The Beliefs of Cyclones

    Don’t we shudder when we think that in a time of  popular emotion all it takes is a word, just one word imprudently spoken without hatred by an honest man, to provoke so horrible a murder?

    EUGÈNE SUE, THE WANDERING JEW

    The most illuminating book ever written about social media was published in 1895. It is called La Psychologie des foules — or, in the English translation that appeared a year later, The Crowd: A Study of the Popular Mind. The book is a work of social science that reads like the work of a seer.

    “A crowd in the process of formation does not always imply the simultaneous presence of several individuals in one place. Thousands of separated individuals can, at a given moment, under the influence of certain violent emotions…. acquire the characteristic of a psychological crowd. Some chance event uniting them then suffices for their behavior to take on the special form of the acts of crowds.” The author of those sentences was Gustave Le Bon, and he was a kind of political Jules Verne or H.G. Wells. He foresaw many things — for example, that education is no impediment to participation in the crowd mind: “From the time they are part of a crowd, the ignorant and the learned become equally incapable of observation.” As he acidly noted, “a gathering of scholars and artists, by the sole fact that they are gathered together, does not render judgments on general subjects markedly different from those of an assembly of bricklayers or grocers.” And he foresaw, without an inkling of the enabling technology, the entire phenomenon of social media-induced conspiracy theories. QAnon, Pizzagate, criminal murders that are turned into political assassinations, the lie of a stolen presidential election, all the proliferating garbage of our twisted era — the wildfire spread of ideas with no value and no basis in fact — all these dark characteristics of our society are illuminated by what Le Bon intuited and described.

    I turned to Le Bon because I needed him. Some time ago I wrote a piece for the New York Times criticizing the anti-Biden stances taken by the Democratic Socialists of America and other progressives. My son, wiser in the ways of the web than me, assured me that the objects of my criticism would not take it lightly, and that he was preparing to defend me. I shrugged it off. After all, these were my comrades. My son was right, of course. Within minutes of the article’s appearance I was being battered on Twitter. This was not simply a matter of the shelter provided by anonymity or the ease with which one can retweet or “like” a negative tweet and bury its subject in invective. There was more at play here, I thought. The venom was spreading with a baffling and sickening rapidity. It was as if the act of reading a tweet caused an uncontrollable desire to spread it further. The fury of one person set off the fury of another, like a virus passing through the population, and there was no herd immunity. There was only a herd.

    The malice reached frightening proportions, and looking to understand the spread of this rage, its speed and its virulence, I turned back to Le Bon’s book. In the century after his book was published he was reviled and mocked — as he is more recently in So You’ve Been Publicly Shamed, Jon Ronson’s entertaining book on Twitter mobs — but on reading him again I discovered that when we remove our ideological blinkers (no easy task!) he has far more to say about historical and current developments than his outsider status would lead one to believe.  

    Le Bon was born Nogent-le-Rorou, in France, in 1841 and died in the Parisian suburb of Marnes-la-Coquette in 1931. He wrote on a dizzying array of subjects. He studied medicine but never practiced it, so we find among his publications a treatise on illnesses of the genitourinary organs, a volume charmingly titled Apparent Deaths and Premature Burials, and a collection of slides for a conference on anatomy and histology. He was also the author of volumes on smoking, on Annamite — or ancient Indochinese — archaeology, on travels to Nepal, on equestrian-ism and its principles. But politics and society were the heart of his work, and the only part of lasting interest.

    Le Bon was very much a conservative of his time and place, with a profoundly pessimistic vision of the lifespan of civilizations in the spirit of Gobineau and the later Spengler. Which is to say, there is much in Le Bon to dislike. Hatred of socialism and democracy, of women’s rights and universal education, feature prominently in his writings. His stress on the concept of “nationality” and race, and his contempt for non-white races, are not at all hidden. All this explains his banishment to the sidelines of modern social thought. But Le Bon expresses a big idea that we must not ignore. His central and lasting intuition was that once a person becomes a member of a crowd, he ceases to exist as an individual. He is as if “hypnotized” and is “no longer conscious of his acts.” With the fading of the conscious personality as he joins the crowd, the unconscious personality predominates, “orient[ed] through suggestion and the contagion of feelings and ideas in the same direction” as those around him. “Isolated, he was perhaps a cultivated individual; in a crowd he becomes someone driven by instincts, consequently a barbarian.” Any act becomes possible.

    Le Bon’s ominous vision of the crowd was strongly influenced by two events he lived through: the Paris Commune of 1871 and the Boulangist movement of the late 1880s. The Paris Commune, the first working-class government in history, was established at the end of the Franco-Prussian War in 1871, in which Le Bon had served as head of the army’s ambulance corps, receiving the Légion d’Honneur for his services. The onerous conditions imposed on Parisians by the victorious Prussians, and the newly formed Second Republic’s attempt to seize cannons paid for by the workers of Montmartre, led to an uprising that established a democratically elected government in Paris in opposition to the official French government in Versailles. A person with Le Bon’s politics could not but look askance on this rebellion, particularly the acts of destruction carried out by supporters of the Commune in its dying days, with the Tuileries, the Louvre, and the Hotel de Ville set aflame and hostages executed in response to the killing of captured communards. The crowd that he witnessed on the streets of Paris did not look to him like men and women fighting for their rights. What he saw was strictly and solely a destructive force.

    A later experience of the behavior of the crowd, which he incorporated into his theories, was the short-lived Boulangist movement, which followed the Commune by almost two decades. Boulangism was a diffuse movement that marched behind General Georges Boulanger, a popular figure in the army who was elected to the French Chamber of Deputies in 1887. Behind a vague program that appealed to both the right and the left, to Jews and to anti-Semites, the movement grew by leaps and bounds, until in January 1889 a mass political hysteria swept the country and Boulanger was implored to seize power through a coup d’état. The general refused to do so, the movement faded quickly, and Boulanger fled to Belgium, where he committed suicide on the grave of his mistress in 1891. “What a place in history he would have assumed,” Le Bon wrote, “had his character been strong enough to even slightly support his legend.” The dangers of the crowd were not, for Le Bon, only a matter of history or theory, but also of lived reality. He was witnessing the birth of what came to be called mass politics.

    French history was full of examples that he used to support his theories. The bloodiest events of the French Revolution, which of course Le Bon despised, such as the September Massacres of 1792, when prisoners of the Revolution were slaughtered in prisons all over Paris based on ground-less rumors, were the result of a murderous madness that converted ordinary individuals into a blood-lusting crowd. “The crimes of crowds generally have a powerful suggestion as their motive,” he observed, “and the individuals who took part are afterwards persuaded that they obeyed an obligation.”

    Both the vicious and the disinterested acts of legislators, whom he also considered a type of crowd, along with juries; and criminal crowds, which he defined as the mobs that carried out the Saint Bartholomew’s Day Massacre, the killings on the day the Bastille was seized, and the Paris Commune; and voters — all are the result of the crowd mentality. Again citing the French Revolution, he pointed out that among the “most ferocious members of the Convention could be found inoffensive bourgeois who in ordinary circumstances would have been peaceful notaries or virtuous magistrates.” Under the influence of events, however, and gathered as a crowd, “they did not hesitate to approve the most ferocious proposals…. And, contrary to their own interests, renounced their inviolability and decimated themselves.” The surrender of the privileges of the nobility on August 4, 1789 “would certainly never have been accepted by any of its members in isolation.”

    It is especially discouraging to think of legislatures, which are supposed to deliberate rationally and decently, as another variety of the herd. Yet even in our own legislatures, in times much less turbulent than revolutionary France but turbulent enough, we have evidence of the truth of Le Bon’s observation that “all mental constitutions contain possibilities of character that can manifest themselves when the environment changes abruptly.” After September 11, swept along by a mass tide, Congress quickly and almost unanimously passed a Patriot Act that few if any had read. And what was Congress during the Trump years if not a majority gone berserk? And with Trump’s defeat, does it not now retain a considerable number of the berserk? As Le Bon said, “The individual in a crowd is a grain of sand among other grains of sand, which the wind blows where it will.”

    Though there are sometimes leaderless crowds, as the Black Lives Matter protests demonstrated, crowds generally hunger for leaders, and Le Bon speculated on the qualities of a successful one. Boulangism was a perfect example of the crowd and its leader in action, since people voted for, marched for, and offered power to someone who was the object of almost religious devotion. “One cannot fully understand… certain historical events… unless one has taken into account the religious form the convictions of crowds end up taking.” Boulanger — and history certainly provides no shortage of examples of such courageous or opportunistic figures — was proof for Le Bon that for the crowd “one must be a god for them or nothing.” Even though modern crowds have turned their backs on the words “divinity and religion,” Le Bon shrewdly noted that the Boulangist movement showed “with what ease the religious instincts are ready to be reborn.” The devotion of Trump crowds, where people lined up for hours before the rally was to begin decked out in Trump-themed attire while risking exposure to a deadly virus, bears out Le Bon’s observations. As a black preacher named Jesse Lee Patterson said of Trump in Tulsa, “He is God.” In words that prefigure the personality cults of Trump, Bolsonaro, Modi, and other populist authoritarians, as well as the totalitarian idolatries that preceded them, Le Bon remarks that “the power to remedy all injustices, all evils was attributed to him, and thousands of people would have given their lives for him.”

    The success of the countless falsehoods and the impoverished language of authoritarian leaders past and present are explained by Le Bon, who observed, “Pure and simple affirmation, freed of any reasoning or proof, constitutes a sure method to have an idea penetrate the mind of the crowd. The more concise, and free of proof and demonstration, it is, the more authority it has. [This affirmation] nevertheless only acquires real influence on condition that it is constantly repeated and, insofar as possible, in the same terms.” Repetition is indeed one of the primary techniques of demagoguery, notably on social media. The horror of this degradation of speech is expressed with great beauty by Yeats in his poem “The Leaders of Crowds”:

    They must to keep their certainty accuse
    All that are different of a base intent;
    Pull down established honour; hawk for news Whatever their loose fantasy invent
    And murmur it with bated breath, as though The abounding gutter had been Helicon
    Or calumny a song…

    The crowd, in its fanatical belief in its leader and his bromides, has a crude epistemology. “Having no doubts about what it believes to be truth or error and possessing a clear idea of its strength,” Le Bon writes, “the crowd is as authoritarian as it is intolerant.” And he adds, in cautionary words that apply also to digital life, “An individual can accept contradiction and discussion; a crowd, never.” The futility of arguing with members of any crowd is obvious, for in the psychology of crowds what is clear is “the impotence of reason upon them. The ideas capable of influencing crowds are not rational ideas but feelings expressed in the form of ideas.” Or, more poetically, “One no more argues the beliefs of crowds than of cyclones.” What confers its ferocity upon the cyclone is the triumph of emotion over thought. Ideas do not at bottom matter to crowds. “People who seem to be fighting for ideas are really fighting for feelings from which the ideas are derived,” he wrote in a later book on the nature of opinions and beliefs.

    And there is another characteristic feature of the crowd for Le Bon: it guarantees social fragmentation, the descent into schism and sectarianism — into what we call polarization. “The tables of the law are no longer the same for all the tribes of Israel.” People come to prefer “ready-made opinions,” which are shorthand for entire identities. “One moment of conversation with an individual suffices for one to know what he reads, his usual occupations, and the environment in which he lives.” Political and social debates consist in the playing-out of these identity packages. “The mere fact of being a monarchist inevitably led…. to certain definite ideas, and the fact of being a republican conferred ideas that were precisely the opposite. A monarchist knew for certain that man did not descend from monkeys, and a republican knew just as certainly that he did.” This made discussion worthless, for “to debate rationally a mystical or affective belief serves only to exalt it.”

    Dissolve now to the Ellipse in Washington, D.C. on January 6, 2021. The events of that day, with its echoes of the March on Rome, the Beer Hall Putsch, and, most appositely, the anti-parliamentary far-right riot of February 6, 1934 in front of the National Assembly in Paris, took Trump supporters’ vision of their leader as a deific figure to its highest (or lowest) level and, almost point by point, bore out nearly all of Le Bon’s theses on the nature of the crowd, which, on that date, was truly “as authoritarian as it [was] intolerant.” Impervious to reason, they celebrated absurd and provably false claims of electoral victory as unimpeachable truth because they issued from the mouth of their god, whose departure meant the ruin of the republic. And because they were called upon to do so by their deity, they marched on the Capitol to destroy the republic in order to save it. Every act carried out by the putschists at the Capitol stands as evidence of the mass mind at work, of its infectious nature, of its religious devotion, of its submissiveness to its leader.

    Le Bon’s theories were the fruit of observation, eschewing statistical analysis or any attempt to ground his observations in scientific theories. His ideas would be elaborated upon by others, who filled in the lacunae in Le Bon’s work, and thereby established the subject of group psychology and the “group mind.” Intended as sociological and psychological description, Le Bon’s ideas were used also prescriptively: Mussolini read him closely, as did Goebbels and perhaps even Hitler. Certainly Le Bon’s most famous student on the subject of group psychology was Sigmund Freud. But there were many students — for example, Freud’s nephew Edward Bernays, the father of Ameri-can public relations, who made full use of Le Bon’s analysis of the crowd in order to bend it to advertisers’ needs. His book Propaganda, which appeared in 1928, is not only an application of Le Bon’s ideas to modern capitalism but also an essential text for understanding modern America.

    The crowd, of course, was not a modern invention, and Le Bon was not the first to regard it as a psychological phenomenon. In 1852, the English lawyer Charles Mackay published a popular two-volume work called Memoirs of Extraordinary Popular Delusions and the Madness of Crowds. The work is an entertaining trip through mass fads and manias, from the Tulip Craze to the South Sea Bubble to mesmerism and all the way back to the Crusades. So widespread is mass delusion that Mackay asserted that his two volumes could barely touch on the subject, that even “fifty would scarcely suffice to detail their history.” “Religious matters,” he added, “have been purposely excluded as incompatible with the limits prescribed to the present work; a mere list of them alone would be sufficient to occupy a volume.” McKay explained his controlling assumption in his preface: “Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, and one by one.” He noted that money was often at the heart of the delusions he chronicled, but he was not much interested in the complicated questions of causality: he was writing a book aimed at a wide audience, a “miscellany” more than a history, and certainly not a theoretical treatise.

     This was certainly not the case with Gabriel Tarde, an early and once-influential sociologist and social psychologist whose work has in recent decades enjoyed a bit of a comeback in France. In 1890 he published The Laws of Imitation, his most renowned work, in which he argued that the engine of social psychology is imitation. Tarde defined it as an “imprint of inter-spiritual photography, willed or not, passive or active. If we observe that wherever there is any form of social relationship between two living beings there is, in this sense, imitation.” For Tarde, imitation or counter-imitation, “doing exactly like or exactly the contrary of a model,” were at the heart of man’s actions in society. In the preface to the second edition of his book, published in 1895, the same year as Le Bon’s classic, he addressed the matter of working-class militancy in these terms: “There is no demonstration that goes about recruiting demonstrators that fails to provoke the formation of a group of counter-demonstrators.”

    Since he gave counter-imitation a role coequal with imitation, Tarde saw something positive in the herd mentality. “Every strong assertion, at the same time that it drags along middling and sheep-like sprits, somewhere gives rise to a diametrically opposed negation of a nearly equal force in a mind born rebellious, which does not mean born inventive.” There was no such thing as an original position: everything social was action and reaction, as in chemistry, with positive and negative consequences. Tarde regularly used the term “contagion,” now in vogue among many social scientists, to describe the work of imitation and its force, which he applied to art, to hunger and thirst, even to the spread of alcoholism. Le Bon would learn from and modify Tarde’s vision. Though Le Bon’s ideas stressed the psychological aspects of the crowd mentality, the source of the psychological functions that moved the crowd were left largely unelucidated. “Contagion is a phenomenon easy to take note of, but as yet unexplained and which must be connected to phenomena of a hypnotic order,” he wrote. Unconscious drives motivate the crowd, he insisted, but what kind of drives?

    The story of this idea leads now to Vienna, Berggasse 19, where Freud, enormously impressed with Le Bon’s work, set to deepen his analysis, and in 1921 published Group Psychology and the Analysis of the Ego. Freud accepted Le Bon’s premise “that an individual in a group is subjected through its influence to what is often a profound alteration in his mental activity.” He agreed that man’s intellectual ability is reduced when in a crowd and his emotions are intensified “in the direction of an approximation to the other individuals in the group.” Freud’s brief treatise sought to provide a psychological explanation for this mental change, moving the discussion beyond the barebones explanation of the “unconscious mind.”

    Freud insisted, not surprisingly, that the concept of the libido provides the key to understanding group psychology. “Love relationships (or, to use a more neutral expression, emotional ties) also constitute the essence of the group mind.” If the group is held together by some force, “to what power could this feat be better ascribed than to Eros, who holds together everything in the world?” If an individual surrenders his self and becomes the plaything of suggestion provided by the crowd, “it gives one the impression that he does it because he feels the need of being in harmony with them rather than in opposition to them — so that perhaps after all he does it ‘ihnen zuliebe’.” This idea that it is love that holds the crowd together makes the crowd seem like a community. But the consequences of this shared warmth are not heartening. Given the basic qualities of the crowd, “the weakness of intellectual ability, the lack of emotional restraint, the incapacity for moderation and delay, the inclination to exceed every limit in the expression of emotion and to work it off completely in the form of action,” Freud endorses Le Bon’s notion that its mental activity regresses to “an earlier stage such as we are not surprised to find among savages or children.”

    Freud’s acceptance and elaboration of Le Bon’s description of the nature of the crowd provided him also with an opportunity to apply his wildly speculative theories on leader-ship. In Group Psychology and The Analysis of The Ego he reverts to his theories in Totem and Taboo, which he admits are only a hypothesis. To get to the crux of the matter of leadership of a crowd, indeed of leadership tout court, he proposes that the primitive form of human society was the horde, and that this has “left indestructible traces upon the history of human descent.” Not only is the group the “revival” of this primal horde, but in the same way that each individual bears within him primitive man, “so the primal horde may arise once more out of any random crowd.” This sense of atavism must have been confirmed for him by the mass politics of his day.

