Dear Reader, lately I’ve been lurking in the shadows, strolling from streetlight to streetlight, leaning and loitering. I feel like the character you confront while skirting the edge of the park, dimly established, on your way home.
Well, no, not really. Life is often boring, full of work and loved ones, and what’s good.
True tales from my twenties, while on brief vacation: I remember lying on a hotel bed in Vienna, restless with the euphoria of travel, the sounds of a foreign city alive in my ears. I remember arising, standing at the window and staring at the moon and the mansard rooves across the street.
I had seen the same rooftops in the changing light of late afternoon and dusk; the clotheslines swaying and the water stains on the walls, my eyes darting from small detail to facade to vast, unfamiliar horizon.
Life is so strange!
Now, in the middle of the night, I was with unlit cigarette (one or two a day for a year as I was very, very, cool). I remember striking the lighter and my eyes catching a flash of light from across the street. From the mansard rooves.
I flashed the lighter again. One flash.
One flash in return came from the mansard rooves. Fourth floor. Dormer window.
I gave two flashes.
Two flashes came from the window.
I held my flame for about five seconds, about chest-level. I heard the sounds of a few cars down below.
I finally saw a light and the face of girl with dark hair, much younger, bigger nose, nice eyes, olive skin.
Was she alone? Was she a Muslim immigrant? Why is she awake? Is she too young? Am I a creep? Should I try morse code?
If I have drawn your interest, I will say I remember that after a few more flashes and some rather innocent, thrilling moments of communication across the darkness under a strange moon in a strange city, I eventually found my way back to bed and to sleep.
I hope she’s well, and now too has a happy life.
As I’ve been called a ‘postmodern conservative’ (not so sure about that…), here’s an interesting piece from Matt McManus at Quillette: ‘Understanding Postmodern Conservatism: A Response To Aaron Hanlon:‘
‘…I do not believe postmodern conservatism emerged in a historical or ideological vacuum. It is not just the product of contemporary postmodern culture, which provided the necessary but not sufficient conditions for postmodern conservatism’s emergence. Rather, certain strands of conservative thinking that—while not in themselves postmodern—have nevertheless recently mutated into postmodern form. The two most prominent of these are Burkean historicism and De Maistrean irrationalism.’
‘Theorists of postmodern culture…argue that the emergence of postmodern skepticism indicates a broader cultural shift within developed societies. What Jameson calls ‘postmodern culture’ is characterized by growing social skepticism about the stability of truth claims in general, but particularly truth claims related to identity and values.’
Personally, I remain open to much skepticism and many critiques of many parts of the ‘modern’ project. I find myself interested in people providing reasons to support various traditions (music, art), religious faith (wouldn’t call myself a believer), patriotism (haven’t served, but necessary to the survival of our Republic) and rule of law (even more necessary to the survival of our Republic).
I think all of the above deserve a fair hearing.
On that note, Jesus Christ already...
Yes, there’s nudity, and it’s not nearly so unappealing as a lot of art-activist-nudity out there.
The shock for shock’s sake, childishness, and resemblance to political protest arguably demean without much reward. I doubt this ‘artist’ has reached the sensibilities of any pilgrims nor nuns (the foolish and childish, the mature and wise). In fact, this isn’t really art, nor even political protest nor does it reasonably address the various matters of deep disagreement for which people can end up killing each other.
Go learn how to sketch, draw and paint. Appeal to truth, pleasure, or beauty.
Or get paid for being naked and become an artist’s model.
‘In a statement to Hyperallergic, the artist has questioned Christianity’s exploitation of female figures like the Virgin Mary and Mary Magdalene, who are often portrayed on opposite sides of the stereotypical spectrum of female chasteness: virgin or whore.’
Admittedly, I don’t think the Virgin Mary above displays as shamelessly little talent as did ‘Mattress Girl,’ who after the hysteria and histrionics of lugging a mattress around Columbia campus, eventually did ‘classy’ pornography a disservice.
Thanks for the memories, Mattress Girl:
‘I do think that nowadays, art pieces can include whatever the artist desires, and in this performance art piece, it utilizes elements of protest, because that is what’s relevant to my life right now.’
