Yoram Hozany takes two institutional data points, the NY Times and Princeton University, to argue that whatever you want to call it (‘Marxism’, ‘Neo-Marxism,’ Postmodern ‘Wokism’); these institutions increasingly have a new moral, ideological orthodoxy in place.
From Hazony’s reasoning then, it follows that this new moral, ideological orthodoxy is driven by committed and competing factions of radicals and true-believers, ideologically purifying towards revolutionary praxis.
It also follows that on the American political scene many moderate, opposing groups will have to deal with this new reality: Religious believers, social conservatives, traditionalists, constitutionalists, economic conservatives, libertarians, classical liberals, moderate and reasonable liberals, and even the populist, union Left, will be in some kind of tension with this group of radicals and true-believers.
A lot of people I know resist such arguments, often because they’re caught up in the pro-Trump, anti-Trump battles of the day. Or they’re older and can’t process the levels of institutional capture, rot and over-build we’ve got.
Or they haven’t seen the glazed eyes and closed minds up close.
If you’ve been keeping tabs on this stuff, from a perspective like mine (small ‘c’ conservative), it’s been a long, depressing ride.
‘Elizabeth Alexander never expected to go into philanthropy. Now she’s in her third year as the president of the Andrew W. Mellon Foundation, the largest supporter of the humanities and the arts in the U.S., where she’s quickly applied her vision to foster a more just society.’
‘There, she co-designed the Art for Justice Fund—an initiative that uses art and advocacy to address the crisis of mass incarceration—and guided the organization in examining how the arts and visual storytelling can empower communities.’
I like the idea that poems are actually not supposed to engage you in direct action, neither political, nor personal. They usually take some work to understand, but they can come alive on the tongue and live like wisdom in the brain for years.
‘In our democratic age, however, poets have always had scruples about exalting leaders in verse. Since the French Revolution, there have been great public poems in English, but almost no great official poems. For modern lyric poets, whose first obligation is to the truth of their own experience, it has only been possible to write well on public themes when the public intersects, or interferes, with that experience–when history usurps privacy.’
‘In “Sea Change,” Graham becomes Prospero, casting spells by spelling out her thoughts to merge with ours, and with the voices of the elements. The result is a mingling of perceptions rather than a broadcasting of opinions. Instead of analysis, the poems encourage emotional involvement with the drastic changes overwhelming us, overwhelming the planet.’
‘Strengths and weaknesses, flows and ebbs, yet every poem in “Sea Change” bears memorable lines, with almost haunting (if we truly have but 10 years to “fix” global warming) images of flora and fauna under siege. Jorie Graham has composed a swan song for Earth.’
Just pointing out that predictions of the NY Times ending up like The Guardian are proving true.
The Guardian: Left and Far Left. Funded by deep and shallow-pocket[ed] activists (revolutionary and avant-garde thought-leaders liberating ‘The People’ from false consciousness and oppression, towards ideological and liberatory purity).
As for the NY Times, I think this ‘The Hunt’ piece from the Real Estate section sums up my expectations nicely. Oh yes, it’s real:
‘As conservationists, they decorated almost exclusively with secondhand furniture. The large closets — “the biggest I’ve had in my life,” Ms. Sinclair said — have enough storage space for the craft materials she uses for her feminist tableware line, Oddtitties.us.’
It turns out there are many gnostic faiths in the modern world, pursued religiously.
A deranged, charismatic preacher seals his flock inside a cave for eternity. Generations later, ghosts haunt a suburban family, with ratcheting levels of violence, until the preacher’s malevolent spirit finally absconds with a young child through the T.V.
Imagine instead a Jim Jones figure, or just another shabby Marxist ‘intellectual’.
Alas, the problems are often deeper than you think.
