomedical measure of “healthy” and “unhealthy” weight currently employed by most doctors, researchers, educators, and policymakers in the U.S. (and a growing number of other countries).
The public health response to this state of affairs, initially launched by Surgeon General C. Everett Koop in 1997, has been promoted as a “war on obesity” or a “war on fat” that echoes the militaristic rhetoric of other governmental campaigns (against poverty, drugs, and terror[ism], for example). This war effort has consistently conceived of obesity as a medical abnormality or disease that can be remedied through concerted social and political intervention. Health professionals and policymakers have regularly enjoined Americans to diet and exercise so that they might achieve—and then maintain—a normative body weight and shape. In addition, political figures like New York City Mayor Michael Bloomberg, New Jersey Governor Chris Christie, and First Lady Michelle Obama have publicly thrown their support behind measures that encourage healthy eating and regular physical activity.
Public reactions to the war on fat have varied a good deal. Most of its advocates argue that the campaign is a necessary response to a serious threat to the nation’s health and health care system, while some of its detractors contend that, at its extreme, it unduly interferes with individual Americans’ ability—or right—to eat, drink, and otherwise attend to their bodies as they find appropriate. Other critics focus on what I consider to be a more significant issue: the lived consequences of the war on fat, particularly for those young people who are its main targets.
To my knowledge, Hannah Arendt never directly engaged with the state’s role in the biomedical health of society and polity, but I suspect that she would have regarded the current campaign with skepticism. If her essay “Reflections on Little Rock” is any indication, she would be troubled by the ways that today’s children and adolescents are being asked to scrutinize their food choices and physical activity and thus bear the burden of a public health problem that ultimately derives from this country’s political economy of food production and consumption. In addition, she might well insist that children are “first of all part of family and home” and should therefore be shielded “against the demands of the social and the responsibilities of the political realm” (pp. 241-242 in The Portable Hannah Arendt). Indeed, she might even consider the war on fat to be a troubling infringement on parents’ private right to “bring up their children as they see fit” (p. 242), a right to which they are entitled even if they fail to conform to society’s prevailing conventions and customs.
This line of argument certainly possesses its own consistency and coherence. But I would suggest that it remains open to question on two (if not more) counts. First, it implies that young people’s diet and exercise are ultimately matters of private discretion in a fashion that is troublingly close to some industry objections to the war on fat. It thereby offers little basis to challenge the ways that corporate “big food” has invoked individual choice to defend dietary habits and tastes that it has not merely cultivated, but profited from handsomely. Second, and more broadly, this line of argument proposes a sharp distinction between public and private that prevents us from grasping the ways that young people—whether we like it or not—are implicated in larger political debates and struggles. Moreover, it does not really equip us to grasp how public discourse, including government-sponsored injunctions to diet and exercise, can mold individual sentiments, attitudes, and sensibilities.
This last issue is a central concern in anthropologist Susan Greenhalgh’s article “Weighty Subjects,” which appears in the most recent issue of American Ethnologist. Much of Greenhalgh’s argument turns on her analysis of student essays written for “The Woman and the Body,” a lecture course she taught at the University of California, Irvine from 1995 to 2011. Inspired by Michel Foucault’s work on governmentality and bio-power, Greenhalgh argues that the ultimate product of the war on fat is not a large number of thinner, fitter bodies, but rather a great deal of intimate and public “fat talk.” Such fat talk either instructs heavyset people about how they can attain a normative body or else derides their “excessive” weight as a mark of personal shame and failure.
In Greenhalgh’s analysis, this pervasive stream of fat talk induces all too many young women and men to adopt a “fat” subjectivity, even if they do not formally qualify as obese or overweight according to the BMI.
Building on a close reading of several students’ essays, she asserts that these “fat subjects” come to treat their weight as an essential component of their selfhood and social (un)acceptability. They engage in forms of exercise, dieting, and more extreme self-denial that may result in some temporary weight loss but which often pose major health risks in the long run. And they internalize the moralizing idioms of fat talk to the point where they ultimately hold themselves responsible for their weight and their frequent inability to achieve a normative body. Fat talk and the larger war on fat thereby resonate with the broader neoliberal turn in American public life, which holds individual self-governance, not industry regulation and other structural measures, as the preferred response to pressing social problems.
In sum, Greenhalgh’s objections to the war on fat ultimately rest not on the notion that local, state, and federal government is intervening (illegitimately) in a realm of private decision-making, but rather on the evidence that the preoccupation with obesity is creating significant emotional suffering for a considerable number of people. Like many other anthropologists, she thereby underscores how the political realm does not merely impinge on intimate senses of self and personhood, but actually works to produce them.