    Leaders, too, are a product of this primitive state, according to Freud, for the primal “father” was totally free, “and his will needed no reinforcement from others.” Narcissism was the constitutive element of his being, as “he loved no one but himself, or other people only insofar as they served his needs.” This is an analytical step forward from Le Bon’s simplistic psychological analysis of leaders, which claimed that they were “recruited among those neurotics, those hotheads, the half-mad who live on the edge of madness.” The historical confirmation of Freud’s formula hardly needs stressing. “The leader of the group is still the dreaded primal father,” Freud continued. “The group still wishes to be governed by unrestricted force; it has an extreme passion for authority; in Le Bon’s phrase, it has a thirst for obedience. The primal father is the group ideal, which governs the ego in the place of the ego ideal.” The crowd, in other words, performs upon each of its members a kind of inner usurpation, in which the self and its struggle for autonomy is replaced by a collective that demands conformity.

    In 1951, on the other side of the greatest catastrophe of group psychology in history, Theodor Adorno wrote an essay called “Freudian Theory and Fascist Propaganda.” In it, he examined Freud’s work on mass psychology in light of his own studies of the authoritarian personality and the rise of fascism. It was intended as an analysis of American fascists, figures such as Father Coughlin and Gerald L.K. Smith, setting them along-side the experience of fascism in Germany. Adorno’s update of Freud’s update of Le Bon further complicates the story. Adorno is not entirely won over by Le Bon, praising Freud for his “dynamic interpretation” of Le Bon’s descriptive text and for his critique of the “magic words” used by Le Bon, which he dismissed for being treated “as though they were keys for some startling phenomena.” Freud is also credited with being free of “the traditional contempt for the masses which is the thema probandum of most of the older psychologists.” Adorno, after all, admired — even as he also feared — the revolutionary masses as much as he reviled the reactionary masses. His idiosyncratic form of leftist thought led him to work with Max Horkheimer on a proposed New Communist Manifesto, but he was later also the victim of vicious attacks by left-wing students, who would write on his classroom blackboard: “If Adorno is left in peace, capitalism will never cease.” Adorno knew the misdeeds of the crowd in both its right- and left-wing forms.

    Adorno refused to accept that “archaic, pre-individual instincts survive” in “the children of a liberal, competitive, and individualistic society, and conditioned to maintain themselves as independent society.” How then, he wonders, can these same enlightened moderns revert in a crowd to “patterns of behavior which flagrantly contradict their own rational level and the present stage of enlightened technological civilization?” He praises Freud for looking further than simple atavism and explaining the surrender of the individual to the mass as being of a libidinal nature, a surrender to the pleasure principle. Adorno regards Freud’s refinement of Le Bon as an important advance, because by crediting the libidinal nature of surrender to the crowd “the traits generally ascribed to masses lose the deceptively primordial and irreducible character reflected by the arbitrary construct of specific mass or herd instincts.” In doing so, Freud “does justice to the simple fact that those who become submerged in masses are not primitive men [which was Le Bon’s claim] but display primitive attitudes contradictory to their normal rational behavior.”

    Though there is a certain injustice to Le Bon in this, who went no further than the concepts available to him in his time, this notion of the crowd as a contradiction provides an important link in the causal chain of crowd formation and action. What Adorno adds to Freud applies to most political crowds in thrall to a leader: he relates Freud’s vision of a leader’s hold, derived from the idealization of the leader, to a “narcissistic libido overflow.” Explicating Freud, Adorno sees the leader as a paternal figure, but takes this further, seeing him as “a means of satisfying our narcissism.”

    Adorno’s application of Freud’s psychological construction of the leader, though based on Hitler, fits another, later, and significantly less diabolical American leader to a startling degree, and is Adorno’s great addition to the study of the crowd: “The leader has to himself appear to be absolutely narcissistic.” The leader has no need for learned study in order to become adept at crowd manipulation. (Adorno dismisses the standard claim that Hitler studied Le Bon, granting him at best cursory readings of popularizations of the work, while Goebbels, a failed intellectual, was not likely to have mastered modern depth psychology.) Instead, the authoritarian leader has a gift: he “can guess the wants and needs of those susceptible to his propaganda because he resembles them psycho-logically, and is distinguished from them by a capacity to express without inhibitions what is latent in them… The leaders are general oral character types, with a compulsion to speak incessantly and to fool others…Language itself, devoid of its rational significance, functions in a magical way and furthers those archaic regressions which reduce individuals to members of crowds.” Words do not signify, they signal; and the crowd awaits the signal.

    The vision of the philosopher Gunther Anders, Adorno’s contemporary and fellow exile from Hitler’s Germany, was far more pessimistic than that of Adorno and was formed in opposition to Le Bon. For Anders, modern life rendered Le Bon’s ideas “obsolete.” As he pointedly observed in 1956 in his (still untranslated) masterpiece The Obsolescence of Man, “leading the masses in the style of Hitler is no longer necessary.” Anders asserted that it was now the case that it is not just in the crowd that the individual loses his identity: “The erasure of the personality and the degradation of intelligence are completed before man even leaves his house.…All submit separately to the process of ‘conditioning,’ which functions every bit as well in the cages in which individuals are now confined, despite their solitude, despite their millions of solitudes.” For Anders, physical and social circumstances are no longer a necessary condition for massification. “If one wants to depersonalize man (and even see to it that he be proud to not have a personality) there is no longer any need to drown him in the river of the masses or to seal him in the cement of the mass.” Demagogues and crowds are replaced by a cultural conditioning, facilitated by technology, that passes for being “fun, since it hides from its victim the sacrifice it demands from him; since it leaves the illusion of a private life, or at least a private space, it acts with total discretion.” An insidious ideology that demobilizes the intelligence, spread by television and radio, are the modern methods for the negation of the individual’s person-ality. “The erasure, the degradation of man as man are all the more successful in that they appear to continue to guarantee personal freedom and the rights of the individual.”

    Very much a thinker of the 1950s in this regard, Anders seems to dismiss even the possibility of the resurgence of the crowd guided by the psychological states first laid out by Le Bon. It has now been replaced by an atomized, decerebrated mass. But still to come was a further complication, a further twist, in our own time: this atomized mass now coexists in a new variety of the crowd mind. The monads traverse a digital ether to form a herd. They link, and link up, and link in. Physical apartness has been resolved in a new version  of nearness, with no loss of inflammation. In this crowd they are apart and they are together, thinking and amplifying  the same thoughts.

    There is a tension in Max Weber’s writings on leaders and crowds. His description of the crowd in Economy and Society, published posthumously in 1922, does not stray far from Le Bon, whom he cites only once. He accepts that “it is well-known that the actions of the individual are strongly influenced by the mere fact that he is a member of a crowd confined within a limited space.” Following Le Bon, he also proposes that physical proximity is not required for the formation of the crowd — anticipating Anders’ argument, he importantly notes that a crowd can exist in a dispersed state, “influenced simultaneously or successively by a source of influence operating similarly on all individuals, as by means of the press.” And eventually by means of more than the press: when Weber made his far-seeing observation, Silicon Valley was just an agricultural paradise known as the Valley of Heart’s Delight.

    But Weber does not follow Le Bon to the end. Though accepting that “some types of reaction are only made possible by the mere fact that the individual acts as part of the crowd,” he adds that “others become more difficult under these conditions.” Certain emotions, such as “gaiety, anger, enthusiasm, despair, and passions of all sorts” would not arise “if the individual were alone.” Yet Weber has a sturdier sense of the individual’s ability to withstand the seductions of the mass. “But for [these emotions] to happen there need not, at least in many cases, be any meaningful relationship between the behavior of the individual and the fact that he is a member of a crowd.” It is possible not to be swept away  by the crowd, though Weber does not elaborate on the means of resistance.

    Weber’s later and famous description of the “charismatic” leader has only a distant relationship to Le Bon’s deific leader. His charismatic leader has instead a “vocation” for politics. For Weber, the leader “is held to have an ‘inner calling’ to lead, and people accept his rule not because of customs or laws but because they believe in him.” The peoples’ devotion is directed at the leader, “disciples and followers and party members are devoted to him as a person, his personal qualities.” Weber describes charismatic political rule as resembling that of “a nonhereditary warlord, a ruler elected by the people, or nowadays a great demagogue or leader of political parties.” That is a diverse range of political types and political systems; but in Weber’s hands, charisma is less toxic and less archaic, and is compatible with democracy. Yet Weber was perhaps too optimistic about the constructive uses of charisma — perhaps too certain that this leader will live for his cause, and that he does so “if he is more than a vain and narrow-minded upstart.” As history has since shown, a charismatic leader guided by vanity, narrow-mindedness, and narcissism can be just as powerful and dominant as one motivated by altruism. In fact, they are more the rule than the exception.

    Weber does, however, issue a stern warning. He accepts that vanity is an “occupational hazard” of politics, that a “lust for power” is necessary for any politician — a “normal attribute.” “The sin of his calling,” he continues, “begins when the politician’s lust for power is no longer grounded in objective reality and instead simply intoxicates the politician personally.” But how to secure a society’s commitment to “objective reality”? We are wrestling with this perplexity now. Le Bon’s jaundiced vision at least accounts for the prevalence of this ill, since for Le Bon the objective reality of which Weber speaks counts for little in the world created by the interaction between the leader and his crowd.

    On July 15, 1927, when the newspapers in Vienna announced a verdict of not guilty in the trial of a group of men accused of killing a number of workers, crowds gathered spontaneously around the city and then converged on the Palace of Justice and set it aflame. The police fired on the crowd and ninety people were killed. Elias Canetti, the polyglot Bulgarian Jewish writer then living in Vienna, was in that crowd, and its actions that day would have lasting effects on his intellectual life. He wrote decades later that it “may have been the most crucial day of my life after my father’s death.” This event would be the motivating force behind a thirty-year process that would result in his renowned study of the crowd and the crowd mind, Crowds and Power, which appeared in 1960.

    His description in his memoirs of his experience on that day could have come straight from the pages of Le Bon. “I became a part of the crowd, I fully dissolved in it, I did not feel the slightest resistance to what the crowd was doing.” Reading about an event like the storming of the Bastille was henceforth superfluous for him: he had lived it almost a century and a half later and half a continent away. Crowds and Power is five hundred dense pages on crowds around the world and throughout history, with excursions to Australia, to American Indian lands, to the settlements of Maori tribesmen. As the fine Hungarian critic László F. Földenyí wrote in an essay about the book, for Canetti “a crowd does not simply mean that many people have gathered together; rather that life within the crowd is inseparable from existence itself. The crowd is the condition humaine.”

    No larger claim for the crowd was ever made. Though Canetti bases his work on studies by sociologists and anthropologists, he ignores Le Bon, Weber, and Freud. The core of his book is made up of his own conclusions and statements drawn from eccentric readings of his sources. These are often brilliant, and often too brilliant: they disintegrate quickly under scrutiny. And there is a certain slipperiness in Canetti’s methodology. The book begins with a section titled “The Fear of Being Touched,” which includes the statement that “it is only in a crowd that man can free himself of this fear of being touched.” This observation, presented with no source, can in fact be found in Freud’s Group Psychology and the Analysis of the Ego in almost the same terms, with Freud even quoting the source of his observation: “According to Schopenhauer’s famous simile of the freezing porcupines, no one can tolerate a too intimate approach to his neighbor. …. But the whole of this intolerance vanishes, temporarily or permanently, as the result of the formation of a group, and in a group.”

    To be sure, Canetti’s description of the four key attributes of the crowd are straightforward: “The crowd always wants to grow… Within the crowd there is equality. The crowd loves density…The crowd needs direction.” But these attributes, described just pages into the book, all of them rather obvious, give way to a typology of crowds that is absurdly broad and farfetched. There are “invisible crowds,” “baiting crowds” “flight crowds,” “prohibition crowds,” “reversal crowds,” “feast crowds.” Crowds of the living and crowds of the dead; crowds of men and crowds of women; crowds at theaters and crowds at sporting events and crowds of warriors. And when Canetti is through with his taxonomy of crowds, he presents a taxonomy of packs. His classificatory promiscuity is in stark contrast to Le Bon, who insisted that “the fact that many individuals accidentally find themselves side by side does not confer up in them the characteristics of an organized crowd.”

    And finally, in his intellectually self-congratulatory way, he goes off the rails. In his section on crowd symbols, for example, Canetti introduces “collective units which do not consist of men, but which are still felt to be crowds.” Corn, forests, rain, wind, sand, fire and the sea are included under this heading. Who has ever considered corn to be a crowd? Who has ever gone to the beach to romp in the crowd, or to have crowd kicked in their face? About the sea: “Put your hand into water, lift it out and watch the drops slipping singly and impotently down it. The pity you feel for them is as though they were human beings, hopelessly separated.” Has anyone ever felt pity for drops of sea water? “Men readily see their own equality before death in the image of corn.” How readily, exactly? 

    Such pseudo-brilliant nonsense is relatively harmless, but not all of Canetti’s leaps of fancy are so innocent. For Canetti, inflation served as a model for the fate of the Jews under Nazism, their treatment an echo of the experience of inflation in the Weimar Republic. “First they were attacked as wicked and dangerous, as enemies; then they were more and more depreciated; then, there not being enough in Germany itself, those in the conquered territories were gathered in; and finally they were treated literally as vermin, to be destroyed with impunity by the million.” Germans would perhaps not have been brought to participate in this genocide “had they not been through an inflation during which the Mark fell to a billionth of its former value.” Returning to the matter of crowds, Canetti concludes that “it was this inflation, as a crowd experience, which they shifted on to the Jews.” Numbers, numbers, numbers: has the faith in quantification ever been more perverse? Canetti can be as inhumane as the crowd ever was.

    Which brings us to our own golden age of quantification and its contribution to the theory of the crowd. In its neglect of its predecessor, Crowds and Power was a retort to The Psychology of Crowds. We may consider it representative of the high end of the anti-Le Bon tradition of thinking about mobs. But James Surowiecki’s The Wisdom of Crowds, a bestseller fifteen years ago, its very title a shot across Le Bon’s bow, is quite something else. We know this to be the case because, unlike Canetti, he establishes his vision as being in opposition to Le Bon’s in his introduction. For Surowiecki, “Le Bon had things exactly backward. If you put together a big enough and diverse enough group of people and ask them to ‘make decisions affecting matters of general interest,’ that group’s decisions will, over time, be intellectually [superior] to the isolated individual, no matter how smart or well-informed he is.”

    The phenomenon to which Surowiecki refers is sometimes called “many-mindedness,” or the view that the more minds that are applied to a problem, the more likely (and justifiable) its solution will be. Never mind that a consensus of many minds can still be disastrously wrong. The Wisdom of Crowds provides a large number of case studies that, in its author’s opinion, prove that crowds differ from Le Bon’s negative portrayal of them. The crowd is instead a mild, useful, even beatific presence in our lives. Its primary expression is data. We are presented with edifying tales of stock market investors, football coaches, NASA decision makers, scientific researchers, nineteenth-century builders of plank roads, and so on — everything but the spontaneous psychological crowd, the momentous mobs of history, that worried Le Bon and the others. Surowiecki is not worried. This is a book that could only have been written before Trumpism and the mainstreaming of the alt-right, though the long history of crowds and their consequences provides ample enough not to have required the contemporary experience of an event like Charlottesville. How can anyone even remotely familiar with that history speak of the crowd’s “wisdom”?

    Like Canetti, Surowiecki treats almost any assembly of human beings as a crowd, and deploys his expanded definition as a weapon against Le Bon. Worse, he attributes decision-making to the crowd. If by decision-making we mean some kind of rational deliberation and reasoned exchange of views, this is the very antithesis of what a crowd does. Marketers know this, of course, which is why they welcome such books: the manipulability of masses of people is their business. They quiver to learn of the “tipping point” at which people will start buying chinos or cellphones. What Bernays called “propaganda,” we call advertising. But all this benign behavior — all this shopping — has nothing to do with social and political action, where the stakes are higher and evil may play a part. The crowd at the guillotine is not like the crowd at the Apple store.

    In one case there is an overlap between Surowiecki and Le Bon: the case of juries. Surowiecki mocks his predecessor’s claim that juries deliver verdicts “of which each individual juror would disapprove.” Yet in the chapter in which he discusses juries, he admits that decades of experimental studies have demonstrated that their deliberations are not, as one would imagine, “a recipe for rationality and moderation.” Are juries crowds? Anyone who has seen Twelve Angry Men knows that the answer is yes and no. Where there is persuasion, there is demagoguery. But the likelihood of genuine persuasion is greater in a room of twelve than in a town square of thousands. Surowiecki ignores the hard cases, the dangerous cases. He prefers to find wisdom in groups of ants, starlings, and monkeys, as if cooperation is the most significant attribute of a crowd. But cooperation is value-neutral; what matters is its purpose. And what is the decision-making capacity of an ant? (As Charlie Kaufman points out in his novel Antkind, even if ants are wise as a group, they are pretty stupid as individuals). The Wisdom of Crowds is written for and about a comfortable materialistic society in which the most salient choices are consumer choices. By concentrating on decisions made at this safe level, Surowiecki does not refute Le Bon, he merely avoids the issues that Le Bon raises, and all the mass unwisdom that made Le Bon and the others desperately concerned to understand the crowd.

    Gustave Le Bon thought that civilization was on the verge of collapse, a “worm-eaten edifice supported by nothing that will not collapse at the first storm.” He warned that “what formed a people, a unit, a bloc, ends up becoming an agglomeration of individuals lacking cohesion and which, for a time, artificially maintains traditions and institutions.” The “race,” as he called it, though in context this meant the French nation, “is no longer anything but dust made up of isolated individuals and becomes again what it was at its beginning: a crowd.” His suggestion that there is a relation between the isolation of the individual and the ecstasy of the crowd was profound. I would like to believe that his pessimism was wrong, but the social and political civilization that remains standing resembles the nightmare world that he described in too many ways for us to be smug about its perdurability, or to assume that the fate he described has been avoided once and for all.

    Josquin’s Secrets

    “A certain famous man said that Josquin produced more motets after his death than during his life.” So joked the German music publisher Georg Forster in 1540, nineteen years after the death of Josquin des Prez, the most celebrated composer the world had known. He had lived and died admired and respected, then as now. But loved? With reservations then, and with greater but different reservations now. The course of his extraordinary career and reputation, in this the five-hundredth anniversary year of his death, needs some unpacking.