“7. What is meant by enthusiasm. This I take to be properly enthusiasm, which, though founded neither on reason nor divine revelation, but rising from the conceits of a warmed or overweening brain, works yet, where it once gets footing, more powerfully on the persuasions and actions of men than either of those two, or both together: men being most forwardly obedient to the impulses they receive from themselves; and the whole man is sure to act more vigorously where the whole man is carried by a natural motion. For strong conceit, like a new principle, carries all easily with it, when got above common sense, and freed from all restraint of reason and check of reflection, it is heightened into a divine authority, in concurrence with our own temper and inclination.”
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?’
‘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.
The primary urge of the revolutionary and the modernist and the adolescent: impatience.’
About that new Barbie movie…
Here’s my riff without having seen the thing (alas, the cardinal sin). Maybe I shouldn’t be forgiven.
I’m guessing its director is grounding herself in a kind of epistemological feminism which grounds itself in the Bloomsbury Group, Virginia Woolf, and, say, Mary Shelley and Mary Wollstonecraft.
Here’s Greta Gerwig getting the treatment reserved for those in the bully pulpit (of course radicalism within postmodernism never inhabits the bully pulpit in good faith…without blame and utopian visioneering).
It’s sad to see actual talent, creativity and some vision hitched to such an idea-wagon.
What am I talking about?: We still have a lot of men and women not just having sex, but building trust and respect and tending to the garden of love (daily, patient work). Out of this comes the covenant of marriage, where each works to provide the cradle of safety, love and then structure, punishment and expectation for all of our future citizens.
Such people are known as ‘good citizens’ and ‘good parents.’ They know the world ain’t perfect and is full of suffering and patient duty. They often have jobs they don’t like. These people usually make rules and laws that are ‘square.’
These people are still there, but square views currently form a minority in the cultural, intellectual and entertainment spheres (as elite as many are). As square and sometimes unyielding and crushingly stupid such views can be when it comes to artistic creation, we need this family structure to form a civil society and have laws.
We have managed to create a creative, intellectual and elite class of people gone real and fake radical, denouncing anything remotely square, even within themselves. And they’re telling stories.
How did we get here? Rough men populated the mountains east of L.A. to mine ore from the ground (whoring, drinking, fighting and sometimes ‘murderin’…breaking their bodies in the mines, solving daily problems with ingenuity, some cool engineering and camaraderie).
A little later, there settled storytellin’ men into L.A.
These men built studios, gathering the latest visual technology from far and wide. The business was much more built on good writers with actual life experience and maybe something to say. But there was also some whoring, drinking, fighting and somewhat less murderin’.
I can tolerate some misandry and cutting men down to size, as long as it’s well done. Oh, plenty of good women writers have stuff to say about that. In fact, I’m guessing ‘Barbie’ is probably well-made in terms of the apparatus (production, scoring, latest technology, some character stuff). There’s probably some good narrative structure.
But it’s also probably got a lot of internal logic which leads to oppressor/oppressed victimhood, pitting the sexes against one another, and nihilistic despair and therapeutic Self-help.
We’re slowly civilizing, but, right into the radicalism that’s caused so much un-civilization in Europe these past centuries.
Ultimately, the internal logic of such radical feminism encourages bouts of cynical self-loathing, world-hating and man-hating (woman-hating too), and a revolutionary terrorism against all existing rules and laws.
Not exactly good for civilization, and certainly not for young girls and boys, who will become future people holding civilization up.
Full piece here, which could have some explanatory insight:
Del Noce’s emphasis on the role of Marxism in what I called the “anti-Platonic turn” in Western culture is original, and opens up an unconventional perspective on recent cultural history. It calls into question the widespread narrative that views bourgeois liberalism, rooted in the empiricist and individualist thought of early modern Europe, as the lone triumphant protagonist of late modernity. While Del Noce fully recognizes the ideological and political defeat of Marxism in the twentieth century, he argues that Marxist thought left a lasting mark on the culture, so much so that we should actually speak of a “simultaneous success and failure” of Marxism. Whereas it failed to overthrow capitalism and put an end to alienation, its critique of human nature carried the day and catalyzed a radical transformation of liberalism itself. In Del Noce’s view, the proclaimed liberalism of the affluent society is radically different from its nineteenth-century antecedent precisely because it fully absorbed the Marxist metaphysical negations and used them to transition from a “Christian bourgeois” (Kantian, typically) worldview to a “pure bourgeois” one. In the process, it tamed the Marxist revolutionary utopia and turned it into a bourgeois narrative of individualistic liberation (primarily sexual).’