“The highest laws of the land (America) are not only the constitution and constitutional laws, but also contracts.”
-Hannah Arendt, Denktagebuch, p. 131
Having published The Origins of Totalitarianism, Arendt turned her attention to the country around her. In a sequence of entries in her Denktagebuch for September 1951, she starts by referring to America as “the politically new” – these are thoughts that will eventually result in her argument in On Revolution . Her analysis has often been criticized from an historical point of view, especially as she refers to the Constitution as being the first to be established “without force, without ruling (archein) and being ruled (archesthai). “ Whatever the validity of these criticisms, they strike me as missing an essential point of her concerns. Arendt is trying to work out what she a few pages later calls “the central question of the coming (künftigen) politics,” a problem she sees as lodged in “the problem of the giving of laws.” (ibid, 141). Her aim is to describe a political (i.e. humanly appropriate) system that would not rest upon will and in particular on the will of the sovereign. “That I must have power (Macht) to be able to will, makes the problem of power into the central political fact of all politics that are grounded on sovereignty – all, that is, with the exception of the American.” (idem)
Her concern in these pages (130-143) centers around what a human society would be that was truly political. Her version of America is her entry into this question. What is striking about her discussion in the intervening (and other) pages is that she approaches this question explicitly through the lens of European philosophy. Thus she is attempting an answer to the question of “can we determine the particular excellence of the American polity by viewing it through the lenses of European thought?” The point is not to Europeanize America: it is to see if America does not in some manner constitute a potential instantiation of what has been thought in Europe over the nineteenth and twentieth centuries.
The sequence of European thinkers she invokes is important. She first mentions Marx and then Nietzsche, each of whom she sees as part of and as makers of the “end of Western philosophy.” Marx is held to have inverted Hegel, Nietzsche the same for Plato. The point of her analysis of Marx and Nietzsche is to assert that they released thought from its bond to the “Absolute.” Indeed: to hold to the idea of an Absolute is to “make possible in the present unjust and bestial behavior.” (ibid, 133). As we know, this will be an ever-returning theme in her work. She expects to find in America the elements of the political that does not rest on an “absolute.”
At what might one look to find this vision of a non-absolute political? Nietzsche provides the opening to an answer. We are to look not to his doctrine of the revaluation of values but to his discussion of promising in the second essay of the Genealogy of Morals. She quotes: “To breed an animal with the right to make promises – is that not … the real problem of humans?” For Arendt, the foundation of a new “morality” lies in the right to make a promise; the promise makes possible human relations based on contract. And the grounding on contract, as she writes in the Denktagebuch, was for her the particular excellence of the American polity.
What is the implication of Arendt's claim that contract is the “highest law” and particular excellence of America? One answer is revealed by the end of extended quotation of Nietzsche’s Genealogy of Morals where he indicates that the person who has the right to make promises can “ für sich als Zukunft gut sagen zu können,”a phrase that might be rendered as “able to give himself as answer for the future.” In Arendt’s gloss, this means that if in making a contract (which is what a promise is) one pledges that each will remain true to him-or herself as the person making the contract, then each has made his or her own being the foundation for a political space.
Such a grounding or foundation is not based either on will or on any external absolute. It is a matter, as the signers of the Declaration made clear, that we “mutually pledge to each other our Lives, our Fortunes and our sacred Honor.” Temporally speaking, this means that what one did in the past remains alive as the present. Our political present will thereby be tied to the historical, although not, she notes, in a “weltgeschichtliche” [world-historical: i.e. transcendental] manner.
To make the implications of this clearer, she immediately turns to a consideration of Max Weber’s distinction between the “ethic of responsibility” (which she holds to be the foundation of the pragmatism and genius of American politics) as opposed to the “ethic of conviction,” which, she says, allows for anything as we cannot know “until the day of the Last Judgment” if our conviction be correct. The implication here is that if we base our polity on the conviction of the supposed correctness of our moral judgments (as opposed to our ability to be responsible to ourselves) we will be able to justify anything, as the validation for our claim can be infinitely postponed. (One has but to look at the claims made about bringing democracy to Iraq). Indeed, Arendt sees “central question of our time” to be a change in our ability to make valid moral judgments, that is ones the correctness of which is not postponed indefinitely. (ibid 138). She now turns to an examination of how various thinkers have dealt with the problem of moral judgment. After she worked her way through a partial rejection of the manners in which Hegel, Nietzsche, and the Kant of the Critique of Practical Reason respond to this main question, she turns to the Critique of the Power of Judgment. Those thoughts are not developed at this time in the Denktagebuch -- but they will concern her for the rest of her life.