    Josquin died on August 27, 1521. Since then he has been called the first musical superstar, and his influence likened to that of Beethoven; and, like Beethoven, he became the standard by which every subsequent composer in his tradition was judged, directly influencing most of them. So why is he not the household name that Palestrina and Tallis are? (There are such households.) Having just presided over a nine-disc set of Josquin’s eighteen mass settings with the Tallis Scholars, and having studied and recorded his music all my working life, I will attempt to provide an answer to this riddle. His music is sufficiently difficult to sing that modern choirs do well to think twice about trying it. Josquin was a composer who never settled down to an easily identifiable style. Like Tallis, but unlike Palestrina, he was interested in experimenting with everything that came his way, inventing new sonorities and methods as he went. This has deprived him of the kind of easy brand-like recognition which helps modern audiences feel at ease with composers from the more (and even less) distant past. Concertgoers have heard his name, but they do not know anything by him, which puts him in the rather unglamorous company of composers such as Telemann, Corelli, Dunstable, and Hindemith.

    At his death, certainly, there was no doubt about his status. Some of the most prominent thinkers of the time praised him. Luther, an experienced singer, wrote “Josquin is master of the notes, which must express what he desires; on the other hand, other composers must do what the notes dictate.” And his reputation endured: in 1567 the Florentine diplomat, philologist, mathematician, and humanist Cosimo Bartoli declared “Josquin may be said to have been, in music, a prodigy of nature, as our Michelangelo has been in architecture, painting, and sculpture; for, as there has not thus far been anybody who in his compositions approaches Josquin, so Michelangelo, among all those who have been active in the arts, is still alone and without peer.” His name, if not his music, continued to be cited in the intervening centuries, put on a pedestal to bring a proper sense of tradition to contemporary musicians. By far the most remarkable instance of this was his inclusion on a list drawn up in 1863 of composers to be petrified on the frieze of the Albert Memorial in London. This is the more remark-able in that the English musical establishment in those years seemed to have little interest in foreign composers from the distant past, preferring to wrap themselves in their own Byrd and Tallis. And yet there he is, sandwiched by a committee of mid-nineteenth century English gentlemen, between Grétry and Rossini, with Palestrina, Monteverdi, and Tallis nearby.

    Such widespread admiration brought its own troubles. For at least fifty years after Josquin’s death, minor composers and hopeful anthologists liked to claim that he had had a hand in their work, hence Forster’s words quoted above. The New Grove Dictionary of Music and Musicians  lists 315 works by Josquin, of which 136 are classified as being of doubtful authenticity; and this unstable list of compositions is rivalled by the number of composers who claim to have been taught by him, a number which was fueled by one of the most widely read poets of the day, Pierre de Ronsard. In a preface to the Livre de Meslanges, a collection of chansons published in 1560, he published a list of all the composers who had been Josquin’s pupil, mentioning Richafort, de Sermisy and Mouton, among many others.

    It seems more likely that the majority of these were influenced by him rather than actually taught by him, but in the case of Jean Richafort there certainly was a close connection. When Josquin died, a number of these men rallied round to write a succession of funeral motets in his honor, the Renaissance equivalent of a Festschrift. The most substantial of these was a six-voice Requiem in memoriam Josquin des Prez by Richafort, based on two chansons by Josquin himself; and it remains to this day one of those Renaissance blockbusters waiting to be recognized for the masterpiece that it is. On a lesser scale were the several settings of Musae Jovis, the most famous by Nicolas Gombert, whose text includes the words:

    Musae Jovis ter maximi
    Proles canora, plangite,
    Comas cypressus comprimat
    Iosquinus ille ille occidit.

    Ye Muses, melodious offspring
    of thrice-greatest Jupiter, make lamentation.
    The cypress draws in its leaves.
    The famous Josquin is dead.

    So far all the evidence for Josquin’s fame has come from men who lived and worked in Flanders, the world into which he was born. But the claim that he was the first musical superstar is based on his travels. In fact he was by no means the first composer to tread the route of fame from the north to the Italian Renaissance courts — Dufay at least had done this before him — but somehow Josquin has managed to steal all the limelight, not just from his contemporaries but also from his predecessors. Somehow he was irresistibly attractive to those several Italian princes who vied with each other in maintaining the most splendid courts. Although Dufay had written the motet Nuper rosarum flores that celebrated Brunelleschi’s completion of the dome to the Cathedral in Florence, which one might have thought would have put him on those pedestals alongside Josquin, he was soon replaced by the younger  man, both in reputation and in cities where Josquin followed him, for example with the Este family in Ferrara and in the Sistine Chapel.

    So far as he can be reliably followed, Josquin was born around the year 1455 in the province of Hainaut somewhere near (but not in) the small city of Condé-sur-l’Escaut, to which he moved at a young age. Since Condé is now on the French-Belgian border, it is not certain whether he accounted himself Flemish or French. This distinction seems to have mattered not only to tidy-minded historians, but also to Josquin himself, four days before he died, when making his final will. He seems suddenly to have realized that since he was born in a different jurisdiction from the one where all his property was located, this could be confiscated after his death if he did not register as an aubain, a list of illegitimate and foreign residents. By doing this he could legally bequeath his property to his family.

    His first professional move was to the city of Cambrai, now in France, where he may have sung as a choirboy in the cathedral; and it was as a singer that he appears in the records of René of Anjou as a young adult. When Duke René died in 1480, Josquin probably joined the service of King Louis XI in Paris. Louis in turn died in 1483, at which point Josquin’s ability to pursue the main chance makes itself clear. By June 1484 he is documented as being in the employment of Cardinal Ascanio Sforza, resident in Milan and a close relative of the reigning duke, Gian Galeazzo Sforza, who had provided the city with “the best-endowed musical establishment in fifteenth-cen-tury Europe.” In addition to the music that he wrote for the Duke of Milan in the years following 1484 — which probably includes the two great motet cycles and the Missa Di dadi — Josquin’s employment in the household of a Cardinal led him to Rome.

    From June 1489, and for at least the next five years, he was a singer in the papal choir in the Sistine Chapel. This is known with certainty not only because the account books of those years record every monthly payment made to him, but because of an unusual discovery made in the choir loft, where the singers stood to sing: in 1998, workers restoring the chapel revealed a “JOSQUINJ” carved into the woodwork. It seems very likely that the graffito is by Josquin himself, ironically making it his only surviving autograph. A more specula-tive conclusion is that it was made on the side of the gallery where the altos stood, suggesting that Josquin himself sang alto. Given the extreme difficulty of some of the parts that he wrote for that voice, this could shed interesting light on what he thought of his own abilities as a singer.

    It was in the following decade, between 1494 and 1503, that Josquin’s fame really took off. He probably returned to France in these years, but by then he was in touch with Ottaviano Petrucci in Venice, one of the earliest commercial music printers. As a result of being included in Petrucci’s first publications Josquin was given, as one scholar writes, “a kind of publicity unknown to any earlier composer.” But perhaps Josquin’s most celebrated appointment was to the court of Ercole d’Este, Duke of Ferrara, in 1503. Arriving there not long after Lucrezia Borgia, his brief stay — he left again in 1504 to avoid an outbreak of plague, which killed his successor Jacob Obrecht — resulted in a succession of masterpieces which, if any of his music can be described as being popular today, are popular: the Missa Hercules Dux Ferrariae and the Miserere.

    The choice of Josquin to lead the chapel choir in Ferrara provoked some of the most quoted evidence we have of Josquin’s standing at that time. Girolamo da Sestola, a singer and courtier, wrote to Duke Ercole (in a letter which shows the kind of one-upmanship that prevailed between the richest Italian courts): “My lord, I believe that there is neither lord nor king who will have a better chapel than yours if your lordship sends for Joschino. Don Alfonso [Ercole’s son and heir] wishes to write this to your lordship and so does the entire chapel, and by having Joschino in our chapel I want to place a crown upon this chapel of ours.” Yet this glowing recommendation was somewhat offset by a second letter to Duke Ercole from another singer and courtier, Gian d’Artiganova, who provides unique evidence of what sort of person Josquin might have been. In a comparison of Gian Josquin to the composer Heinrich Isaac, who was also from the Low Countries and also very highly regarded at the time (and in my opinion fully the equal of Josquin, though in a quite different compositional style), Gian observed: ‘To me [Isaac] seems well suited to serve your lordship, more so than Josquin, because he is of a better disposition among his companions, and he will compose new works more often. It is true that Josquin composes better, but he composes when he wants to, and not when one wants him to, and he is asking 200 ducats in salary while Isaac will come for 120.”

    From this many commentators have concluded that Josquin was arrogant, unpopular, and his own man at a time when composers were considered to be no more than servants. The very modern emphasis on working when he felt like it, and charging properly for it, is thrown into an interesting perspective by a fact about Josquin’s life which has only recently been fully understood: he was independently wealthy. In 1483 he went to Condé to establish his claim to an inheritance left him by an aunt and uncle. Up to that time he had been in the same situation as every other musician — at the beck and call of rich patrons. From then on he could decide what he did and where he went, which may well explain why he left for Italy so soon after receiving the money. This inheritance has led to a further negative judgment about him: that he was worldly to the point of being greedy.

    Josquin’s ability to pay his own way is another indication of how his life as a professional musician differed from those who had gone before, or who worked alongside him; and it plays well into the modern concept of superstars, who are by definition the antithesis of servants, people who follow their own muse, beholden to nothing but their own genius. This set of circumstances was so unusual for an artist in the early sixteenth century that it is a little hard to believe. But the details of his last seventeen years confirm it. By 1504, and with plague threatening in Ferrara, he decided to go home. He was now about fifty years old: old enough to retire, but young enough to continue traveling if he wished to. He may well have done both, becoming provost of Notre Dame de Condé in 1504 — his almost hometown — where he essentially remained until he died in 1521. He spent these years composing a stream of masterpieces, experimenting with form and content as he liked. When he died he was given the unique privilege of being buried in front of the high altar of the church he had served, leaving a will which stated that his double motet Pater noster/Ave Maria should be sung outside his house on every church procession in perpetuity. He would provide the funding for this from his estate, a field having been bought and rented out expressly for this purpose.

    It is only after his death that the written evidence for Josquin’s standing becomes abundant. We have seen what observers said about him during his life. But the message from those who would pass their music off as his, years later, is unequivocal. Equally certain, though better motivated, were those composers who took his music and parodied it in their own writing. This may sound to modern ears like plagiarism. But it is important to understand that the Romantic ideal of originality, of unalloyed individual inspiration, is a recent innovation in Western culture, and there was a long and honor-able tradition of musicians either learning from accredited masters, or paying tribute to them, by recasting their music in what were effectively new works. These appropriations – as in, for example, a “parody mass” — had nothing to do with artistic theft. And this tradition of borrowing as homage had long legs: Handel famously remade a very ordinary chorus by Alessandro Stradella into the “flies and lice” movement in Israel in Egypt, and no one thought the worse of him for it, not least because he so evidently improved on the original. But it was not the purpose of Renaissance composers to improve on their originals, just to nod in appreciation, and to learn, and to move on.

    Josquin’s legacy was a target like no other for this benignly parasitical procedure. Probably the most elaborate example is Palestrina’s Missa Benedicta es caelorum, based on Josquin’s motet of that name. It is an early work by Palestrina, the longest of the 104 masses that he wrote, and obviously an apprentice composition. Its length comes from Palestrina’s evident desire to master what he thought of the Flemish approach to phrase structure; and it is a good example, since the end result sounds like Palestrina rather than Josquin, for all that much of it can be found in the original, enlarged. The same can be said of Lassus’s Magnificat on the same Josquin motet. Even more copied was Josquin’s incomparable motet Praeter rerum seriem, which spawned parody mass settings by (at least) Matthaeus Le Maistre, George de La Hèle, Cipriano de Rore, and Adrian Willaert; a Magnificat setting by Lassus; many motet parodies by lesser known figures who wanted to share in the glory, such as Sethus Calvisius; and lute intabulations by leading players, such as Sebastian Ochsenkun. The challenge for any composer taking this masterpiece as his model is that it has such a strong character, especially in the opening measures, that it is difficult to think of anything more useful to do than simply quote it. Some did little more than this, though de Rore shows the greatest flair by increasing Josquin’s number of contributing voices from six to seven (a feat in itself), and adding new counterpoints over Josquin’s searching bass texture at the beginning of every movement. (The writing in this texture strikes me as being so similar to the opening of the Funeral March in Mahler’s First Symphony that I am tempted to say that Mahler was also quoting directly. Alas, there is no evidence for this.)

    Josquin himself applied the parody technique to the music of his greatest Flemish predecessor and possible teacher, Johannes Ockeghem, with exactly the same intention of flattering him by reference. Whatever his relationship may have been with some of his contemporaries, he was quick to praise Ockeghem, in word and in deed. In his lament on Ockeghem’s death, Nymphes des bois, Josquin refers to him as his bon père, and seems even to invent a style of music outside his normal idiom designed to catch up some of the older man’s compositional method. The pacing and the impact of this lament is one of the most perfect in all Josquin’s oeuvre, and one of the simplest to perform.

    But the references to Ockeghem go well back into Josquin’s career — and have the advantage that Ockeghem would have heard them. Josquin’s Missa D’ung aultre amer is based on Ockeghem’s three-voice (soprano, tenor, bass) chanson of the same name. This mass provides a good example of Josquin’s style of parody, since much of what he was doing can be clearly heard in what is quite uncomplicated music. The tenor from the chanson is quoted in its original form (with slight embellishment) once in each of Josquin’s movements, except in the Credo where it comes twice. More evidently Ockeghem’s soprano part — the most audible voice — is quoted straight in the Kyrie, the Sanctus, and in the second half of Tu solus qui facis, a motet which replaced the Benedictus, where it is accompanied by the chanson’s tenor part. And if you sing the original words, rather than those of the mass, at the points where Ockeghem’s melodies are quoted exactly, you have as close a parody as is possible. But even in this embrace Josquin was not merely copying: he was too proud just to quote without adding. In the motet Ockeghem’s melodies are given new counterpoints (now in four vocal parts);  and, just to thicken the sauce, in the Sanctus and the Agnus Dei the quotations from the chanson in Josquin’s soprano and  bass parts are combined in his alto with the relevant chants of the appointed Ordinary Mass Cycle XVIII — a piece of technical showmanship which Josquin alone could pull off  so effortlessly.

    What frame of mind Josquin was really in when he set himself to imitate and quote and try to outdo his contemporaries we shall never know. How much bloody-mindedness was involved? It is assumed that the Ockeghem quotations were done out of genuine admiration. It is also assumed that his swallowing of an entire motet by Antoine Brumel in the third Agnus Dei of his Missa Mater patris was done for the same reason, to be sung as a lament to Brumel, who had died in 1512. One wonders how Brumel would have reacted to Josquin taking a perfectly satisfactory three-voice motet (Mater patris), keeping every note of it unchanged, but embedding it inside two extra voices of his own, and so making a five-part movement to conclude his mass-setting. Again, the technical prowess involved was astonishing, probably well outside Brumel’s competence. Would Brumel have been flattered or annoyed at such blatant one-upmanship? Perhaps even this fell within the acceptable boundaries of parodying — and Brumel might have decided to notice only the flattery.

    The same basic question could be asked about the two great mass-settings which Josquin based on the melody of the chanson known as L’homme armé. Here he was unquestionably showing off. Parody involved taking a polyphonic model by a named composer, but paraphrase, which is what Josquin was doing in these two settings, involved taking a tune, a single line of melody, usually chant and therefore anonymous, and working it into an original polyphonic web. In this form there was no question of paying homage, just of playing around with clever contrapuntal techniques. L’homme armé was the most famous secular melody of the day, paraphrased over forty times by Renaissance and Baroque composers, ranging from Robert Morton in the 1460s to Giacomo Carissimi in the mid-1600s. Modern composers have also taken it up, including Peter Maxwell Davies, Mark Alburger, and Karl Jenkins. Its origins are obscure, but the armed man may have been a reference to a Turkish soldier, or to a native solider armed to fight the Turks.

    As he knew very well, Josquin was joining a well-established tradition, which he set out to make his own. He did this by writing one mass in the oldest compositional methods still current — the Missa L’homme armé super voces musicales — in order to show his older colleagues that he had mastered everything that they were doing; and then he wrote one in the most up-to-date methods he could find or invent — the Missa L’homme armé sexti toni. Taken together they make a perfect resumé of the styles available to a composer in the last decades of the fifteenth century.

    These styles can be summarized as follows. The old-fashioned version concentrates on the traditional Flemish virtues of quoting the melody strictly — it appears almost entirely unembellished in the tenor — and on writing the most complex of contrapuntal tricks with it and around it. These tricks read like a manual to advanced mathematics, which is no coincidence, since music was linked to arithmetic, geometry, and astronomy in the quadrivium, one of the school curricula, all based in numbers. High-points in Josquin’s use of numbers in this mass include stating the melody in augmented note-values against itself in original note-values; quoting the melody backwards; and writing a three-voice proportion canon, which involves starting all the voices together, all singing the main melody, but singing it at different speeds. This is surely the pièce de résistance, and it had an extra resonance for Josquin in that Ockeghem wrote a whole mass — his Missa Prolationem — on this extraordinary principle.

    In the super-modern Missa L’homme armé sexti toni, Josquin did his best to include opposites. Where Super voces musicales quoted the famous melody unaltered for the most part in the same voice, in Sexti toni it is found broken into often unrecognizable fragments, dispersed among all four voices. Where Super voces musicales maintained a solid four-voice texture much of the time, Sexti toni is filled with duets, and its vocal texture kept light and informal through the use of sequences and imitation. Where Super voces musicales had canons which impress by their learning, Sexti toni has canons which give the impression of being easy-going, especially the one in the sublime six-voice Agnus III, which has proved to be the most talked-about movement in all these eighteen masses. Sexti toni is like a fantasia on the theme of the armed man; Super voces musicales more like a through-composed exercise on a theme given by a demanding tutor.

    Another way that composers of a mathematical disposition could pay homage was to quote the name of the person to be praised in musical notation. This was done by reference to the gematria, whereby letters become numbers: A = 1, B = 2, and so on. In the more old-fashioned Missa L’homme armé super voces musicales, it seems as though Josquin was invoking the name of Ockeghem, which requires sixty-four notes to spell out in music. The potential for slippage in this system is obvious, providing happy hunting grounds for scholars today, but by extending the melody to sixty-four notes by virtue of a cadential flourish, Josquin does seem to have managed this virtuosic reference. Of course, the most direct way to fête someone was to name the composer in so many letters in the text, which was the standard method used in funeral laments, as we have seen. Less direct and least practiced was as an acrostic, where the naming could be concealed without disappearing into mathematical formulae. It was unusual for a composer to name himself in any of these methods, but Josquin managed it in the first part of the splendid motet Illibata dei virgo, to a text that he presumably wrote. To convey his message, he cleverly began each of the lines of the motet with one of the letters of his name, so that reading down it said IOSQVIN DES PREZ.