From where I stand: Many people can be seen clamoring towards (S)cience these days (or at least claiming some of its authority), but the people doing science are, well, doing science. They might be informed by their political beliefs, but their political beliefs shouldn’t be present in their work. Natural philosophy, mathematics, statistical modeling, empirical research etc. go on in the public and private sector, despite potentially serious supply/demand and other structural issues.
Institutional capture, however, also continues, and incentives within institutions. Many Arts & Humanities departments have been over-run by the ‘studies’ types, especially within administrations.
Activist sexual, moral and political liberationists could be said to be the driving force behind much in American life right now. Such movements tend to attract true believers who punish their enemies, seeking administrative/bureaucratic control of our institutions and political life.
The postmodern roots are pretty deep. Good luck with your prognostications:
When it comes to the arts, do you know what’s coming next?:
It’s not so much that change is occuring, but in pointing out the change agents, and many ideas driving change, and questioning many such ideas opens one up to the mob.
I think it’s probably a little better at The New Yorker in 2023 (see this Salman Rushdie piece). That said, activism remains a source of renewal for true-believers. This creates enormous downward pressure upon independent thought and creative expression (the kind of which the New Yorker has traditionally supported in long-form writing and the visual arts). Activist editorializing is probably a lot like going to Church, where inward reflection occurs in song and sacrament, chanting and togetherness. Beneath the political ideals, liberals and radicals often have their ‘hearts and minds’ in similar places.
The blind spots: People, ideas and the world outside of these beliefs and convictions, like all of us, to some extent.
My deeper take: Much of this view gets human nature badly wrong (the depth of evil and the problems within hearts and minds…explored in literature, poetry and the visual arts).
It also turns (H)istory into a kind of ideo-theology, abstracting (M)an into an endlessly perfectible and managerial product. This partially explains why our ‘post-modern’ lives become full with nihilistic ‘presentism’ and (S)elf-performance with a shitty, divided politics.
‘They are, in fact, idealists: and idealism is a cast of mind that Conrad questions even more than he questions radicalism. The logical end of radicalism, in his view, is terrorism; but idealism is the mental aberration that allows terrorism to be brought about. Conrad’s originality was to see that a new tyranny could be generated by people who thought that their rebellion against the old tyranny was rational. Thus his writings seem prescient about what was to happen in the Soviet Union. He didn’t predict the Nazi tyranny because he had underestimated the power of the irrational to organise itself into a state. But then, nobody predicted that except its perpetrators; and anyway, mere prediction was not his business. His business was the psychological analysis made possible by an acute historical awareness. Under Western Eyes is valuable not because it came true but because it rang true even at the time, only now we can better hear the deep, sad note.’
It just might be possible to nurture experimental literature, poetry and the ‘avant-garde’ without explicit political bias:
‘Is it necessary for us to have a conservative voice or something like that? We’ve discussed it, but I’m not sure exactly what it would look like. I think The New Yorker’s niche is pretty comfortably in this progressive space and it’s much less of an issue to us than it is to The New York Times.’
I actually might agree on two fronts: The New Yorker definitely caters to progressive political ideals (a long-term winning market strategy?) AND that there’s something loathsome about hiring just to fill quotas. The idea of letting other people live their own lives and make their own decisions is socrazy it just might work.
The latter is lost on many true-believing progressives, as the presupposed rigged ‘system’ of the oppressor justifies all manner of intrusion into existing institutions through protest, radical unrest and forced quota-systems.