What is striking here is how the approach from European philosophy brings out the importance of what is new in the American experiment. As Hamilton wrote in the first Federalist:
It has been frequently remarked that it seems to have been reserved to the people of this country, by their conduct and example, to decide the important question, whether societies of men are really capable or not of establishing good government from reflection and choice, or whether they are forever destined to depend for their political constitutions on accident and force. If there be any truth in the remark, the crisis at which we are arrived may with propriety be regarded as the era in which that decision is to be made; and a wrong election of the part we shall act may, in this view, deserve to be considered as the general misfortune of mankind.
To which, in our present day, one may only wonder if at some point a “wrong election“ has not been made.
-Tracy B. Strong (UCSD)
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.
“Person” - ego - character
“Persona”: mask, originally, the role chosen by the ego for the game among and with human beings, the mask that it holds in front of itself in order to be non-identifiable.
Person: can also, though, be the role or the mask that we are born with, the one given to us by nature in the form of the body and the gifts of the mind, and by society in the form of our social status.
Person in the first sense is actually character, insofar as the person is here and is the product of the ego. The question of identity arises in both cases, in case of the character, in such a way that the ego remains the sovereign master of the character, its product. In the second case, in such a way that the person conceals something else, something apparently deeper, and the ego becomes no more than the formalistic principle of the unity of body and soul, on the one hand, [and] of the coherent relatedness of multiple gifts, on the other.
In contrast: “persona” as “per-sonare” – to sound through.
-Hannah Arendt, Denktagebuch (freely translated by Stefanie Rosenmüller )
Are we not, especially as adolescents, urgently in search of our own personality? The young human being, or at least that of my recollection, attempts to discover his or her own personality, the pure ego of the person, like an inner core within, like a treasure or a talisman that enables the individual to shine brightly and which equips one to confront and encounter the people and things in the world outside.
Arendt would probably have seen this as a futile enterprise. The person is not the same as the thinking ego, and attempting to find the person through pure introspection would surely, in her eyes, have been a form of psychologism. The person is not the pure ego: it represents an interface between me and the others, the place where the two sides confront one another.
Young people do spend a remarkable amount of time in front of the mirror and, although we can certainly point to quite simple reasons of vanity to explain this, most people would probably agree that there is more to all this experimenting and checking of hairstyles, creams, cosmetics and caps than mere fashion, and that it involves the search for one’s own identity and the possibilities of presenting one’s own person to others. Presentation, in this sense, includes not only all types of styling and concealment, but also the features of the face itself - yet my own features do not seem to want me to read them and although the mirror may (nearly) reflect the perspective of the others, I cannot find my ego there, the gap remains, and my person is not to be found in the mirror. But why (leaving Lacan aside for the present) do people search for their personality in the mirror’s reflection?
The “persona,” which was the mask shown to the audience in the Roman theatre, defines the character of the person it conceals. Standing in front of the mirror might symbolize my attempt to tear off my own mask, to gaze, for a moment at least, at what lies behind, to see into and through myself and then to decide whom or what facet I want to show to others – unfortunately, though, this undertaking will not succeed. The person is not an entity behind the mask, but an interface between me and the others: the personality will appear only in the concealing by the mask.
The person, as Arendt describes it, is seen only by the others, and it is only in the gaze of those others that I can, at most, catch a reflection of it. I cannot remove the mask of my own face, and were I to do so, there would be nothing to see but bones and sinews. The face shows the person and although the eyes are said to open a view right through to the soul, to myself that view remains opaque.
“On the contrary, it is more than likely that the ‘who,’ which appears so clearly and unmistakably to others, remains hidden from the person himself, like the daimon in Greek religion which accompanies each man throughout his life, always looking over his shoulder from behind and thus visible only to those he encounters.“ (Hannah Arendt: The Human Condition)
Elisabeth Young-Bruehl was Hannah Arendt's student and biographer. She also was a brilliant philosopher, intellectual, and psychoanalyst. Her many books include Freedom and Karl Jasper's Philosophy, Hannah Arendt: For Love of the World, Anna Freud: A Biography, and The Anatomy of Prejudices, Subject to Biography: Psychoanalysis, Feminism, and Writing Women's Lives. She had recently completed her last book, Childism, just before her untimely passing on December 1, 2011.
The Arendt Center asked one of our interns, Anastasia Blank, to read Childism and prepare a series of posts highlighting some of the most interesting and compelling insights and arguments. Over the coming weeks, she will provide a chapter-by-chapter look at Young-Bruehl's book. We hope you are inspired to read along. You can purchase the book here.