    One final clue about Josquin’s character is given in the main source for almost all of his masses — Petrucci’s publications. Josquin seems to have enjoyed putting his singers on their mettle by writing clever riddles in Latin at the start of some of the movements, rather than writing out the whole part. It is not always clear where these remarks originated, since none of them has come down to us in Josquin’s handwriting, but it seems unlikely that any scribe could have invented them unaided, and to do this at all was extremely unusual. On several occasions Petrucci quoted the riddle, but then decided to print the solution anyway, in case the singers could not work out what was meant (and he might not sell so many copies). An example of this comes in the Credo of the early Missa Une mousse de Biscaye, a movement in which the tenors only ever sing the melody taken from the model, in long notes. This was so straightforward that Josquin must have decided that there was no need to write this part out. But at one point in the score these tenors are required to sing the melody upside down (inversion being a standard compositional trick), about which they would have needed some warning. Rather than write out the whole tenor line of a substantial movement just for this subsection, Josquin wrote, in Latin: “Singer, if you wish to perform this well, do it inversely.” Before publication Petrucci got cold feet and wrote out the whole part anyway, excusing himself with the words: “Singers that are not yet grown up should perform it as it stands here.”

    Perhaps Josquin was just being playful, in the first instance at other people’s expense, though the cleverness could rebound on him when nobody was able to unravel what he meant. In Petrucci’s print, all the early movements of the Missa Di dadi, the “Dice Mass,” are preceded by images of dice. (Holy rollers, indeed.) These were designed to tell the tenors, whose part we imagine Josquin once again did not think it necessary to write out, the factor by which the note values of their part in the parody chanson should be multiplied in the mass. For example, the Kyrie is preceded by a pair of dice showing two and one, which tells the singers that the note-lengths in the chanson need to be doubled, in order to fit with Josquin’s other three voice-parts. In the Gloria the dice read four and one requiring the notes of the chanson to be quadrupled in length. Before sections of the Credo the dice indicate six to one. In the Sanctus it is five to one. Unfortunately, although this works in the Kyrie and Gloria, it breaks down in the Credo; and in the Sanctus one finds that the initial five to one stipulation suggested by the dice does not work across all the notes of the original, only the longer ones, a major setback if not corrected. Petrucci, as ever disinclined to publish something that could not be sung, wrote out a resolution of all the tenor parts, thus rendering the dice redundant.

    Yet even Petrucci could not save the riddle of the second Agnus in the Missa Hercules dux Ferrariae from centuries of confusion. Once again Josquin decided to take a short-cut, this time with a three-voice canon, and not write out all the parts, since all three would be singing the same melody, though not at the same time. Instead he wrote out the melody once with the three necessary clefs grouped together at the beginning on one stave, leaving the singers to sort out for themselves when to come in. True to form, Petrucci printed a resolution, but he got it wrong; and it was not until 1960 that the correct reading was worked out, Petrucci’s version having been sung and recorded as the true score up to that time.

    From the start of my interest in Renaissance polyphony many decades ago, I recognized that Josquin would be the toughest nut to crack. It wasn’t just that he was not “sexy”: neither was Palestrina, but for the opposite reason — he was too smooth, too predictable, too perfect. I could see that Josquin’s secular music was likely to be the easiest way in, since in his chansons he was content to write melodies that were both beautiful and relatively easy to sing. His motets, by contrast, have long been thought the best of him, since in those he was free to choose his own texts — by the middle of his career no one could tell him otherwise, so unlike the fate of Heinrich Isaac — and he reacted with unfailing imagination to resonant words. The opening of Praeter rerum seriem is one such example. The opening words mean: “Beyond the normal course of events, a virgin mother gives birth to God as man.” They cannot be word-painted, so instead Josquin creates an atmosphere.

    Yet I prefer abstraction — something, after all, in which every true Flemish composer of that period was adept. Their training was in the God-defining power of numbers in harmony, with little understanding as yet of “romantic” word-setting: if the power of the words was to be expressed outside mathematical formulae, it was to be done through atmosphere. Knowing how delicate Josquin could be in his chansons and his motets, it was the more rugged exterior of the masses that attracted me. Maybe inside a tough shell we would find a new kind of beauty. Maybe, despite everything, the magically controlled atmosphere I am always seeking in polyphony was going to be found most tellingly in these eighteen mass settings — a set in Josquin’s mind, in that they provided a canvas for variations on a theme. To underline this unity in diversity, he decided to keep to four voices more  or less throughout the set, which was not what he chose to  do invariably in any other form, sacred or secular, preferring five and six.

    On top of this I realized that Josquin had striven to create individual sound-worlds in all these settings: the tools were the same — same texts, same four voices — but they were all different in effect, and I wanted to put my finger on those differences. The comparison with Beethoven and his symphonies — same basic outline of movements, same basic scoring, but separate sound-worlds in every case — acquired a new relevance. This wondrous ability to conjure up different atmospheres with the same resources put them both in a very special category of composer, at the opposite end of the spectrum from composers who found their sound early and then spent their careers moving into it, such as Mozart on the one hand and Palestrina on the other.

    If you add to all this the fact that Josquin’s experiments are almost without exception difficult for modern singers to sing, you come to understand why Josquin is so little known now. Everything I have described about his music pushes him away from an easy modern acceptance. We cannot hear the mathematics play out in the music without a guide and a score, and sometimes not even then, nor does the average singer today relish parts that can span over two octaves — they are not trained to do it. (The two-octave tenor part in L’homme armé super voces musicales was reckoned by Petrucci to be such a stretch that he gave it three different clefs in the course of his edition, one clef normally being enough.) The modern choral voice-ranges of soprano, alto, tenor and bass had not formed fully by Josquin’s time: all his masses are essentially scored for low soprano/alto, higher tenor, lower tenor, and baritone. This cluster of all the voices around and below middle C is not normal for choirs today, since it excludes at least half their members and requires an abundance of tenors, always the part shortest on talent.

    In the end, finding those different sound-worlds in performance was not as difficult as it might seem, since, as musicians like to put it, it’s all in the dots. Once we mastered the idea that singers in Josquin’s time would have been performing in small chapels (not usually great cathedrals for polyphony), and would have had no notion of the kind of voice-production required by opera, we could relax with those unwelcome high and low notes all in the same part, singing gently as if to ourselves. True, the modern symphony hall does not always allow such subtlety of delivery — we have to project the difficult notes as well as the easy ones there as elsewhere, mic-less; but we found with practice that we could still adopt the principles of small-room delivery even in great halls. If we sang with a good blend and good tuning, the sound that we made travelled naturally without distortion. And then we were free to relish Josquin’s genius, his tricks and his sonorities, the eighteen different ways he approached the Benedictus, or the Osanna, or the Et incarnatus est.

    It is significant that Josquin probably stopped writing mass settings in the last period of his life. He never set out to chart the development of his own style through these settings. He simply used them to shoot off in random directions as the whim took him through many decades, as Bartok did with the string quartet. This makes it difficult to put a chronology on them. The Missa Pange lingua seems “mature” and the Missa Une mousse de Biscaye seems “youthful,” but even if that is right, there is a great deal in between. Over the years of studying and performing his music, I came to derive a particular pleasure from how he began to obsess over one note in a span of music. The best example of this is in the last passage of the Credo in the Missa Faysant regretz, where he worries beyond reason the note D. It makes for the most thrilling music to come from that period.

    And yet there is nothing academic or pedantic or snobbish about Josquin’s extraordinary complications. It is true that he liked teasing, obfuscating, and putting up barriers; and the graceful side of his difficult personality has to be searched for. But nowhere is he as austere as, say, Bach in The Art of the Fugue. Josquin’s maddening complexity issues in ravishing beauty. The arcanely inspired sounds are completely seductive. What the ear hears surpasses what the mind knows.

    Rosalind

    Back when I was a man pretending to be a woman
    pretending to be a man
    I found myself able to summon

    a range of emotions that ran
    the gamut from common to not-so-common.
    The checkout person at H Mart trying to scan

    my fish sauce puts me in mind of a Roman
    housewife trying to coax an eel into a copper pan.
    The lamb with cumin

    hails from Afghanistan.
    “Nomen est omen,” said Plautus. “Nomen est omen.”
    Plautus itself means “plodder” or “Kick the Can

    Down the Road.” Such was the acumen
    of the 9th Legion they devised a plan
    to introduce a diet of offal boiled in a sheep’s rumen

    to the already sluggardly Picts. In 82 AD the lifespan
    of a sheep was almost as long as that of a human.
    Things were rarely simpler, though, than

    back when I was a man pretending to be a woman
    pretending to be a man
    who now found himself pretending to be a woman.

    Chipmunk

    Ain’t that God’s own truth?
    Just one more flame-streaked roadster
    fresh from the spray-booth.

    Viral

    1
    Any one of these masked avengers
    might be moonlighting as another Captain Rock,
    might set out not only to censure
    but incinerate a rich farmer dreading his knock

    at midnight, a cowpuncher, a calf-drencher,
    a dweeb journalist, a helmetless jock
    courting death by misadventure,
    a negotiator trying to break the deadlock

    between boss and union, a prominent backbencher
    imagining he’s standing for re-election
    when he’s making a speech from the dock,

    a career civil servant both inured and indentured
    to a twice daily intravenous injection
    of horse piss and poppycock.

    2
    Any one of them might be an insurance underwriter
    taking the tube from Maida Vale,
    an architect pulling an all-nighter
    while she works to scale,

    a private investigator flicking a cigarette lighter
    and putting another nail
    in his coffin, a developer of an antibody titer,
    a Muddy Waters failing to curtail

    a Lightnin’ Hopkins, a bishop adjusting his mitre,
    a baker proffering a baker’s dozen
    of cakes and ale,

    a professional flautist, an amateur fire-fighter,
    a migrant worker who met your forty-second cousin
    at the blading of the kale.

    3
    Any one of these masked avengers
    might be moonlighting as Atticus Finch,
    might be reliant on the kindness of strangers,
    a blue man of the Minch

    crossed with a ginger, a money exchanger
    feeling the pinch,
    a lumberjack, a barista, a Texas Ranger
    tightening the cinch

    on any one of these masked avengers
    moonlighting as a butterfly nun, a lab technician,
    a boxer prolonging a clinch

    rather than putting themself in danger,
    a restorer of Tintoretto or Titian
    taking on the world square inch by square inch.

    A Bull

    Every day putting a fresh spin
    on how he maintains that shit-eating grin
    despite his notoriously thin skin.
    The quagmire of what-might-have-been.

    Every day shouldering an invisible tray.
    Hello, hello. Olé, Olé.
    His musing on how best to waylay
    a hiker passing through a field of Galloways.

    Every day aiming to swat
    the single fly that keeps tying and untying a knot
    before taking another potshot.
    Rolling through the Krishna Valley like a juggernaut.

    Every day trying to err
    on the side of standing firm. Foursquare.
    The singlemindedness of a Berber
    about to take out a French Legionnaire.

    Every day surviving by dint
    of three of his four hooves being knapped flint.
    Hanging out the bloody bandage of his, hint hint,
    barber’s pole. His stick of peppermint.

    Every day his hoofprints in the sand-strewn park
    have enclosed so much in quotation marks.
    Not even Job or Abraham, hark hark,
    is a patch on our patriarch.

    Every day the holy show
    of leather dyed robin egg blue by Tiffany & Co.
    Areas strictly off-limits? Strictly no-go?
    The wilds of Connaught. The stockyards of Chicago.

    Every day rising at 5 am,
    determined to stem
    the flow of misinformation from the well at Zem-Zem.
    His dangle-straw from a crib in Bethlehem.

    Every day fighting shy
    of the possibility his eye
    is a shellac-gouge from an old hi-fi.
    His helmet appropriated from a samurai.

    Every day the mob
    threatening a hatchet job.
    Their hobbling across concrete. Hobnob. Hobnob.
    Their sidelong glances at his thingmabob.

    Every day the urge to rut
    at odds with his yen for whole grain calf nuts.
    The “my-my” and “tut-tut”
    of that bevy of cattle at their scuttlebutt.

    Every day his own cow’s lick
    even more at odds with his almighty mick.
    How come his second cousin, the dik-dik,
    gets to trip the light fantastic?

    Every day taking a bow
    before settling back to plow
    the rowdy-dow-dow
    of a Filipino swamp-buffalo, or carabao.

    Every day plotting how to get even even with the get
    who’s trolling him on the internet.
    Under the vapor trails of the jet set
    the solidity of his silhouette.

    Every day his image picked out in tin
    to signify there being room at the Inn.
    Bottoms up. Chin-chin.
    The gulping of milk punch from a pannikin.

    Every day cruising the main drag
    in anticipation of raising his own red flag
    to the plaza’s rag-tag
    bunch of scamps and scallywags.

    Every day forced to cram
    for some big exam.
    The difference between quondam and quamdam.
    The origins of the dithyramb.

    Every day a razor. Every night a strop.
    Rush tickets for Carmen at the Met cost $25 a pop.
    Get a move on, would you? Chop chop.
    A world in which so much “art” is agitprop.

    Every day taking a hit
    from some little shit
    armed with the latest version of lit crit.
    The fly still looping the loop in his Messerschmidt.

    Every day, it would seem, rekindling a flame
    against the culture of shame
    and its interminable blame game.
    Every day countering a counterclaim.

    Every day forced to pit
    himself against Holy Writ
    and the nitwit
    for whom the Lascaux paintings are counterfeit.

    Every day having to whisk
    away the versifiers averse to risk.
    The ignominy of being supplanted, tsk tsk,
    by a ram on an Egyptian obelisk.

    Every day lying down with the lamb.
    What-might-have-been? More water over the dam.
    Having to meet the future head-on. Wham-bam.
    His muzzle a spermicide-slick diaphragm.

    Every day the thrill
    of balancing a natural proclivity and an acquired skill
    after a walk-on part in Cattle Drive with Chill Wills.
    His tongue turquoise-teal from chlorophyll.

    Every day learning not to pin
    his hopes on there being grain in the bin.
    The situation supposedly win-win
    when he mounts an upholstered Holstein mannikin.

    Every day the likelihood of a snub
    from a warble grub
    even as he rises above the hubbub.
    Every day the flash-freezing of his syllabub.

    Every day busting sod
    whilst straddling a divining rod.
    His permanent disdain for the god squad
    by whom he was once overawed.

    Every day contending with the holier than thou
    attitude associated with the sacred cow,
    “kowtow” and “powwow”
    being terms he’s now obliged to disavow.

    Every day cutting some slack
    to the youths leaping over his back
    in Knossos. His dream of trading endless ack-ack
    for a week on the Concord and Merrimack.

    Every day starting to dig
    with his one obsidian hoof through the rigs.
    A lily-pad where a bigwig
    flies in and out in some sort of whirligig.

    Every day muddling through
    thanks to his tried and true
    ability to rise above the general to-do
    by thinking of it all as déjà-vu.

    Every day chewing gum
    like a Teddy Boy in a bombed-out slum.
    As for his success in rising above the humdrum?
    For a moment only. Only a modicum.

    Every day striking a blow
    against a more-or-less invisible foe.
    A life lived in slo-mo
    ever since a chute opened at the rodeo.

    Every day creating a stink
    against being pushed to the brink
    by the powers that be (nod nod, wink wink)
    with their newspeak and doublethink.

    Every day those massive chords on the synth
    as he’s rabble-roused from his plinth.
    His taking everything to the nth
    degree despite being consigned to a labyrinth.

    Every livelong
    day making of his hide a parish-encircling thong.
    His panko-encrusted balls a delicacy in Hong Kong.
    Subsisting on a diet of mashed kurrajong.

    Every day waiting for someone to deign
    to give him free rein.
    That shit-eating grin. How it’s maintained?
    Running rings around a mill that crushes sugarcane.

    Every day trying to weigh
    in the scales those who still flay
    the burnt offering and those who naysay
    such exaltation of the everyday.

    Every day making a dry run
    for either his moment in the sun
    or an air-injection captive bolt stun gun.
    The china shop of his skeleton.

    Stealing Kisses

    There was a pounding in my dream. Could it be the surging chant of the Crystals’ killer line, “And then he kissed me”? It seemed to me I was about to have the wild gaze and wilder hair of Natalie Wood or Harpo Marx descend on me. But as I awoke I realized that the eager head was Lassie come home.

    Kissing can be pretty nice, you used to hear. Between the ages of ten and thirteen, in the dark, kiss-kiss scenes went from being squirm-making to I can’t get enough of this. There were teenagers in the back row at the Regal and the Astoria who seemed to be going further still. What a time!

    Where has that habit gone? Was it waning at the movies well before Covid? Had “sincere” love stories turned comical, shoved aside by deadpan ironies for kids to sneer at? There was a time when filmgoers wept over love stories. Past the age of fifty, you may recall the collisional rapture of two faces and the overflow of mouths. Did waves peak in oral caves? Tongues winding in the dark. The binge streaming with saliva. Are you beginning to be thrilled or nostalgic in our protocols of distancing? Or does such sensual language feel awkward now? Foreplay rhapsodies from 1959 are generally as dead as On the Beach or Ben-Hur. In that same year, Some Like it Hot served up sex as a buffet of custard and blancmange, but the sweets tasted sour to warn us that the old association with love was demented. Hot could be very cold.

    Still, I love the metamorphosis from Harpo to Lassie, and every station on that line. Even if we’ve forgotten the other creature’s name, we only have to close our eyes and inhale to regain the hesitation and its wondering — will the other mouth be open to us? Real kisses depend on risk.

    So here’s a cue. I won’t tell you yet where it comes from, except to say it seems more or less modern, though that could tell you how old-fashioned I am: “The voice fell low, sank into her breast and stretched the tight bodice over her heart as she came up close. He felt the young lips, her body sighing in relief against the arm growing stronger to hold her. There were now no more plans than if [X] had arbitrarily made some indissol-uble mixture, with atoms joined and inseparable; you could throw it all out but never again could they fit back into atomic scale. As he held her and tasted her, and as she curved in further and further toward him, with her own lips, new to herself, drowned and engulfed in love, yet solaced and triumphant, he was thankful to have an existence at all, if only as a reflection in her wet eyes. ‘My God,’ he gasped, ‘you’re fun to kiss.’ ”

    Are you having fun, or imagining it? As I re-read this book during the pandemic time, I felt not just the fun but also the falling. Isn’t this [X] slipping into love, or into his adolescent scheme of that condition? And I felt yes, that’s what it can be like, even if the scene is confined to his point of view. He decides; he makes the move; he tastes her. She is there, no doubt: she curves in towards him; she has and uses her own lips. It’s possible that she detects “fun,” too, but we don’t quite know that as we brim with his feelings.