Maybe some deeper currents from Romanticism to Modernism to Postmodernism are worth thinking about. As I see things, many people who care deeply about the avant-garde also bind themselves to ever narrower political and ideological commitments.
The journey of The Western Self bears proper care.
In the meantime, check out this tweet from Peace Pavilion West (my fictional community of back-to-nature collectivists exploring the Self).
What started out as Peace, Love and Inclusion at the Human Pagoda, a community transcending all human limitations, a buzzing colony building eco-pods to the very Heavens, devolved into ever stronger chaos and ever stronger central authority.
After our liberation, the promise of equality always seemed shimmering on the horizon.
It takes a big man to tweet at The New Yorker:
At Peace Pavilion West, we have banished all free enterprise, becoming a ‘closed community.’ Collective love and our Supreme Leader’s revolutionary teachings shall guide us. Namaste, Eustace.
‘Intersectionality is not just a branch of feminism, a means by which to advance women’s interests, or an analysis of matters of social concern. It is an all-encompassing philosophy that advances a unique politics, metaphysics, aesthetics, and epistemology, as well as its own (rather bizarre) interpretation of history. It is effectively a secular religion.1′
Many liberation-based ideologues and radical discontents have ridden the postmodern waves into academies and various other institutions of influence.
This blog operates under the assumption that, generally, people who’ve only conceived of the world as a series of power relationships, or fumblings of Self against the objectively meaningless void, or through lenses of collectivist oppression and victimhood, are generally people to be nowhere near positions of authority and stewardship.
Hey, it’s just the Arts & Sciences, as well as your freedoms.
Who is ‘Rasta Dale’?
Despite his humble beginnings as the bastard son of an itinerant diplomat and the global-warming journalist sent to cover him, Dale has worked hard to become the supreme leader of Peace Pavilion West. He oversees daily work assignments, Temple activities and breeding celebrations.
Protecting the environment, promoting women’s freedom and protesting warmongers here on Spaceship Earth are all in a day’s work in the community, and for Dale.
Here are some recent articles Dale wholeheartedly supports:
As I’m doing PR for PPW, I like to include my commentary when relevant.
Community Gardens IN THE SKY!
Of course Dr. Seuss should get political! Make everything political!
Dale had a dark period after the last EPA raid. He was found in the Temple by himself mumbling ‘Now we are all zero-waste:’
Making the ‘personal political’ tends to politicize all aspects of life. It’s unsurprising that a few good artists will fall on more conservative sides of topical political discussion.
As I see the world: Radical doctrines weaponize personal confessions into political (C)auses. Envy is a deep and nearly constant human emotion, and when the green eyed monster appears, honest self-criticism is much harder than righteous indignation (maybe this guy is smarter/better than me…what can I learn from him?).
I should add: There are plenty of religious prigs who are, essentially, failures at life. More than a few have traced their bitterness into a God-shaped mold.
It’s no surprise the basics learned in youth sports (how to lose honorably, the long hours of toil and sacrifice, the daily practice) are eschewed by most ideologues. If you’re weak and/or losing, becoming anointed into an ideology plugs into one of the deepest human desires: Defining yourself by what you are not, and finding group membership and meaning. The thought that ‘they’ are winning, and thus, I’m (we’re) losing is powerful stuff.
I’m somebody. I can win. I’m less racist than you. I’m more deeply (H)uman than you. I feel more authentically than my enemies. Sister Nancy is the most God-fearing gal in the whole convent.
Human nature hasn’t changed all that much, as every revolutionary radical seems to find out the hard way.
For anyone not in dire straits (genuine need and/or actual oppression), inviting the clumsy hands of ideological (C)ause into the bedroom is a kind of lunacy. Liberation doctrines valorize anti-heroes, medicalize illnesses and glamorize vices into badges of authenticity.
This tends to lead to a lot more failure, and more ideology to fill the holes.