Elizabeth Young-Bruehl’s final book, Childism, offers stunning insight into the first few years of life that have long since been forgotten. Young-Bruehl, who was Hannah Arendt's biographer and who died late last year, practiced psychoanalysis for almost thirty years and possessed a strong interest and training in child studies. She was a child advocate and this work is an effort to highlight the persisting injustice that befalls the children of our society, an overarching prejudice that she names "childism." Motivating Young-Bruehl's work is the conviction that “Harming children cannot stay the norm, there is no rationalization for this behavior.” The harm of childism does not necessarily refer to physical abuse, but encompasses various acts against children, acts that demarcate them as different and less important that adults.
This is not a contemporary phenomenon, as prejudice against children reaches far back in historical societies. And yet Young-Bruehl does think contemporary American society has seen a rising prejudice against children. Childism includes abuse, but it extends even to the well-remarked upon helicopter parenting of well-meaning parents who push their children to fulfill the parent's own desires and needs in developmentally inappropriate ways. Childism is based upon a widespread fallacy, that children are expected to serve the needs of the adults that care for them.
Young-Bruehl identifies the childism stereotype as a foundational fantasy, one that,
"can be defined as a belief system that constructs its target group, 'the child', as an immature being, produced and owned by adults who use it to serve their own needs and fantasies”.
While Childism might be thought to be concerned with child abuse, it is more broad in its scope. “Child Abuse and Neglect (CAN)” arose as a field of study in the early 1970’s, encompassing a body of clinicians, advocates, analysts, and researchers. Their aim was to protect children and to bring attention to the existing prejudice against children in social and political institutions. Young-Bruehl contends that in their narrow focus on protecting children from abuse, CAN proponents overlook the parental motivations and origins of the prejudice towards children. Her argument is that when the instigating factors behind "childism" are uncovered, there arises the potential to protect America’s children as a group, instead of the lucky few who come under the attention of child protective services or have access to therapy.
Childism explores the negative view our society has taken towards children; the children within our society are falling prey to the “projections” of their caretakers. Young-Bruehl argues that too often parents' inner pain suffered when they themselves were children is now being taken out through violence or neglect on their own children.
She asks that we take a look at our own inner conflicts and try to understand the motivation for the type of action and beliefs one holds toward children. The common belief in "the natural dependency of children," is, she writes,
one of the key reasons for the prejudice against them not to be recognized as such or its being so easily rationalized. Adults who argue that children do not and should not have rights, for example, base their arguments on children’s natural dependency, making assertions about their lack of agency or capacity for choice, expression of interest, or reason. But such arguments are prejudicial against children’s development; by declaring that children do not have these capacities, the arguments are really contributing to the difficulties children have in developing the capacities.
As an adult, a caretaker, or a caring person, it is our duty to offer guidance, support, and love during a child’s development. Believing that children are incapable and dependent, whether intentional or not, leads to projections of a specific dependencies for the child and accords to adults the role of guide and authoritarian ruler. It is this prejudgment about the adult-child relationship that Young-Bruehl asks that we consciously reevaluate.
I invite you to read through this book with me over the coming weeks and investigate the critical question, “Why do parents sometimes turn against their children?” This is not to say that many parents are innately evil or should not have children. It is instead an inquiry into the motivations behind their prejudiced behavior. The book asks: how can identifying significant prejudicial feelings lead to a change away from childism.
Everyone, so I am told, is watching and talking about "Downton Abbey." It is a TV show, for those living under a bigger rock than I am. So the other day I asked the person charged with keeping me alive to the real world why the show was so compelling.
The answer arrived in my email later that morning in the form of an article: "The Philistine's Guide to Downton Abbey: Why Everyone in the Universe Should Watch Downton Abbey."
A philistine, let us recall, originally named a biblical enemy, a part of a host so large and superior in numbers that it would overrun Judeo-Christian civilization. In its modern usage, a philistine is part of mass society, those who judge all things in relation to their material or utilitarian values.
So what does a philistine want from "Downton Abbey"? First and foremost, it seems, he wants to be educated. Here I quote from the article on Gawker:
The first season of the show dealt with the sinking of the Titanic, Marxism, and the burgeoning women's rights movement thanks to the Earl's progressive youngest daughter, Sybil. This season is all about the Great War, as the Brits call it. It's teaching history! There are also all those damn costumes and beautiful interiors and characters with complex motivations being penned in by a restrictive society. It's all the best parts of Middlemarch without having to lug around a thousand page novel all the damn time.