    I’m not yet saying where the passage comes from. But I feel its behavioral accuracy. Then as I read it over more slowly, I am unsure whether it deserves to be regarded as Serious Literature or romantic pot-boiler. In the age of movie, so many novels turned randy. A bodice is mentioned, and though it isn’t ripped you can feel it yielding. Or does that depend on the reader being male, or as “turned on” as I suspect the author was while writing it?

    The passage comes from a novel, and it does reproduce the awe and the urgency of a man in that situation. But it reminds me of how the movies used to do such scenes. The man is there, aroused , though literary propriety does not allow him a physical tumescence or require that he start to undress her and get to the matter of what was called “sex” for so long. Is he watching himself doing it, as in a movie? Had that cultural weight gathered by the time the passage was written? Maybe today she would undress him, a decisiveness that would once have been as shocking as nakedness on screen.

    You see, there was a time when going to the pictures was finding an impossible window to gaze on provocative strangers or other available views that you might be granted. You would stand before a prairie that could be your ranch, or a suave bedroom for amorous splendor; you might buzz a frisky auto down the highway, or land a single-engine aircraft on a rocky south American plateau. Or you might shift forward, more from desire’s magnetism than real motion, and collapse into the arms of Alain Delon or Doris Day. It cost a quarter to behold Colbert or Lombard in and out of Travis Banton gowns on Park Avenue. The cusp between absurd luxury and common poverty was as taunting as the one between your plain-faced envy and the sated narcissism of a movie star. The medium sighed, all the time: “Don’t you want us?” Can you believe how that innocent longing subdued Depression or war?

    The continent of old movies shines with all its absurd hopes. Isn’t that the special thing with humans – it can work with love and death – that wondering means the most? And so we swim against the current that says you could have him or her, or both of them, or you might die tonight.

    I am looking out on the historic sea of movies, doing my best to be a visionary or a helmsman. At the end of last summer, there were urgings to believe that Christopher Nolan’s Tenet was the film event that would rescue theatrical cinema, a spectacle to draw millions of us back into the dark, no matter that it might be infectious still. In that spirit I wondered about Tenet, the film on which Nolan was able to spend some $200 million, with a palindromic title for a world in which our disasters could shrink back to zero. It had a romance arrangement that was only schematic, in which the technology of reversing time was a truer object of lust than the adjacency of John David Washington and Elizabeth Debicki. What turned Nolan on were the special effects, the culture that has eclipsed the chance of humans being specially affected. This was so unpromising I started imagining another movie to rival it.

    Mine is called Kiss Me .… (The ellipsis is crucial; it gets at the precious hesitation in the act and its air of danger.) I need to admit at the outset that my project is not just risky, or insane; it may even be deemed anti-social, unwholesome, incorrect, and fit to be banned. Are you alarmed, or are we always eager to be stirred up by the prospect of a movie that could be kept away from us? Censorship and denunciation are the Santa Ana winds on the embers of desire.

    My starting point is simply that this has been a time of not touching, not kissing. Millions of us have felt constrained: we are cautious about kissing grandchildren, let alone yielding to the passing possibility of a stranger. Please don’t be horrified at this risky opportunism — but don’t rule out the chance that in your happy marriage or your settled relationship, you might be open to the moment of kissing that stranger, or better, being kissed by him or her, that one, coming down the stairs, or squeezing past in the corridor. I know, you shouldn’t do this illicit thing, but surely that doesn’t mean you stop thinking about it in the stairwell or the corridor. The cinema was always constructed as an uneasy place of delicious wondering. Even in the forbidden summer of covid, it has occurred to some of  us to approach that person in the corridor and hazard a kiss. Of course, this would be horrendously perilous and irresponsible — but those are brinks where we have always waited.

    So in my Kiss Me … I propose a series of brief meetings, with a glance and maybe a few words, and the dark promise of a first kiss. With this extra: there is a CUT before any kiss can be consummated. And the frustrated faces are the treasury of actors who have done kissing scenes in the last hundred years. You want examples? Think of Rudolph Valentino putting his arm and uneasy authority around Angie Dickinson; or Louise Brooks prepared to lure George Clooney out of a snooze with a cool-hand gotcha; or Jeanne Moreau getting into Nabokovian chat with Cary Grant, as they offer each other the wary eyes they always kept as they contemplated doing it; or Katharine Hepburn ready to grab Lupita Nyong’o; or the Julia Roberts from Pretty Woman frolicking in a Beverly Wilshire tub with the monster from Alien; or that youthful Julia (Miss Vivian, the hooker magicked into a social princess) being aroused by the more celebrated Julia from Notting Hill. For far too long in the thundery build-up of narcissism we have swallowed the nonsense that stars cannot play with themselves. They only reflect on themselves. (Nicole Kidman wooing her mirror could be a blockbuster.)

    Please don’t turn naïve on me. Don’t widen your eyes and ask, For heaven’s sake, how can we or they do this? They can do anything they can imagine. Cinema is the playground of fantasists ready to give up the ghost of fact. In our lifetime, photographic naturalism (think of it as fidelity) has been swept aside by the seething promiscuity of technological command, so that imagery of Gary Cooper in Desir ie in 1936 could be put side-by-side, arm in arm, or mouth to mouth, with the Kristen Stewart in Personal Shopper in 2016. Do you want to see that?

    Please don’t act confounded. This is no more than the fulfilment of the infinite library of the plain, charmingly humble screen that has been prepared to whore away, night after night, with any and every fresh movie you put up on the whiteness.

    I plan to let my Kiss Me … run several hours, enough for a bingeable evening, and since you’re in the habit of four hours a night now you have no pretext for dismay or inconvenience. What do you have left now but wondering in the all night long?

    I foresee a montage rhythm, with scene after scene, stars lined up for their close-up and the moment (as if it was a vaccine), always leading to the CUT that leaves us sighing, oh this time, please, let those mouths mingle. There will be no story, just the motif of people attempting to be expressed, to be riding on desire into love – to put their lips together and blow. The audience can come and go in their home theater. If you miss something — if a friend says you really had to see James Dean with Garbo, together yet in rivalry over being alone —well, you can go to rewind if you want, or just add one more legendary extra to the anthology of every screen coupling in one hundred and twenty five years of movies. The medium may have kissed more people than it killed. And perhaps you will fall in love with desire again, which seems to me the pressing hope that Tenet ignored.

    You deserve a pause, and a clue. That passage that I offered above was published in 1934, though its kiss had occurred over ten years earlier — at night, in the mountains. Put aside the generosity of this clue (and the fits of frustration it may stimu-late — desire needs denial as Dracula thirsts for blood). I want to suggest that the dating of this incident in 1934 is instructive. It’s not that kissing hadn’t been going on a while, but its special dreamy currency had been freed by movies. Suppose that in the mid 1930s a new chance at middle-class love bloomed in the smoky light of cinemas.

    Imagine a great swell of newcomers: essentially poor people but educated to read and to question old norms, able to believe there might be fresh ways of running society so that nobodies could be in love. This was the enormous increase in population after about 1850, the one that has never stopped; and these are the people who recognized the photograph and the movies as a breathtaking horizon of desire. It could be Lauren Bacall urging Bogart that kissing is better when the other person helps: 19 telling 45 that she’ll do anything. Her insolent talk ushered in fantasy gratification, so it might be hard for real companions to stay kissed for decades in the habit known as fidelity. We were kissing strangers and we have never given up on that gamble.  

    You will not find reliable social statistics on this collective promiscuity, but dreams thrive without stats. It may seem innocent to a point of infancy now, but consider how far in the first age of cinema the technology of voyeurism colluded with fantasy situations not just to educate us in how to kiss (no minor thing) but in grasping how the initiation could be a prelude to happiness.

    In the blink of an “open sesame” millions of people learned to behold glamorous strangers possessed by a new code of “beauty” or attraction, and to explore the vicarious state of romance. These screened figures could not take off all their clothes. They could not do “it,” whatever it was; and we need to be respectful of the uncertainty in the early years of movie about how “it” worked. But the restrained, illicit privilege of cinema encouraged the voyeuristic imagination. And it established that this vector was not only a Peeping Tom but a Madeleine (or a Judy) holding her breath to see how far sympathy would go.

    The rapture was there in silent pictures, but its fullest commitment came with sound. Albeit in a hush or a suspension, kissing registers aurally. You can film and record a kiss so that the couple feels removed from our observation. But you can also do it as if from inside the mouth, in a way that allows for breathing, a few swallows, and the undertone of digestion. Tongues need not speak, but they can be as muscular as the shark in Jaws.

    It is possible to track this progress, from Garbo and John Gilbert, all the way to Jimmy Stewart and Margaret Sullavan or Astaire and Rogers — Fred could kiss the woman with the merest touch. Still, kissing was regarded as a liberty requiring Hays Code rules: not prolonged, not too searching, not too abandoned or exultant. Do you recall — can you forget — Jean Arthur and Joel McCrea on the stoop in The More the Merrier? Until, in Notorious in 1946, Hitchcock had Cary Grant and Ingrid Bergman act like real people — like themselves even — as lovers who find a secret place and just kiss and smooch for hours on end, chatting sometimes to draw breath, and knowing that the talk is as carnal as the tongues. And Hitchcock taught us to watch — not simply where to look, but how to grasp human nature by spying.

    So there was an age — not long, but profound — in which spectators came to feel the possibility of love and the beckoning of an abandon that could not be seen because of censorship. That impediment was vital to the arousal. Thus one could be transported by the way Montgomery Clift and Elizabeth Taylor kissed in A Place in the Sun (1951), while knowing the lovely restriction that their embracing could not escape the screen — so he was going to be executed for dispatching or contemplating the murder of an inconvenient prior girlfriend (the whiny Shelley Winters).

    The best love stories in those days did not guarantee a happy ending. Desire was a streetcar that hurried past and gave us the anguish of feeling left behind. In From Here to Eternity (1953), Clift nuzzled Donna Reed (a whore out of the Ladies Home Journal) and glimpsed the possibility of peace and bliss instead of being bullied by the Army. In the same film, Burt Lancaster and Deborah Kerr rolled in the surf on a beach in Hawaii, and we agreed that it was the sexiest scene the cinema had ever permitted itself. “Nobody ever kissed me the way you do,” she told him. (I had to pretend to be fourteen to get in.)

    Those two romances would be cut off by the storylines, allowing Kerr and Reed to meet on the ship taking them back to the states in a wistful realization that their men had been pals. Both screen women were more ladylike than James Jones had intended in his novel. But the romance was set for eternity, forever out of reach.

    In the 1950s — a heyday of screen desire — you could feel the pressure building for these beautiful people to do the lovely thing (and the confidence that it was lovely, instead of physiological and elemental). If you were a teenager then, you were so lucky to be alive in the dark. But maybe you were doomed too, imprisoned in the medium of arousal, the cult of desire.

    I’m speaking for myself, and my gender choice, and in those 1950s the diagrammatic set-up for screen desire was very restrictive. Cinema was a show for guys — no matter that Clift for one was uncertain about his own sexual status. So I was vulnerable to the few occasions on which I got to kiss someone intensely and one thing led to another. It is hard to claw your way back from desire’s brink to what might be normal life. Indeed, it was a key strategy of the movies — and the doom of the culture that made — that normalcy was left seeming drab or unworthy.

    The name blanked out in the test quotation above, the [X], is Dick, or Dick Diver, the central character in Scott Fitzgerald’s novel Tender is the Night. Dick has been in American uniform during the war and then he is a charming psychiatrist, living and working in Europe. The Swiss clinic to which he is attached has a needy patient, Nicole Warren, who was raped by her father. She is sixteen now, and she has noticed Dick and his spiffy uniform. She writes notes to him, half-flirtatious, half-cold and, always childlike. But Fitzgerald makes clear what Dick can hardly admit or forget, that she is very beautiful and sufficiently rich.

    Tender Is the Night moves me more than The Great Gatsby, even if both dwell on disasters that can attend desire. Even so, Tender Is the Night is untidy, not least in the way Nicole is both a presence and an absence. The narrative cannot take its eyes off her, but we never know what she feels or how disturbed she is. She is infatuated with the brilliant young doctor and wants to keep him in attendance. Perhaps she is replacing her father? But we never touch on what that rape did to her, beyond learning that from time to time she cracks up and is the center of “scenes” in bathrooms, fragments of distress heard and seen by alarmed bystanders.

    Does Nicole like to be kissed? Is she “turned on”? Do she and Diver have sex there in the Swiss night on the cold grass? Fitzgerald could no more get to that level than Howard Hawks would shoot Bogart and Bacall naked together in bed (though the public was surely thrilled that after To Have and Have Not the two became lovers, as if to prove that movie fantasy worked). So we are left uncertain whether Nicole becomes addicted to an older lover who has the veneer of a magic that may care for her disturbed mind, or is simply a rich and spoiled young woman who will engineer the course of tragic events through the blunt agency of her money.

    Dick and Nicole marry. This is an inappropriate arrangement misunderstood by onlookers. Dick’s professional partner sees that Nicole’s money could fund a clinic. Nicole’s older sister, “Baby,” disapproves, but she decides to bet on the professional proximity of Dick caring for the unpredictable Nicole. The couple have two children, but the “fun to kiss” passage is their climax of desire, and it is over as soon as it has begun.

    The moral complacency of Dr. Diver is underlined (rather too forcefully) when, once married, Dick falls in love with a teenage screen actress named Rosemary Hoyt and does eventually have sex with her (described very vaguely, as if Fitzgerald was unsure what happened in such transactions or was shy of spelling it out in a Scribner’s novel that might be a big seller). But Rosemary’s screen hit is a romance, a silent film called Daddy’s Girl. There are times when you hardly know whether Fitzgerald is witty and allusive or just lost in the dark. 

    The Divers have a heady season on the Riviera, making a beach fashionable and focusing an indulgent American tourism that came to be branded as “the lost generation.” Dick loses himself in kissing and a party-going lifestyle. But he is on the slide from the start, less a skilled surfer than a man who will drown one day. He dazzles onlookers, but nothing conceals his weakness. When Fitzgerald published the novel, he began it with the Riviera glory and then flashed back several years to the seduction of Nicole. But after the book had disappointed readers, he wondered whether he should have started with the seduction, to clarify the moral compromise. After Fitzgerald’s death, the critic Malcolm Cowley supervised a re-arranged structure, stronger and more tragic, so the book is now available in both versions, letting us assess its composition. The charm that Fitzgerald managed so easily has given way to autopsy.

    Dick turns alcoholic, prematurely middle-aged, and a liability as a clinician. With the effortless calm of even the wounded rich, Nicole discards him for a stupid but handsome second husband. Dr. Diver goes away; he is last heard of in upstate New Yok, clinging to sparse professional assignments and the women in the vicinity. The book still needs a lot of work, and a better and non-Keatsian title, but Tender is the Night is unforgiving on the damage done by a reckless kiss in the era when movies were a slick treatment for just about everyone.

    We could guess what was coming by 1960. In Psycho, Hitchcock cut Janet Leigh to ribbons when he was not permitted to undress her fully. The sexual revolution had ways of uncovering intimate violence at the movies. In the next decade censor-ship broke down in landmark works such as Blow Up, Belle de Jour, Point Blank, Carnal Knowledge, Last Tango in Paris. An edge of hostility underlay the sexual breakthrough. But even the novelty and the naughtiness of those films was incidental if you could see that a tsunami was coming: it, the thing itself, the simulated outrage of pornography, where men and women become slave bodies through the sacrifice of talk, character, and narrative purpose. The cat was out of the bag: the cinema had invited the bourgeoisie to fuck as if it were a new right, free from the encumbrance of love. That required taut bodies, gymnastic agility, and bereft conscience, with the deadpan confidence that emotionally nothing mattered. Fantasists have escaped responsibility. And so it is that our movies these days seldom bother with luxuriant kisses and have given up on poetic desire.

    There was another consequence to all the liberated rutting: that movie romance is no more. (The stale and silly “romcom” formula, from which desire has been almost completely banished, is evidence of the decline.) And the demise of romance could mean the demise of cinema itself.

    We are left stranded, uncertain what healthy bodies and reckless minds are going to do with family, faith, and aging once the first kiss has taken up residence in our lonely mind — the prison of desire.

    The Pluralist Heart

    “Purity of heart is to will one thing,” Kierkegaard famously proclaimed. He was right about purity but wrong to aspire to it. It is a common mistake, made all the more familiar to ordinary people because it is a quality that heroes and fanatics, the characters who spice religious liturgies, history books, novels, poetry, and Netflix often share. Even Dante, no stranger to the complications of life and character, endorses it: “One object, and one object only, is rightly to be loved  ‘with all my mind, with all my soul, and with all my strength.’” Purity is simplifying, and it is romantic, and in an existence as relentlessly variegated as ours it promises a great relief.  

    And so it is tempting to structure one’s life around a single, dominating idea or community, to be fanatically, singularly loyal. But like some of the most irresistible temptations, this one is false. Life will never be simple and people will never be pure. Perhaps it is our very impurity that engenders the myth that purity is a human achievement, medicine for the drabness that is a regular feature of living. But what if purity, were it even attainable, were instead a human failing? What if diversity, of kinds and of qualities, is an unalterable and enriching characteristic of individual and communal experience? It seems almost platitudinous to point out that the individual lives in many realms and has many loyalties. In a single day she may in one realm be a hero, in another a loser, and often just another body standing in line. 

    Our various realms are the settings for the various roles we all play. An individual engages different parts of herself in a museum than in a place of worship, and with her friends than with her family, and with her mother than with her husband. Her priorities, the pattern of her attention, even her tone alters depending on which of her contexts she inhabits at a given moment. She is not faking it, she is still herself, but herself is many things. These shifts and developments are not deceitful; complexity is not synonymous with promiscuity. People cannot live fully in any other way, and we are right to seek fullness. 