I’m pretty sure: Deep down, rebels and anti-heroes still have authoritarian tendencies and tragic flaws: See History. Most sane people don’t idealize sickness and disease. When it comes to drugs, alcohol and the Zubercocks of this world, what awaits is often just a sad lonely death and a whimper.
Word to the wise: Placing your eggs in the activist basket is a long-term losing game (gays/lesbians/actual minorities) as I see the world. Short- and mid-term gains gather into an ever-growing list of human ‘rights’ which normalize the marginalized and politicize the personal. But politics is a thing. It’s about distributing unequal resources and making decisions. It’s contentious and corruption is usually the rule, not the exception. Believing in politics won’t bring more ‘peace’. Bureaucracy is a large organization where power and authority accrue, but instead of corporate bureaucracies subject to market forces, they continue on with bad incentives and the same amount of inequality as before.
Individual eggs get scrambled into unrecognizable omelettes of mass justice. Many individuals find out too late there’s no real space for individuals in mass movements and passionate (C)auses.
This blog welcomes lenses with which to view works of modern art.
‘Clarity: As I’ve said, the movie abstracts from concrete reality certain general character types, purges from them the nuance and complexity in which we find these general patterns embedded in everyday life, and re-embodies them in extreme characters so that we might more carefully consider those types. Just as we know more clearly what it is to be a triangle by abstracting from particular triangles (red ones, green ones, triangles drawn in ink, triangles drawn in chalk, etc.) and considering the general pattern, so too does the movie allow us to see more clearly what it is to be a desperate man, a cruel man, a weak man, a dishonest man, a broken man, and so on, by way of its skillful caricatures.
So, in its integrity, proportion, and clarity, Glengarry has the marks of a beautiful thing, despite its grim subject matter. One need not admire and approve of Satan in order to admire and approve of Dante’s or Milton’s literary representations of Satan, and one need not admire or approve of the sorts of people represented in a film like Glengarry in order to admire and approve of the representation itself.’
‘You call yourself a salesman you son-of-a-bitch?:’
For those who’ve ever had a real job, and seen people at their best and worst, or been reasonably honest about their own motivations and willingness to be do right by others under duress, well, there’s a lot of truth to be found in this particular work of art.
Like boxing gyms and MMA matches, or call-centers full of debt collectors, or daily life on public city buses, the stuff of humanity is pretty much the same as anywhere else, just more raw and closer to the surface.
On fuller display, perhaps.
Feser provides some reasonable context, here, the kind that forms the backbone of a good Catholic education, and which this blog considers to have enriched the debate.
For those who didn’t ask!:
As this blog sees things, the modernist project is not explicitly ideological, but it is extremely ambitious: Make it new. Start from the ground up, or go back to the foundations and take a really good look, and have the individual genius start building his own, new foundations (alone or in contact with others, such as the Bloomsbury Group).
It takes really talentedindividuals to pull this off; often individuals with previous exposure to tradition; young practitioners with enough talent and perseverance, as well as enough of a pedagogy to inherit and rebel against should they choose.
As this blog has noted, it’s not hard to witness a string of causation between high modernist aims and a lot of the modern and postmodern aimlessness we see all around us. There sure are a lot of poseurs and would-be artists bobbing in the postmodern stew, left to sort out the entire world and their relation to it alone, or upon a stage (as alone and not alone as one can be).
They write these f**king art blurbs before they have any art! What the f**k is this lady doing?:
‘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?’
The above can invite all manner of despair and isolation, and perhaps a deeper cynicism we see in upcoming generations’ rather pervasive desire for fame and recognition.
The above can also exacerbate the spiritual and meaning-making demands individuals place upon the Marketplace, the Church, and in The Media and The Academy (where an authoritarian/totalitarian radical Left seeks to control institutions, institutions where a kind of Western secular humanism and standard-issue political idealism often dominates).