Why should I, you, he, she it or they care?: ‘Mattress Girl’ got a ticket punched to the State of The Union by Kirsten Gillibrand, a U.S. Senator from the state of New York. It seems worth asking what the people making our laws believe and what they are saying they believe.
What do they do? How do they behave?
Liberation is next!
Previously on this site,
What is modernism, exactly?
This blog is still trying to work towards a definition:
‘Like many scholars of modernism, I’m often asked two questions: What is modernism? And why is modernist studies, it seems, all the rage right now? I don’t have a good, succinct answer to either question — and I’ve no doubt frustrated plenty of friends because of that — but the reasons why I don’t are pretty telling.’
From the comments:
‘The most useful definition of modernist fiction I’ve encountered comes from Brian McHale’s Postmodernist Fiction. He says modernist fiction tends to “foreground epistemological questions” such as “How can I interpret the world I’m part of? What is there to be known?Who knows it? What are the limits of that knowledge?” In contrast, postmodernist fiction tends to “foreground ontological questions” such as “What is a world? What kinds of worlds are there and how are they constituted? What happens when…boundaries between worlds are violated?’
As previously posted:
Of some note:
‘There is no morality in art. There is morality in religion; there are philosophical objectives embedded in politics. The two are intertwined in a society and reflected in its art. When you sever art from its cultural moorings and make “newness” the overriding criterion by which the merits of a work are judged, then anything is possible. This results in crap. Not always’
James Joyce, Virginia Woolf, Ezra Pound, the Bauhaus, the imagists, the futurists etc. Some of those influences have morphed into post-modernism or where such currents have flowed and keep flowing. Were they the best models, or has much been lost in translation?
‘The primary urge of the revolutionary and the modernist and the adolescent: impatience.’
So, do we aim for maturity? Reverence? Good old Longfellow? Sonnets? Rhyming couplets delivered by higher powers to monks in haylofts?
Perhaps there is a growing body of intellectual and cultural pushback against the ‘-Isms’ (environmentalism, feminism, utopian political idealism) as these ideals and idealists continue their contact with current institutions, Nature and human nature.
It’s tough to get an education in the arts and humanities these days, moving through the postmodern landscape, without running into pockets of ‘-Isms.’
It’s not that the sciences, nor even the social sciences, don’t contain valid truth and knowledge claims.
This isn’t worrying so much as the cults of rationality and irrationality out and about; the reefs of radical discontent and group-thought hardening into new rules.
It’s not that change doesn’t need to happen, nor that what’s true remains even if we don’t want it to be so, rather, it’s the inability of many moderns to provide deep enough wisdom, truth and understanding so as not not slip into the same old problems with authority and hierarchy.
I think for some people, there’s an appealing critique of liberal rationalism contained within nihilism, but also something deeper which draws folks to seek out other ideas: An instinctive defense of the arts, myth, music, and tradition; the complexities of the human heart and mind, the long sweep of history, the wisdom contained within religious texts.
Defending tradition, even perhaps having been influenced by Nietzsche to some extent, has become heretical in parts of the academy and the media.
Merely pushing back against the influence of Foucault and Lacan in the academy, or perhaps questioning the motives of student radicals during Paris ’68, can be enough to torpedo an academic career:
Before modernism, there was the Romantic break of the individual artistic genius driving all this change forward on his own. Isaiah Berlin had some thoughts about this (as well as the horrendous totalitarianism which emerges when you start-out thinking the Ends Of Man are already known).
Thanks, reader. Probably worth revisiting:
Related On This Site:Appeasement Won’t Do-Via A Reader, ‘Michael Ignatieff Interview With Isaiah Berlin’
Anyways, let’s enjoy a poem:
Miss Nancy Ellicott
Strode across the hills and broke them,
Rode across the hills and broke them—
The barren New England hills—
Riding to hounds
Over the cow-pasture.
Miss Nancy Ellicott smoked
And danced all the modern dances;
And her aunts were not quite sure how they felt about it,
But they knew that it was modern.
Upon the glazen shelves kept watch
Matthew and Waldo, guardians of the faith,
The army of unalterable law.