    It is in some ways much easier to adopt the Kierkegaardian ideal and devote oneself entirely to a single loyalty. It is easier, but it is not consistent with the mess of human life, which is why such an exclusive commitment breeds dissatisfaction with reality. In extreme cases, for those inclined towards melodrama, the undivided path can become a search for martyrdom. In such cases, the sort that Marianne naively romanticizes in Sense and Sensibility, one sacrifices oneself to a love that was never compatible with reality. These loves are not sublime, they are absurd. And while this sort of sacrifice certainly requires courage, so can folly. It is entirely distinct from the heroism of sacrificing one’s life for others, for the sake of life, which is the heroism that we rightly admire.

    Contrast that type of heroism with Antigone’s sacrifice. Against the order of the king and on penalty of death, Antigone buried her brother’s corpse so that it would not rot above ground. Upon a first reading of Sophocles’ play, she is strikingly noble. Ismene, her sister, acknowledges the integrity of Antigone’s devotion, even while Ismene accuses her of being “in love with impossibility” or, as we might say, out of touch with reality. Indeed, Antigone admits outright that she was able to face certain death in service to her brother’s memory only because she had no interest in staying alive. “For death is gain to him whose life, like mine, is full of misery.” If she had some reason to keep living, she would not have been able to die as she did. Suicide is not a sacrifice for someone who wants to die. Antigone’s single-mindedness proved fatal. To appropriate a contemporary platitude, she chose only one lane, and it led to her destruction.

    Madame de Stael’s intoxicating heroine Corinne suffered from a related contempt for real life. She whipped herself into a long and fatal frenzy in service to a love she knew could never be realized. A perpetual state of excitation was the only kind of loyalty of which she was capable; she could nurture only a single love, and so consumingly that it would kill her. Corinne’s intensity, not her love, demanded the highest sacrifice. It was a product of her temperament, and not based on the object of her love, on her lover’s qualities. The heat all came from her. Reality bored her. She wanted it to be more, or grander, than it was; she could not tolerate the inanities of ordinary existence. “I had learned about life by reading the poets.” she confesses. “It is not like that. There is something barren about reality that it is useless to try to change.” And so she chose to defy it.

    Both these women could not sustain a loyalty tested by commonplace experience. It was not that their hearts were too strong for the quotidian. They were, more accurately, too weak for it. A single, overwhelming love premised upon perpetual excitement is feeble, not powerful. Corrine and Antigone suffered from the same weakness, and it manifested for both in a similar monomania. For both of them, the simplification of self, its attempted transformation into a single thing, was poisonous. One-lane roads are the most dangerous ones.

    But it is also quite possible to love many loves poorly, and to dramatize all of them the same way that Corinne dramatized hers. Dissolve to Russia. Anna Karenina loved many people and idealized all of them. And despite nurturing multiple obsessions for different people, she was still dominated by a single loyalty: to her own feverish intensity. Actual human life was not enough, and it was too much, for her. Tolstoy’s omniscient narrator knows everything about Anna in each sentence describing her, but he knows only the Anna of the sentence, of the moment, who may not be the Anna who appears a few paragraphs later. Her intensity manifests in part in mutability, in rapid reinvention. She changes constantly and emphatically, in a saga of serial self-simplifications. If she stayed for too long in one place, she would be forced to reckon with the underwhelming horizons of human life. This makes commitment quite complicated for her. When she assures her son that she loves him “best in the world,” she believes it as much as he does. (“I know that,” Seryozha replied.) Later we discover with mild disgust that Anna’s image of Seryozha is dearer to her than the child in front of her: “The son, just like the husband, produced in Anna a feeling akin to disappointment. She had imagined him better than he was in reality. She had to descend to reality to enjoy him as he was.” As she is thrust from the orbit of one love to another, Anna’s center shifts and with it her heart. When she pledges her loyalty, when she tells them she loves them, her lovers are not wrong to believe her. Anna’s sincerity was not false, and there is nothing wrong with shifting centers. Her error was not that she loved many simultaneously, but that she preferred her idea of each one to the flesh-and-blood version. The fantastic intensity of her focus, its magic-making power, was possible for her because it was stimulated by attention that was never submitted to the test of time. Anna, like Corrine, preferred poetry to prose. 

    Anna’s heart, you might say, was a serial monist. To find a way to escape the drudgeries of human life, she sought single intoxicants, one love and loyalty after another. The consequence of her desperate need to idealize was to shrink herself, to lose her sense of reality by photoshopping it, and stripping it of everything unattractive. 

    She believed that true loyalty must be blind, when the opposite is the case. Every person — and every country and every culture and every religion, for that matter — worth loving is sometimes pathetic, ugly, mean, stupid, and dull. The highest love is love that is not dispelled by lucidity or by criticism. It is the love of an individual capable of evaluating herself and her contexts with some degree of objectivity. Such an individual will not be simplified by love, or worship an “all-consuming” passion. She does not want “all” consumed. She will recognize that she is many things, admirable and not, and so is her lover; and so is her group and her style of life. Inferring from the fact that her own contexts and communities contain both strengths and weaknesses, she will conclude that others too contain strengths and weaknesses. She will discover — not unhappily — that she, and life, is plural. And this recognition of the mottled richness of reality, this plurality of values and moods and experiences and origins, this multiplicity of temper-aments and cultures, will make her curious and adventurous. She may begin to wonder about existences and communities unlike her own, and she may decide to study them, and even to join them. She will cross boundaries. She will strengthen herself inwardly by moving outward.

    There are philosophers who argued vehemently against the possibility of this sort of migration. Herder declared that “each nationality contains its center of happiness within itself.” He believed that to become a person in full, to develop completely, one must be firmly rooted within a particular group which will equip its members with a distinct language, worldview, culture, and history. Once incubated within this culture, it is impossible to uproot and pick a different one. Herder emphasized that every aspect of life is tinctured by one’s origins. Thought itself is a product of where one comes from, and ideas grow like cacti in the desert, into and a part of their landscape. This is because language, which he called “the organ of thought,” is developed by nations. A people, with all its predilections, inclinations, and prejudices, made it. 

    Herder did not regard these particularities as parochial or stifling. Or rather, he regarded all of them as parochial and none of them as stifling. Parochialism is not a curse for this kind of pluralism, because parochialism is all there is. We all live in our specificities; but this specificity, this parochialism, the enormous power of one’s origins, does not quash the possibility of individual expression. By delving deep into one’s inherited resources, by absorbing and being absorbed by one’s tradition, Herder believed that a person can hope to gain some relationship with transcendent ideas. We already possess what we need for our highest purposes.

    By recognizing the richness in specificity, Herder secured his nationalism against chauvinism, because the specificities are everywhere: all cultures are equally authentic and equally rewarding. Whereas he believed that all cultures are incommensurate from one another, he did not mistake incommensurability for inequality. Herder did not argue for the superiority of any one culture, or that a member of one culture cannot esteem an alien one (though some of his intellectual heirs did). Appreciation for the uniqueness of one’s own form of life inculcates an appreciation for other forms of life. Since one judges one’s own culture against its own standards, one learns not to judge a different culture according to oneʼs own standards. Membership in a specific group teaches us about membership generally, and so the member of one group who does not respect the particularities of another group is a hypocrite. (In this spirit, we might say also that a cosmopolitan with no love for her own country cannot really love all countries.)

    Yet there is something ironic, or worse, about Herder’s love of the many. It teaches respect across the borders, but it hardens the borders. It is deeply centripetal, and suspicious of travel. Its celebration of difference ordains that we stay with our own. There are many lanes, but we each take only one of them. This thinker who wanted us all to acknowledge the worth of every system did not encourage us to investigate any system but our own. This is a decidedly unadventurous pluralism, which prefers authenticity to curiosity. It precludes the possibility of escape, of seduction, of conversion, even of understanding anything foreign. Differences are universal but there is no universalism. Since we are not poor, none of us, we should make do with our own resources, each of us. 

    In Herder’s view, human life is pluralistic but human experience, individual experience, is not. Surely this is a stunted and inaccurate account. Is the multiplicity of traditions and cultures only something we know about and revere, but do not sample and explore? Of course not. If this were true, any attempt to understand an alien culture, let alone to adopt one, would be impossible. We would all be trapped in our particular idioms, like the punishment at Babel. But the punishment at Babel failed: there are overlaps, there are bridges, there are translations, there are mobilities. Take Herder’s view of the genesis of ideas. In truth they do not grow like plants in the desert. They travel. They are refined and developed and applied far away from where they are born. Indeed, their birthplace may be the most trivial fact about them; and this may be true of people, too. 

    History offers many examples. Consider the American, French, and Haitian revolutions, beginning in 1775, 1789, and 1792, which were like ideological dominos, one following the other despite an ocean of water and cultural and linguistic differences. The idea of political liberty did not belong to any one of these revolutions, because ideas do not belong to anybody. All of these movements borrowed and altered a group of concepts, and changed the way that the previous champions of the concepts understood them. The Haitian revolution naturally inflamed the question of slavery in the United States, underscoring the irony that Americans continued to deprive their own people of the freedoms in the name of which the American revolution had been fought. A concept, no matter where it comes from, can be better honored by strangers than those who earlier articulated it. The same lesson has been reinforced by recent history: the greatest championing of the American kind of freedom occurred not by Americans on American soil, but by the citizens of Hong Kong waving the American flag in their streets in protest against the most powerful and nefarious contemporary enemy of that symbol. The people of Hong Kong recognized themselves not in Donald Trump’s America, but in the American heroes of 1776. Likewise, the American revolutionaries of the eighteenth century should have recognized themselves in the early days of the French Revolution, as Haitians did. 

    Of course not all loyalties are freely chosen; nobody entirely invents herself. Inherited loyalties should not be rejected merely because they are inherited. We do, all of us, in every group, inherit wisdoms. And often one discovers oneself already inside. Family, country, language, culture: these things are not less precious, when they are precious, because they were not freely chosen. But equally precious are the stimulations from outside. Is learning another language leaving one’s lane? And if it is, so what? Is it treasonous to conclude that the philosophy of somebody else’s ancestors is right, or better for oneself? What culture ever developed without cross-fertilizations from other cultures? Does coming from somewhere demand going nowhere?

    Everywhere in human life there are crossings, conversions, and migrations. A convert or an immigrant chooses her loyalties in a way that a born member does not, and so her identity has its own authenticity. Religions have always found converts spiritually glamorous (converts in, not converts out), and Americans, though not recently, have felt the same way about immigrants. A lonely soul — authenticity is no guarantee against loneliness — might wander into a church or a synagogue or a mosque or a classroom or a meeting hall in search of a philosophy or a community, and she might find it there, and good for her. 

    Taking multiplicity seriously is not easy. In a pluralist society, the individual begins with at least two loyalties: to her square in the quilt and to the quilt itself. (Without the quilt there is no square.) But this is just the beginning of her heart’s trajectory. What happens when she is exposed to the other squares? Members of our own pluralist society often dread this possibility. They think that their responsibility as citizens is to ensure that the state secures their square as much freedom and support as possible, and that the society flourishes best when each of its composite parts retreats inwards towards their kin. But this is not pluralism, it is Balkanization. Genuinely pluralistic living is unsettling for the nomadic impulse in all of us. It may quash that impulse or it may encourage it.

    Living in multiplicity is made up of unexpected challenges and inescapable influences and conflicting (or at least many) loyalties. Most of the time the unsettledness of living with conflicting loyalties will offer a healthy challenge, oxygen from our different settings, the distance to evaluate our own biases with a modicum of objectivity. But sometimes the freedom and the variety will be grueling. There will inevitably be moments when one will have to choose one loyalty over another. Camus publicly grappled with a challenge of this sort when, in 1957, after the ceremony in which he was awarded the Nobel Prize in literature, he remarked: “People are now planting bombs in the tramways of Algiers. My mother might be on one of those tramways. If that is justice then I prefer my mother.” (There are many versions of this story, but I take it from the careful appendix to Alice Kaplan’s edition of Camus’ Algerian Chronicles.) He had many commitments and many identities, and while he rejected none of them he still had to choose; and with fortitude, immediately, without a nervous attempt to justify it with what Bernard Williams would have called “one thought too many,” he made his choice. Every person who lives at the nexus of many loyalties will have moments of this kind, if much less melodramatic ones.

    Ideas and the other equipment of the spirit are not owned by people. It sounds silly to have to say, but it does bear saying now, that when I am captivated by an element of a foreign culture, so that I study it and reflect its influence in the work that I do, I am not stealing it, because it is much bigger than its provenance. The same is true of someone who is exercised by, and adopts an element of, my ancestral culture. I thank them for their interest. The calculus of gain and loss is the inverse of the one described in the Shakespearean speech: he enriches himself and does not make me poorer. No one was ever impoverished by being emulated. An idea only grows in influence and sophistication when it travels. If something is true in Chinese, it is also true in Arabic. If a concept was first expressed in English, does that mean non-English speakers can never under-stand it? Is democracy “Western,” and if it is “Western,” as the post-colonial critics say it is, then are non-Western democrats guilty of cultural appropriation? It is nothing but an expression of respect when a people translates a foreign literature into their language; there are many cultures that date a revolution in their literature to the first translations of Shakespeare into their to native tongues. Was Langston Hughes out of his lane when he wrote sonnets? And readers of all genders continue to learn from Flaubert and Tolstoy what it is like to be a woman. 

    It is the solemn duty of every citizen, particularly those of a multicultural and multiethnic society, to leave her lane, temporarily or even permanently if she wishes. Nobody can understand the world, or respect what is not familiar to her, while confined to her own lane. This is the lasting imperative of the pluralist heart.

    Where Are the Americans?

    They are begging us, you see, in their wordless way,
    To do something, to speak on their behalf
    Or at least not to close the door again.

    DEREK MAHON

    In foreign policy, the remedial efforts of the new administration, the post-Caligula administration may come down to this: the position of the United States in the world must be restored, but not too much. Sometimes, when people speak of all the damage that Biden must undo, they talk about giving us a fresh start by getting us back to zero. But zero is zero; and nobody in their right mind, in the terrifying social and economic crisis in which we have been living, would propose zero, a return to 2016, as the proper objective of domestic policy. In social and economic policy we must be ambitious, monumental, transformative, and finally translate the humaneness that we profess into laws and programs and institutions; we must assist and even rescue the weak and wounded millions in our midst. But the Rooseveltian moment is to be confined to our shores. Abroad, I fear, we will rescue nobody. We will be only national humanitarians. We are resolved to “repair our repaired alliances,” as we should — but this leaves the larger question of what we are to accomplish with our alliances, what we and our allies are to do in the world together. We are similarly resolved to “restore American leadership,” but we are also haunted by the prospect of genuine American leadership, grand leader-ship, leadership with power as well as politesse, unpopular but persuasive leadership, not least because we have distorted the modern history of American leadership into an ugly story, a sordid and simple tale of imperialism and exploitation, which is a calumny that will cripple us for the conflicts that are on their way, and are already here.

    One of the reasons that a return to 2016 will not suffice to recuperate our foreign policy is that the wayward course of the United States, its choice to abdicate global preeminence and to withdraw from decisive historical action, did not begin in 2016. We have been living contentedly in our shrunken version, in an increasingly Hobbesian world, in this springtime for Hitlers, for a dozen years. When historians record the history of American foreign policy in this century, they will be struck by the continuities between the Obama administration and the Trump administration, and thereby discomfit (I hope) many people. There are some differences, of course. Obama’s diplomatic diffidence was sold suavely, like everything he sells: an emotionally exquisite realism, a tender-hearted hard-heartedness, Brent Scowcroft’s policies with Elie Wiesel’s words. It was not, as in the case of Trump, animated by anything as coarse and candidly indifferent as America First, but in practice the callousness was the same. In the Obama era, no country, no ally, no democratic rebellion or dissident movement, no cleansed or genocidally attacked population, could count on America. (There was another difference: Trump, a swindler who hated to be swindled, at least got China right. The good news is that Biden appears to have noticed.) In 2016, in a radio interview, David Remnick, a wholly owned subsidiary of Obama, remarked to Ben Rhodes, another wholly owned subsidiary of Obama, that the president was “asking the American people to accept a tragic view of foreign policy and its limitations, and of life itself.” And he added, unforgettably: “Sometimes a catastrophe is what we have to accept.” What sagacity! But which catastrophes are the acceptable ones? So many atrocities, so little time. It takes a special kind of smugness, and politics, to be stoical about the sufferings of other people.  

    Insofar as the new Biden foreign policy apparatus is the old Obama foreign policy apparatus — are they now the Blob? — there is reason to worry that their former leader’s aversion to conflict, and his soulful patience with the anguish of others, will live on in a busy cosmopolitanism that mistakes itself for a robust internationalism — a genial, worldly, multi-lingual era of good feelings and recovered sanities that will still offer no serious impediment to the designs of rivals and villains. We will soon see how far the return of truth to government will reverse the isolationist foreign policy that was developed during government’s recent adventures with falsehood. Returning from Trump to Obama will not suffice. They knew the truth in the Obama White House, they knew the facts, but it set nobody free.

    Those who are pleased by the reduction of America’s position in the world like to say that America should lead not by power but by example. It is a clever argument, in that it imposes no obligations upon us other than to be ourselves, which is always the laziest imperative of all. Unfortunately for those who recommend this historical leisure, this self-congratulatory lethargy, the City on the Hill is presently in ruins. Who on earth would want to be us now? I exaggerate, of course: we never were Weimar America, and we sent our orange strongman packing, and our Constitution held; but we are miserable. Even in the good times, there was nothing terribly helpful, it was even a little insulting, to say to the wretched of the earth, be like us. The only way any of them could be like us was to fight their own fights, in their own communities and in their own cultures, for the opening of their societies, ideally with the expectation that the United States would be there to assist them in their struggle for their particular inflection of the universal value of freedom. There was also another way in which they could be like us: they could come here and join their democratic and economic appetites with ours, which is why we should regard immigration as the definitive way of taking America’s promise seriously; but on immigration, too, we lost our footing years ago, and are a haven no more. 

    How can we lead by example if we are not exceptional? But it is the people who despise the idea of American exceptionalism who insist that our example is our only claim to global authority. Their implication is that until we have justice at home, we cannot take an interest in justice abroad. We may as well inform the Uighurs and the Syrians and the Rohingya and the astonishing citizens of Hong Kong that they must wait forever. The worst example of such reasoning — it is one of the most outrageous sentences I have ever read — was Simone Weil’s observation that as long as France had colonies it had no moral authority to fight Hitler. As if ethical action is the duty only of saints. But the struggle for justice, at home and abroad, is always the work of sinners, whose introspection is supposed to catalyze, not paralyze, them. No, there is only one way to win the friendship of people beyond our borders, and it is to help people beyond our borders. We can be big in the world by doing good in the world. Lacking bigness or goodness, we (and not only we) are doomed. 