As I see it, I cannot call myself a believer in the questions the Catholic Church claims to to be able to answer, but many modern political and politico-philsophical movements are incomplete at best, and dangerously wrong at worst.
Ah well…there’s my two cents.
There’s good art to be found, of course, but like most well-made things, good art is relatively rare, its ultimate value and quality endlessly disputed, but perhaps, enduring.
–Born and raised in Chicago, Mamet seems pretty old-school and pretty tough. He reminds me a bit of Norman Mailer, verbally pugilistic and combative, though unlike Mailer he’s taken a different turn into ju-jitsu, instead of boxing, as well as into a different set of motivating principles. Alec Baldwin’s Death-Of-A-Salesman-on-steroids speech from Glengarry Glen Ross is a well-known example of Mamet’s work (demonstrating the kind of balls-out truth-telling dialogue from which Baldwin has possibly not recovered). I’m guessing Mamet grew-up back before anti-bullying campaigns and excessive political correctness became the norm.
***As I understand it, Thomas Sowell, after becoming a young Marxist eventually became a young ex-Marxist, embracing a hard-bitten empiricism regarding outcomes and results, not the intentions, of economic and social policies. See him discuss his later vision of human nature and political organization in a Conflict Of Visions.
–Mamet cites the Bible, but mainly the Talmud as a source of wisdom and knowledge to draw upon as a guide for flawed human nature. Jewish folks in the U.S. have traditionally formed a reliably liberal/Democratic voting bloc, so unlike many Christian religious conservatives, they aren’t necessarily voting Republican. There are no doubt many reasons for this, but to be sure, there are also many tales of neoconservatives ‘mugged’ out of the social sciences and policy-making halls of the liberal establishment into doubt and skepticism, some chased away by the New Left. There is also a conservative Christian/Jewish pro-Israel alliance which has traditionally been strong on national defense (some fundamentals of that American/Israeli relationship may be changing).
Religious belief can ground one in a kind of traditional and tragic view of human nature. This, say, as opposed to human nature understood as simply a blank slate or existentialist absurdity, or by some political movements as human clay to be molded with the right knowledge and right people in charge of our social institutions (they always seem to nominate themselves). As Mamet discusses in the video, there are distinctions to be made between Talmudic justice and social justice.
I’m guessing he might agree there are distinctions to be made between abstract equality and equality under the law (the exception of Civil Rights and black folks held under the civil laws is discussed). I’m also guessing he’d argue there are distinctions to be made between life, liberty, and the pursuit of happiness on one hand, and liberation theology and/or individual freedom granted by a rights-based cohort in charge of government on the other.
–Mamet also touches on the fact that the arts aren’t a political endeavor. If writing a play is simply a didactic enterprise and/or a vehicle for deploying a political philosophy (Ayn Rand?), then I think the artist has probably failed in some fundamental way to show the audience/reader a unique truth which only that work of art has to show. Didactic art can come across as clunky at best, pure propaganda at worst.
Personally, I tend to believe that politics, religion, convention and popular thinking all have trouble with the arts.
Anyways, this is just a brief summary. Any thoughts or comments are welcome.
Francis Fukuyama and his influential essay are mentioned, as well as Immanuel Kant, Marx, and Isaiah Berlin.
Ideas matter, obviously, and the piece attempts to re-contextualize many ideological struggles which keep shaping our day-to-day lives (I have it on good intel that the guys down at the docks say ‘quotidian struggles’).
‘Who, then, are ideologists? They are people needy of purpose in life, not in a mundane sense (earning enough to eat or to pay the mortgage, for example) but in the sense of transcendence of the personal, of reassurance that there is something more to existence than existence itself. The desire for transcendence does not occur to many people struggling for a livelihood. Avoiding material failure gives quite sufficient meaning to their lives. By contrast, ideologists have few fears about finding their daily bread. Their difficulty with life is less concrete. Their security gives them the leisure, their education the need, and no doubt their temperament the inclination, to find something above and beyond the flux of daily life.’