For those who aren't afraid to lug around Middlemarch as well, the New York Times offered a front-page story Wednesday with book recommendations for those following the series. According to the paper of record, Julian Fellowes, the show's creator, "has been deliberate about dropping open-ended references into the scripts" that are designed to send viewers to their libraries (or at least their IPads). The show clearly plays into the long-standing cultural demand for entertainment that doubles as education. It seems we are desperate to sugarcoat our need for distraction with the promise that we are actually making productive use of our downtime.
The New York Times article comes complete with recommendations for books of history and poetry, and even other works of historical fiction, each designed to occupy the hours between the episodes of the show. But one essay recommendation was conspicuously absent from the list.
The current mania for "Downton Abbey" calls to mind Hannah Arendt's essay "The Crisis in Culture," Arendt's most powerful explorations of the role of art and the artist in contemporary life. The essay is actually in two parts. Part One addresses the relation between culture and society. Part Two concerns the connection between culture and politics. So this week's weekend read is Part One of "The Crisis in Culture." Next week I'll discuss Part Two. I hope you enjoy it in-between episodes.
In raising the question of the crisis of culture, Arendt is not assuming the mantle of culture warrior. She explicitly refuses to condemn low-brow culture—we all need entertainment. Nor is critical of the masses. The problem she is concerned with has its origins not in mass society but in good society. She is not criticizing those who enjoy their sitcoms. No, her critical eye is focused on the elite PBS viewers of "Downton Abbey."
Arendt's essay begins with a distinction between culture and society. Simply put, artists, intellectuals, and defenders of culture accuse society of "philistinism." The philistine concerns himself only with utility while the cultural artist aims at truth and beauty.
The problem emerges when the philistines come to find that culture is useful. Then the "educated philistine" emerges, someone who seeks to advance his own social standing by monopolizing culture. The educated philistine embraces culture. He collects art, sits on the boards of universities and symphonies, and displays his "contempt for the vulgarity of sheer moneymaking." The educated philistine despises entertainment and amusement, because no "value" can be derived from it. It is the educated philistine, not the artist, who is the snobbish culture warrior committed to demeaning pure entertainment.
As Arendt tells it, culture comes increasingly to be valuable as a currency that guarantees and advances social standing. But as culture becomes valuable, it loses its distinction from the other values of society. Cultural objects lose their distinction—that they can arrest our attention and move us. Arendt offers the example of Gothic cathedrals, which were built for the glory of God. Of course the cathedrals were useful too, but their immense and extraordinary beauty cannot be explained by their usefulness. Their beauty, she writes, "transcends needs and functions."
The beauty of cathedrals lasts through the ages. The cathedrals become part of our world, as do mosques and temples, paintings and sculptures, and all the public buildings and political structures that give form and meaning to our otherwise transient mortal lives. Yes, human beings can live without a culture; many have. But when they do, they live simply to live. For Arendt, that is not a distinctly human life in a human world.
We only live in a human world when "the totality of fabricated things is so organized that it can resist the consuming life process of the people dwelling in it, and thus outlast them." Lasting works of art make our world a human world, they give the world its distinction and its humanity. It is this worldliness that makes the world human. And this worldliness and humanity are born from the work of artists (visual, poetic, and political) who create the lasting institutions and things that give the world meaning as our world. Because culture concerns the lasting and immortal architecture of our human world, it is concerned with art—things made for no other purpose than to be beautiful and true.
The challenge posed by the mania around a show like Downton Abbey is that it is part and parcel of a cultural moment when art abandons its transcendent and protected realm and appeals to the needs of overly busy "educated philistines" who want their entertainment also to be useful. Arendt's examples are rewritten versions of classics like Shakespeare that are made as entertaining as My Fair Lady. There is nothing wrong with My Fair Lady. But the demand to make Hamlet entertaining—or to make entertainment educational—means, Arendt writes, that "culture is being destroyed in order to yield entertainment." Hamlet as a great work that can stop us and make us think and re-think our lives and our world can survive neglect; but it cannot survive being repackaged into entertainment. And this raises the true specter haunting Arendt's essay: that all the cultural goods that make up our world will be repackaged as entertainment, thus loosening the immortal bonds that tie us together as members of a common world. This means, for Arendt, the threatened loss of culture and with it of the specifically human world. As she writes:
The point is that a consumer's society cannot possibly know how to take care of a world and the things which belong exclusively to the space of worldly appearances, because its central attitude toward all object, the attitude of consumption, spells ruin to everything it touches.
I hope you enjoy "Downton Abbey." But I also suggest you take the time to read "The Crisis of Culture."