    I will be accused, at the very least, of a lack of irony. Don’t I know about the innocent blood spilled in the just wars? What about the interventions that went wrong? What about the infringements of sovereignty, that most hallowed of Westphalian principles? And the cocky way I am using that word “good” — good according to whom? These are fine and urgent questions. Naivete is especially unpardonable in discussions of power. Idealists have a special obligation to attend to considerations of costs and benefits; otherwise, as the Latin adage about doing justice warns, the world may perish for their stubbornness. Moreover, the rhetoric of political virtue, of enlightenment and liberation and democracy, was long ago appropriated by modernity’s monsters: they, too, use moral language, words like “good.” 

    But there are no perfect Westphalians: interests of state have regularly over-ruled the inviolability of states, often for shabby reasons. There is something grotesque about living with immoral and amoral transgressions against the state system but drawing the line at the moral ones. All these historical and philosophical complications persuade me only that we should be intellectually scrupulous, not that we should be practically feckless. The shoals of relativism, the taunts of epistemology, the consistencies of pacifism, pale before the sufferings of individuals and peoples. Their pain is overwhelmingly actual. Its facticity is almost stupefying. I have been reading a beautiful old essay by Ignazio Silone called “The Choice of Comrades,” where I find this: “It is a matter of personal honor to keep faith with those who are being persecuted for their love of freedom and justice. This keeping faith is a better rule than any abstract program or formula.  In this age of ours, it is the real touchstone.” Pretty unsophisticated, no? 

    It is now a terrible anniversary. It has been ten years since the beginning of the first great disgrace of the twenty-first century. I am referring to the Syrian catastrophe. Except for the dead and the raped and the tortured and the exiled, except for the refugees and the survivors, the dust seems to have settled for everyone else, and so it seems time for Americans to do what Americans do best: move on. Anyway, what can we do? The democratic rebellion in Syria that began in Dara’a in April, 2011 was defeated. It was successfully transformed into an ethnic and religious conflict, the direst kind of contemporary war, by the tyrant Bashar al-Assad, who proceeded to destroy his own country and bomb his own people and, when his weakness was showing, deliver his state to the aggressions of the Iranians and their Hezbollah allies under the protection of the Russians, who rushed in where America feared to tread. This was a moral and strategic (look again at the map) failure of staggering proportions. It was a genocide and an invasion and a conquest. We chose to stand idly by, feeling bad and watching it. And the effects of our passivity were not confined to the borders of the ravaged land. As a consequence of the West having done nothing, so that the murderers met no resistance from outside, no force that could obstruct them, the stability of Lebanon and Jordan has been threatened, Turkey has embarked on a dark path, Russia has become a semi-demi-hemi-superpower, Iran has become a regional hegemon, the position of the United States in the world has plummeted, and fascists are coming to power in Europe. Not bad for nothing.

    There are primal historical scenes that leave an indelible imprint upon one’s sense of the world — one’s expectations of it and one’s obligations in it. When I was growing up, there were two such primal scenes, and they generated antithetical views of history and politics. The first was World War II, the second was Vietnam. All I needed to know about an individ-ual was his or her primal scene, and the rest was easily filled in. There was post-war and there was anti-war. People who were postwar, who were imprinted by the effects of American power against fascism in Europe and Asia, and by the testimonies of the victims of totalitarianism who regarded American soldiers as saviors, had a large and admiring view of America’s role in the world, and a verified confidence that American power could be used justly and for justice. Post-war was not pro-war, but it was prepared to use American force in the name of certain values and certain interests — and did, with good, bad, and mixed results. Vietnam, the subsequent primal scene, was supposed to have shattered that confidence, and anti-war people deplored American intentions and interventions, which they viewed as cynical projections of power for power’s sake, and for money’s sake too, and as nothing other than imperialism. These different outlooks were to some extent generationally determined, but not entirely; they were applied not only to the uses of American military power but also more generally to the level of American activism around the world and to the level of Ameri-can preeminence in the world; and they may be described, if labels be needed, as liberalism and progressivism. (Biden is a post-war become an anti-war, I think.)

    Now there are two new primal scenes, from which two corollaries of historical and strategic understanding similarly flow. The first is Iraq, the second is Syria. Iraq is Vietnam’s successor in the foreign policy of progressives, the transgression from which there is no recovery, the obscene noun that silences all talk of American action. As Obama remarks in his memoir, “of course, I considered the invasion [of Iraq] to be as big a strategic blunder as the slide into Vietnam had been decades earlier.” Iraq was the reason that we did not go into Syria. The poor Syrians had the misfortune of being exterminated after 2003. Their horrors came too late, when the United States was sunk in historical memory. I am not suggesting, of course, that American forgetfulness would have been preferable; only that the infamous lessons of Iraq are not as obvious as every person on every street corner in Washington seems to think. 

    I should confess immediately that I supported the Iraq war. I believed, on what I (and almost everybody except Scott Ritter) regarded as good authority, that Saddam Hussein possessed chemical and biological weapons, and since he had already used chemical weapons against the Kurds in Halabja in 1988, the question of his willingness to employ weapons of mass destruction was not a theoretical one. The use of such weapons, I continue to believe, and the threat of their use, constitutes a global moral emergency. When I realized that the assumption behind the invasion was wrong, that the dictator in Baghdad was bluffing his way to his own destruction, I promptly retracted my support, but I did so in a way that did not please the anti-wars. I wrote that the United States had been taken by its leaders into a major war on the basis of a mistake or a lie, and that this was a great historical scandal — but I expressed no regret about the overthrow of Saddam, and I continued to hope, not without evidence, that democratic progress could be made in the political openings that we — perhaps not by right, but in fact — were creating and supporting. I ardently hoped to see democracy in an Arab country. I was not surprised by the sectarian strife that was released by the collapse of the dictatorship, but this was a problem that Iraq, and other Muslim countries, would sooner or later have to face. In heterogeneous societies, tyranny is, among other things, a stop-gap measure, a deferment of the inevitable confrontation with the political challenges of difference and disharmony.

    I certainly did not come away from the partial debacle in Iraq with the conviction that the United States was henceforth disqualified from international interventions. There were a number of reasons for this. For a start, there is no single event that explains everything, that is all we will ever need to know. Paradigms, and primal scenes too, enslave our thinking, and historical analogies are never precise. (During the Trump years, for example, we never had our Reichstag fire.) Those who forget history are sometimes condemned to repeat it and sometimes not; and those who remember history will know that it never slows down or stops, it offers no ellipses or time-outs, there is no interregnum between crisis and crisis in which we may calmly reflect and attend conferences before we act again. If ever we needed a respite from history, it was in 1945; but events in Europe and elsewhere did not allow it. (The isolationism of the 1930s, and America’s unconscionably slow start in the defense of England and the other democracies, was owed to a similar exhaustion, and to vivid memories of a recent war.) It makes no sense, at least to me, to say that we could have halted the genocide and the occupation of Syria if only we had not intervened in Iraq. The relentlessness of history, and the eruption of evil, is always inconvenient. We are never adequately prepared for it, intellectually and materially, but there it is. If we should have intervened in Syria, we should have intervened in Syria.

    There were many, of course, who did not agree that an intervention in Syria would have been justified. Obama never said so explicitly, but my obsessive study of his foreign policy led me to the conclusion that it was his belief that the United States has no right to make itself in any way responsible, directly or indirectly, for a significant change in another country. (In accordance with the anti-war account of American foreign policy, however, there were three exceptions to this quietism, three countries about which American guilt demanded American action: Vietnam, Cuba, and Iran.) There are many objections, historical and philosophical, that can be made to such a view. This debate must still be engaged. The Obama people, who in the Trump years swanned around like disappointed interventionists, argued that there was nothing, nothing, that we could have done in Syria, and eventually some of them bizarrely had algorithms made to settle the matter. But the important point is that we tried it their way, and it failed. Whereas we do not know what the outcome of American intervention in Syria would have been, we do know what the outcome of American non-intervention in Syria has been. Was sitting on our hands really worth it? We were disgusting. In the Obama years I had the honor of many visits from many Syrian friends who wanted to talk with me on their way to an appointment at the White House. I advised them all the same thing: tell the officials what you know about the situation on the ground, be useful to them, speak as eloquently as you can, appeal to American ideals and American interests, and expect nothing. 

    If Iraq is now one primal scene, Syria is now the other. Syria is the cautionary tale about the stupendous consequences of inaction. Here is another heresy: I have no doubt that the costs of American action in Iraq have been much less than the costs of American inaction in Syria. Governments and peoples everywhere were watching. The governments learned that they can do whatever they wish to their peoples, and the peoples learned that America will not try hard, or at all, to stop their governments. The governments also learned that they could send their troops across borders with impunity, in campaigns of aggression that seize territory and disrupt states, as Iran did in Syria and elsewhere, and Russia did in Ukraine, and China is likely to do in Taiwan and the South China Sea. It is true that we do not have the power to determine the policies of other countries, but we do have the power to inhibit them and complicate them and thwart them. We have the power, if we want it. Anyway, we know all about the limits of American power: it is the foreign policy cliché of our era, our diplomatic catechism. The question before us is which limits to accept, and why. A limit is not a fate. In domestic policy, certainly, we are correctly enjoined to “go big,” and never mind the warnings about what the economy will bear.

    But how does the dispatch of American troops to another country differ from the Russian dispatch of troops to another country? Are our actions acceptable because they are ours? Of course not. All interventions are not the same. We have sometimes abused our power abroad, and we have experienced legal and political and cultural reckonings with those abuses. What makes the difference, plainly, is the purpose. When, in the first Gulf War, we and our allies expelled Iraq’s troops from Kuwait, we were upholding international law and coming to the assistance of an invaded country — but when James Baker, who was asked about the reasons for the war, said “jobs, jobs, jobs,” he put a bit of a dent in its legitimacy. There is a commonly held view that an American presence is no longer welcome in the Muslim world after Iraq. I do not speak or read Arabic, and my evidence is journalistic and anecdotal, but I wonder. It cannot have been lost on many Muslims that most of America’s military campaigns in recent decades were designed partly or wholly to assist Muslims — in Bosnia, in Kosovo, in Kuwait, in Afghanistan, in Libya, even in Iraq. (The Libyan campaign, though, was a model of how anti-interventionists intervene: the objective of the mission almost immediately became to end the mission, and we hastily left Libya to its hell.) Syrians, certainly, were desperate for American intervention; and the one night in ten years that I saw my Syrian friends happy was the night that Trump fired fifty-nine cruise missiles at a Syrian air base in retaliation for the Syrian regime’s sarin attack on the village of Khan Sheykhoun. When I asked H.R. McMaster whether the American operation represented a new policy of engagement or a Tweet with missiles, I angered him; but alas, it was a Tweet with missiles.

    People who need help usually welcome help. They do not ask to see the ideological credentials of those who have come to save their lives. The credentials game is the sanctimonious pastime of those who are not in need of rescue — the American left, for example, which had nothing at all to offer the Syrians, or the Ukrainians. The journals of the American left have established a strange intellectual ritual about human-rights emergencies: they report on them in plangent detail and then deplore any suggestion that we might actually do something to alleviate them. They deify dissidents and their hearts break for the women and the children, and then the ideological prohibitions kick in. In this planet of horrors nothing horrifies them more than the prospect of an American soldier somewhere. It suits many Americans to believe that for the rest of the world we are still the ugly Americans, since the subject of intervention is moot if we are not wanted. 

    We certainly should not go anywhere as conquerors or occupiers, but there may be justifications for an American military presence that have nothing to do with conquest or occupation. We must always be respectful of the “local dynamics,” though there will be occasions when the “local dynamics” are precisely what bring us to a faraway place. But when there is an earthquake in Haiti or a nuclear accident in Japan or an invasion in Ukraine or a genocide in the Balkans or a plague in Liberia, the broken countries generally, and correctly, look to us. We are not the cops of the world, but we do not turn our backs, at least not always. Right now we are hardly in danger of doing too much. This has been a golden age of too little. Soon, if we do not recover our sense of our historical role, the imperiled of the world, and the prudent, will start looking to China. (They will discover the original meaning of attached strings.) During the Obama years, when friends would return from trips abroad and offer reports over drinks, a pattern began to emerge from their observations. Wherever they went, to Europe, the Middle East, South Asia, Japan, or Latin America, in meetings with officials and journalists and politicians and bankers, they were asked the same question — a question there was no need to ask during the Trump years because its answer was repulsively self-evident. The question that hounded them everywhere was, Where are the Americans?

    “O to be discussing this face à face (or mano a mano, in this case) outside Kramer books with a stiff drink. Our last conversation there was really memorable.” So wrote a cherished friend not long ago, a man of strong intellect and immense learning, a steadfast liberal. He was right: we needed a long and rigorous conversation. The situation called for a café. We had been corresponding about the question of interventionism, about Syria and Iraq, about what the new administration’s foreign policy should be. We disagreed. Our moral and philosophical premises were the same, but he was shaken by my stubborn confidence that American force could still be used in service to those premises. “Are you not at all chastened by the damage such confidence has caused over the past two decades?” In fact I believe that the “damage” is not remotely the whole story, that the results have been decidedly mixed; and in this vale  of tears I cannot scant mixed results. “We and the Syrians,”  my friend wrote, not at all complacently or triumphantly,  “are paying the price for the Iraq folly.” As a factual matter,  he was right.

    And then he expressed another objection, an exceedingly interesting one. “This is not a moral disagreement,” he explained. “What I object to is the reflex to transform political problems into moments of moral self-revelation and self-definition — Malraux moments. ‘Here I stand” — yes, yes, I know, but sometimes you need to stand over there and pipe down.” About not piping down, I plead guilty as charged, though I fail to see why the other side should not also stifle its ringing certainties. But in these debates I do not really mind the noise: the stakes justify some heat, which hopefully will be generated by some light. “For Zion’s sake I will not hold my peace,” the prophet Isaiah proclaimed. Elsewhere in his letter my friend had indeed impugned me for speaking not liberally but prophetically. And Isaiah’s proclamation may indeed be described as a Malraux moment.

    I understood what my friend meant by this notion. André Malraux was many things, but one of them was a grand self-mythologizer who, from the 1920s to the 1940s, valiantly but also narcissistically, hopped from world-historical crisis to world-historical crisis — China, Cambodia, Spain, Nazi-occupied France — an intellectual who dreamed of being a man of action, turning his participation in those cataclysms into an epic of self-description, and into novels. If he was a hero, it was not least in his own eyes. I had noticed long ago, in others as well as in myself, the grandiloquence that sometimes results from high moral arguments, the way that impassioned participation in a war of ideas can be confused with another variety of historical participation, the inflation of the self that comes from a certain intensity of commitment. (In 2002, during the debates about al-Qaeda and Iraq, Christopher Hitchens, with whom I stood shoulder to shoulder at least on these questions, declared: “You want to be a martyr? I’m here to help.” I remember thinking that his self-conception had crossed the line.) The prophetic feeling is a nice feeling, especially in a land where prophets pay no price.

    “Liberalism,” my friend continued, “should teach an art, or at least see the need for an art, of discerning when a fundamental moral issue is at stake and when it is not.” This is liberalism as a mentality, not as a doctrine. At the café I would have retorted that if intervention to stop a genocide, or to assist a democratic rebellion, is not a fundamental moral issue, I don’t know what is. But his charge of Malrauxism stays with me. He is on to something. Foreign policy must not be a form of self-expression. It must not be, as Americans like to say, about us. When we act abroad, it should not be to confirm a flattering picture of ourselves, or to furnish a sensation of our own rectitude. This is in part because statecraft should be a profoundly empirical activity, based on a sober evaluation of threats and opportunities — on an analytical disinterestedness without which our promotion of our values and our pursuit of our interests may become a menace to the world. The delusions of statesmen have murdered many millions of people. 

    Yet my friend’s warning against Malrauxism provoked me to another conclusion, which he will find perverse in the context of his prescriptions for caution. It is this: that there are circumstances in which our foreign policy, if it is not to be about us, must be about others. I do not mean only that diplomacy and strategy are always to some extent reactive, in that we do not have the capacity to determine all by ourselves, in our own time, based on our own preferences and our own moods, whether a crisis represents, say, a “new cold war.” There is always the not insignificant factor of the behavior of other states, inside and outside their borders. When I say that our foreign policy must sometimes be about others, I mean also something more radical, more swift, more humanistic, more exercised by peoples than by governments: that there are times when we must take action because of the needs of others. 

    The needs of others: we must agree to be distracted and quickened by their plight. They cannot be neglected because we are still discussing humility and hubris. We must be prepared to pause, to look up from the ordinary practices of international relations, for the purpose of support and rescue. People who are not citizens of a country sometimes have a legitimate claim on its power. In the case of refugees, for example, Kant recognized a “cosmopolitan right” that he called “universal hospitality,” which was eventually codified in the Refugee Convention of 1951. “We are concerned here not with philanthropy,” he sternly wrote, “but with right.” In this instance, the rights of strangers impose an obligation upon us. Do people who are being tortured, raped, thrown into concentration camps, and slaughtered so as to erase their identity from the face of the earth — do they have a right to demand that we come to their assistance and even liberate them? Maybe not, but it should not matter. They have a claim on our sympathy, and sympathy is cynical, vain, with no relation to conscience, unless one acts upon it. (There are many kinds and degrees of action: Iraq is hardly the model.) 

    By what right do we help them? It is the wrong question. The right one is, by what right do we abandon them? On certain occasions humanitarian intervention will coincide with our interests, and there is of course the long-term reward of gaining the friendship of the people we help; but sometimes we should use our power only because it is the right thing to do. We had no interests that would have been served by intervening against the genocide in Rwanda, except for our interest in being able to look at ourselves in the mirror.