***Why so many Britons on this site?(J.S. Mill, Isaiah Berlin by way of Riga, Michael Oakeshott, Roger Scruton, Bryan Magee, Theodore Dalrymple, John Gray etc.?)
I don’t know all the reasons, but there’s definitely an Anglophilia at work, our division by a common language, and perhaps an overall ideological predilection towards an Anglo-sphere alliance. I think there is mutual benefit, security and leverage to be had in working for a more closely united English-speaking ‘liberal’ world order. There are many sacrifices and risks, dangers and blind-spots, too.
Many of these writers/thinkers have had to face a more institutional and entrenched Left. They can know intimately whereof they speak. It’s easy to feel vaguely good about our relationship, but let’s not forget moments like these:
This is a depiction (thanks to impiousdigest.com) of British troops burning the White House.
Thanks to a reader for the link. Deep but very readable. How universal is the desire for individual freedom?:
‘Some people take the view that we in the West are fortunate to enjoy freedom, because it is a universal human aspiration that has been commonly frustrated in most societies. This is one of the more pernicious illusions we entertain about human kind. Most people have never lived in free societies, nor exhibited any desire or capacity for freedom’
‘What most people seem to want, however, is to know exactly where they stand and to be secure in their understanding of their situation.’
Isn’t that last part a universal claim upon human nature?
He is arguing that it’s easy to mistake your experiences and ideas within our Western tradition for that of peoples everywhere.
Maybe you’ve traveled and experienced the tribal taboos and family/kin loyalties of smaller bands and ethnic groups. Maybe you’ve been up close to the transcendental submission of will in faith in Islam, uniting a patchwork of tribes and peoples under its claims with high honor ethic and a strong warrior tradition (the individual doesn’t choose whether to drink or have women work outside of the home). Maybe you’ve seen the caste system in India, or the authoritarian feudal landownership structure in Pakistan, or the ancient, imperial Chinese structure with a Han core, with a quite strong Communist party leadership structure.
What is unique about our traditions?
Towards the end of the essay:
‘The balance in our tradition between the rules we must respect because they are backed by the authority of law, and the free choice in the other elements of our life is one that free agents rightly will not wish to see disturbed.’
Useful?: On one side a generally more religious, more traditional, more patriotic cultural majority and on the other a less religious, less traditional, less patriotic cultural minority. Gradually, then suddenly, the iceberg flips.
‘Home, hearth, town, state and nation,’ becomes more like ‘home, foyer, community, democracy units and global human village’ a good deal more than before.
The data that Eric Kaufmann presents and explains about ideological prejudice, social intolerance, and “affective polarization” (“Political Discrimination as Civil-Rights Struggle,” July 12) are as disturbing as they are depressing. Progressive authoritarianism is a growing problem, particularly among young elites and thus at the commanding heights of business, culture, and education. ‘
This blog’s take: What do you think of the analogy? Useful?
What you most focus on as a threat, often reveals what you most value.
Freedom doesn’t equal liberation. Many people causing the iceberg to flip have done so by promoting illiberal thought and action, violence, ideological utopianism, and of course, through the further control of language (words=violence).
Liberalism proper hasn’t provided a sufficient-enough moral framework to prevent this state of affairs, and the force of the iceberg’s flip has scattered apart the old Liberal Guard, the ‘classicals’, the Old Left (Marxists and free-speech, pro-science Left).
There are deeper currents affecting all of us.
Meanwhile, much of the cultural production (music, T.V., acceptable discourse) continues to drift along where it does…
I know, I know. Smith and Hayek may not be enough, but they offer quite a bit:
‘Smith offers us nothing less than a critique of ‘scientific socialism’, a doctrine that was to emerge almost two centuries later. This theory asserts that a benevolent government may achieve the social good, or, at any rate, socially desirable ends, through planning and directing a society and its citizens by means of legislation, rules, regulations and administrative fiat. ‘