    There are hard-boiled types who will scoff at all this, and dismiss it as altruistic, and mock it as not the way of the world. Well, so much the worse for the world. The world is the problem, not the solution. There is no shame in altruism, and when it practiced by a state, by a strong state, by a great power, it may even modify international norms. It is certainly not inconsistent with the toughness that will be demanded of our leaders by the Great Game that has already begun to define this century. And it is certainly not the whole of foreign policy, though the less sentimental problem of world order will also require a new American emboldenment. The opposite of America First is not America Second. It is America in full, unafraid of history’s pace, unembarrassed by its enthusiasm for democracy and human rights, larger than its mistakes and its crimes, comfortable with the assertion of its power in its own defense and in the defense of others, inspired by the memory of its magnitude, repelled by the rumors of its decline. Only we can bring us down and only we can lift us up, and not only us. “We fell victims to our faith in mankind,” wrote Alexander Donat, a survivor of the ghettos and the concentration camps, “our belief that humanity had set limits to the degradation and prosecution of one’s fellow man.” There are already too many people in too many places who fell victim to their faith in America.

    Art’s Troubles

    I

    Duly acknowledging that the plural of anecdote is not data, I begin with some stories drawn from the recent history of liberal democracy.

    • In November 2010, the Secretary of the Smithsonian Institution removed an edited version of footage used in David Wojnarowicz’s short silent film A Fire in My Belly from “Hide/Seek: Difference and Desire in American Portraiture” at the Smithsonian’s National Portrait Gallery after complaints from the Catholic League, and in response to threats of reduced federal funding. The video contains a scene with a crucifix covered in ants. William Donohue of the Catholic League claimed the work was “hate speech” against Catholics. The affair was initiated by an article contributed to the Christian News Service, a division of the Media Research Center, whose mission is to “prove — through sound scientific research — that liberal bias in the media does exist and undermines traditional American values.”

    • In October 2015, Dareen Tatour, an Israeli Arab from a village in the Galilee, was arrested. She had written a poem: “I will not succumb to the ‘peaceful solution’ / Never lower my flags / Until I evict them from my land.” A video clip uploaded by Tatour shows her reading the poem, “Resist, my people, resist them,” against the backdrop of masked people throwing rocks and firebombs at Israeli security forces. The day after the uploading, she posted: “The Islamic Jihad movement hereby declares the continuation of the intifada throughout the West Bank…. Continuation means expansion… which means all of Palestine. And we must begin within the Green Line… for the victory of Al-Aqsa, and we shall declare a general intifada. #Resist.” In 2018, Tatour was given a five months’ jail sentence. In May 2019, her conviction for the poem was overturned by the Nazareth District Court, but not the conviction for her other social media posts. The poem, said the court, did not “involve unequivocal remarks that would provide the basis for a direct call to carry out acts.” And the court acknowledged that Tatour was known as a poet: “freedom of expression is [to be] accorded added weight when it also involves freedom of artistic and creative [expression].” The Israeli Supreme Court rejected the state’s motion for appeal.

    • In 2017, the artist Sam Durant made a public sculpture, “Scaffold,” for location in the open grounds of the Walker Art Center in Minneapolis. It was an unpainted wood-and-metal structure, more than fifty feet tall, with a stairway that led to a platform with a scaffold. The work referred to seven executions between 1859 and 2006, including the execution in 1862 of thirty-eight Dakota-Sioux men. Protesters demanded the work’s destruction: “Not your story,” “Respect Dakota People!” “$200.00 reward for scalp of artist!!” Following mediation, the work was surrendered to the activists, who reportedly dismantled it, ceremonially burning the wood. Art critics endorsed the protest: “In general it’s time for all of us to shut up and listen.” “White Americans bear a responsibility to dismantle white supremacy. Let it burn.” The artist himself denied that he had been censored. “Censorship is when a more powerful group or individual removes speech or images from a less powerful party. That wasn’t the case. I chose to do what I did freely.”

    • In April 2019, three Catholic priests in the Polish city of Koszalin burned books that they said promote sorcery, including one of J.K. Rowling’s  Harry Potter  novels, in a ceremony that they photographed and posted on Facebook. The books were ignited as prayers were said and a small group of people watched on. They cited in justification of the ceremony passages from Deuteronomy (“The graven images of their gods shall ye burn with fire”) and Acts (“Many of them also which used curious arts brought their books together and burned them before all men”). In August of the same year, a Roman Catholic pastor at a school in Nashville, Tennessee banned the Rowling novels: “These books present magic as both good and evil, which is not true, but in fact a clever deception. The curses and spells used in the books are actual curses and spells; which when read by a human being risk conjuring evil spirits into the presence of the person reading the text.”

    • In August 2019, the release of the film The Hunt, in which “red state” Americans are stalked for sport by “elite liberals,” was cancelled. Donald Trump had tweeted: “Liberal Hollywood is Racist at the highest level, and with great Anger and Hate! They like to call themselves ‘Elite,’ but they are not Elite. In fact, it is often the people that they so strongly oppose that are actually the Elite. The movie coming out is made in order to inflame and cause chaos. They create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!” The studio explained: “We stand by our film-makers and will continue to distribute films in partnership with bold and visionary creators, like those associated with this satirical social thriller, but we understand that now is not the right time to release this film.” Nine months later, with a new marketing campaign, the film duly appeared. The director explained: “The film was supposed to be an absurd satire and was not supposed to be serious and boring……. It’s been a long road.”

    • In Germany, a Jewish activist has been litigating to have removed a thirteenth-century church carving of the Judensau, or “Jewish pig,” an infamous trope of medieval anti-Semitism, from the outer wall of the main church in Wittenberg. A memorial plaque installed in November 1988, containing in Hebrew words from Psalm 130, “Out of the depths, I cry to you,” does not satisfy the litigant. The district court ruled that the continued presence of the carving did not constitute evidence of “disregard for Jews living in Germany.” The judgment was upheld this year by the Higher Regional Court: the presence at the church of both a memorial to the Holocaust and an information board that explains the Judensau as part of the history of antisemitism justified retaining the carving. The campaign to remove the carving has Christian clerical support: “The Judensau grieves people because our Lord is blasphemed. And also the Jews and Israel are blasphemed by showing such a sculpture.” A local Jewish leader took a different position: “It should be seen within the context of the time period in which it was made,” he argued. “It should be kept on the church to remind people of antisemitism.”

    • Two years ago the artist Tomaz Schlegl built a wooden statue of Trump in Moravce, Slovenia. It was a twenty-six-foot tall wooden structure that had a mechanism to open Trump’s red painted mouth full of pointy teeth. The artist explained that the figure has two faces, like populism. “One is humane and nice, the other is that of a vampire.” He explained that he had designed the statue “because people have forgotten what the Statue of Liberty stands for.” The Trump-resembling statue wasn’t actually Trump, but “I want to alert people to the rise of populism and it would be difficult to find a bigger populist in this world than Donald Trump.” It was burned down in January 2020. The mayor of the town, deploring the arson, commented: “This is an attack against art and tolerance…. against Europe’s fundamental values.”

    There is something arbitrary about this group of stories — others could have been chosen, without any loss of coherence in the picture of contemporary artistic freedom. There was the campaign against Dana Schutz’s painting of Emmett Till at the Whitney Museum, against Jeanine Cummins’ novel American Dirt, against Woody Allen’s film deal with Amazon, which was cancelled, and against his memoir, which was cancelled by one publisher but published by another one. There was the decision by the National Gallery of Art and three other major museums to delay until at least 2024 the Philip Guston retrospective planned for 2020, so that “additional perspectives and voices [can] shape how we present Guston’s work” (museum-speak for “we will submit our proposals to a panel of censors”). And though they are all recent stories, the larger narrative is not altogether new. In 1999, Mayor Rudolph Giuliani took exception to certain works in an exhibition at the Brooklyn Museum, notably Chris Ofili’s painting The Holy Virgin Mary. The mayor relied on a newspaper report: the Virgin was “splattered” with elephant dung, the painting was offensive to Catholics, the museum must cancel the show. (The museum offered to segregate some pictures and withdraw Ofili’s, but the mayor responded by withholding funds and terminating the museum’s lease. The museum injuncted him; the city appealed; it then dropped the appeal. The Jewish Orthodox Agudath Israel intervened on the mayor’s side.) In 2004, in Holland, the Dutch filmmaker Theo van Gogh was shot dead in Amsterdam by Mohammed Bouyeri, a 26-year-old Dutch-born Muslim who objected to the film Submission that Van Gogh had made earlier that year, with Ayaan Hirsi Ali, about violence against women in Islamic societies; the assassin left a note to Hirsi Ali pinned by a knife to the dead man’s chest. And in 2005, in Denmark, there occurred the cartoons affair. In response to an article about a writer’s difficulty in finding an illustrator to work on a book about Mohammed, the newspaper Jyllands-Posten  published twelve editorial cartoons, most of them depicting him. There was no immediate reaction. The Egyptian newspaper Al Fagr republished them, with no objection. Five days later, and thereafter, there were protests by fax, email, and phone; cyber-attacks, death threats, demonstrations, boycotts and calls to boycott, a summons to a “day of rage,” the withdrawal of  ambassadors, the burning of the Danish flag and of effigies  of Danish politicians, the exploding of car bombs, appeals to the United Nations, and deaths — about 250 dead in total and more than 800 injured. A decade later, when similar cartoons were published in the French satirical magazine Charlie Hebdo, its staff was massacred in its offices in Paris.

    There is more. Behind each story, there stand others — behind the Allen stories, for example, there is the Polanski story and the Matzneff story. And behind those, some more foundational stories. In 1989, the Ayatollah Khomeini issued his fatwa against Salman Rushdie and his novel The Satanic Verses, which had already been burned in Muslim protests; there followed riots and murders, and the writer went into hiding for years. (The threat to his life subsists.) Also, in 1989, the Indian playwright and theater director Safdar Hashmi was murdered in a town near Delhi by supporters of the Indian National Congress Party; the mob beat him with iron rods and police batons, taking their time, unimpeded. In the United States in those years, there occurred, among other depredations against literature and the visual arts, the cancelling of the radio broadcast of Allen Ginsberg’s poem Howl; the campaign against Martin Scorsese’s film The Last Temptation of Christ; the political, legal, and legislative battles over Robert Mapplethorpe’s The Perfect Moment and Andres Serrano’s Piss Christ, and over Dread Scott’s What is the Proper Way to Display the United States Flag?; the dismantling of Richard Serra’s site-specific Tilted Arc; and the campaign against Bret Easton Ellis’ novel American Psycho. There were bombings, boycotts, legislation, administrative action, the ripping up on the Senate floor of a copy of Piss Christ by a senator protesting the work on behalf of “the religious community.”

    Not all these stories have the same weight, of course. But taken together these episodes suggest that new terms of engagement have been established, across political and ideological lines, in the reception of works of art. The risks associated with the literary and artistic vocation have risen. New fears, sometimes mortal fears, now deform the creative decisions of writers and artists. Literature and the visual arts have become subject to a terrible and deeply illiberal cautiousness. (As a Danish imam warned the publisher of the cartoons, “When you see what happened in Holland and then still print the cartoons, that’s quite stupid.”) The interferences with what Joseph Brodsky called literature’s natural existence have grown brutal, overt, proud. We have witnessed the emergence of something akin to a new censorship conjuncture.

    There are ironies and complications. This new era of intolerance of, and inhibition upon, literature and the visual arts has occurred in the very era when the major ideological competitor to liberalism collapsed, and with it a censorship model against which liberal democracies measured their own expressive freedom. Or more precisely and ironically, in the era when the Berlin Wall and Tiananmen Square occurred within months of each other — the former exemplifying the fall of tyranny, the latter signifying the reassertion of it. When China conceived the ambition to become the major economic competitor of the capitalist liberal democracies, it also initiated a censorship model to which over time the greatest private corporations of these same liberal democracies would defer. Since artworks are also products that sell in markets — since filmmakers need producers and distributors, and writers need publishers and booksellers, and artists need galleries and agents — they are implicated in, and thus both enabled and constrained by, relations of trade and the capitalist relations of production. Corporations will both accommodate censoring forces and be their own censors. As their respective histories with the Chinese market show, the technology corporations tend to put commercial interests before expressive freedoms. And that is another irony: this assault on art took place even as the World Wide Web, and then the Internet, was invented, with its exhilarating promises of unconfined liberty. But the new technology was soon discovered to have many uses. As Rushdie remarked in Joseph Anton, his memoir of his persecution, if Google had existed in 1989 the attack on him would have spread so swiftly and so widely that he would not have stood a chance.

    And all the while a new era of illiberalism in Western politics was coming into being, for many reasons with which we are now wrestling. 1989 marked the moment when liberalism’s agon ceased to be with communism and reverted instead to versions of its former rivals: communitarianism, nationalism, xenophobia, and religious politics. New illiberal actors and newly invigorated illiberal communities, asserted themselves in Western societies, as civil society groups came to an understanding of a new kind of political activity. So if one were to ask, when did art’s new troubles begin, one could answer that they began in and around that single complex historical moment known as 1989. And these contemporary art censorship stories differ from older arts censorship stories in significant ways.

    II

    All these stories are taken from the everyday life of liberal democracies, or more or less liberal democracies. In not one of these stories does an official successfully interdict an artwork. There are no obscenity suits among them. With just one exception, there are no philistine judges, grandstanding prosecutors, or meek publishers in the dock. Customs officials are not active here, policing borders to keep out seditious material. There are no regulators, reviewing texts in advance of publication or performance. So how indeed are they censorship stories at all? We must reformulate our understanding of censorship, if we are to understand the censorship of our times.

    “Censorship” today does not operate as a veto. It operates as a cost. The question for the writer or the artist is not, Can I get this past the censor? It is instead, Am I prepared to meet the burden, the consequences, of publication and exhibition — the abuse, the personal and professional danger, the ostracism, the fusillades of digital contempt? These costs, heterogeneous in everything but their uniform ugliness, contribute to the creation of an atmosphere. It is the atmosphere in which we now live. The scandalizing work of art may survive, but few dare follow.

    Censorship today, in its specificity, must be grasped by reference to these profiles: the censoring actors, the censoring actions, and the censored. With respect to the censoring actors, we note, with pre-1989 times available as a contrast, that there has taken place a transfer of censoring energy from the state to civil society. In the West, certainly, we do not see arrests, raids, municipal and central government actions such as the defunding or closure of galleries, prosecutions and lawsuits, or legislation. Insofar as the state plays a part, it tends to be a neutral spectator (in its executive function) or as a positive restraint on censorship (in its judicial function). In respect of civil society, however, there has occurred a corresponding empowerment of associations, activists, confessional groups, self-identified minority communities, and private corporations. The censors among the activists are driven by the conviction that justice will be advanced by the suppression of the artwork. Their interventions have a self-dramatizing, vigilante quality. Artworks are wished out of existence as an exercise of virtue. The groups are very diverse: “stay-at-home moms” and “military veterans” (disparaged by “liberal Hollywood”), policemen (disparaged by rapper record labels), social justice warriors, and so on. Their censorings do not comprise acts of a sovereign authority; they have a random, unpredictable, qualified character, reflecting fundamental social and confessional divisions. As for the corporations, when they are not the instrument of activists (Christian fundamentalists, say), their responses to activists, foreign governments, and so on tends towards the placatory.

    Correspondingly, with respect to censoring actions,  we find a comparable miscellany of public and private  (when not criminal) initiatives in place of administrative  and judicial acts of the state. The activists, right and left,  have available an extensive repertory of tactics: demonstrations, boycotts, public statements, digital denunciations, petitions, lethal violence, serious violence, and threats of  violence, property destruction, disruptions and intimidations,  mass meetings, marches, protester-confrontations, pickets, newspaper campaigns. As for corporations, the tactics, again, have become familiar: refusals to contract, and terminations of employment, publishing, and broadcasting contracts already concluded; editing books and films in accordance with the requirements of state authorities in overseas markets.

    In all these instances, the wrong kind of attention is paid to an artwork — hostile, disparaging, dismissive. There is no respect for the claims of art; there is no respect for art’s integrity; there is no respect for artmaking. Art is regarded as nothing more than a commodity, a political statement, an insult or a defamation, a tendentious misrepresentation. If it

    is acknowledged as art, it is mere art — someone’s self-indulgence, wrongly secured against the superior interests of the censoring actors. All these actions are intended to frighten and burden the artist. And so artists and writers increasingly, and in subtle ways, become self-censoring — and thereupon burden other artists and writers with their own silent example. Self-censorship is now the dominant form of censorship. It is a complex phenomenon and hard to assess — how does one measure an absence? But recall the Jewel of Medina affair of 2008, the novel about one of the Prophet Mohammed’s wives that was withdrawn by Random House because it was “inflammatory.” Who now would risk such an enterprise? Instead we are, with rare exceptions, living in an age of safe art — most conforming to popular understandings of the inoffensive (or of “protest”), a few naughtily transgressive, but either way without bite.

    As for the censored: what we have described as the given problem of censorship — the heterogeneity of civil society censoring actors; the retreat of the state from censoring activity; the collapse of the Soviet Union as the primary adversary of a liberal order; the emergence of China as a powerful, invasive, artworld-deforming censor; the absence of any rule-governed censorship — has meant, among other things, that the pre-1989 defenses against censorship, such as they were, no longer work. They were deployed in earlier, more forensic times, when the state, the then principal censoring actor, was open to limited reasoned challenge, and when civil society actors were subject to counter-pressure, and were embarrassable. Essential values were shared; appeals could be made to common interests; facts were still agreed upon.

    *

    Art now attracts considerable censoring energy. There is no other discourse which figures in so many distinct censorship contexts. It attracts the greatest number of justifications for censorship. We may identify them: the national justification — art, tied up with the prestige of a nation, cannot be allowed to damage that prestige; the governing-class justification — artworks must not be allowed to generate inter-group conflict; the religious justification — artworks must not blaspheme, or cause offense to believers; the capitalist justification — artworks must not alienate consumers, or otherwise damage the corporation’s commercial interests.

    Yet the properties of art that trouble censors are precisely the properties that define art. An attack on a work of art is thus always an attack on art itself. What is it about art works that gets them into so much trouble? We begin with the powerful effect that works of art have on us. We value the works that have these effects — but they also disturb us, and the trouble that art gets into derives from the trouble that art causes. The arts operate out of a radical openness. Everything is a subject for art and literature; everything can be shown; whatever can be imagined can be described. As the literary critic Terence Cave observed, fiction demands the right to go anywhere, to do anything that is humanly imaginable.

    Art works are playful, mischievous; they perplex, and are elusive, constitutively slippery, and therefore by their nature provocative. Art serves no one’s agenda. It is its own project; it has its own ends. This has an erotic aspect: playfulness has its own force, its own drive. Art preys upon the vulnerabilities of intellectual systems, especially those that demand uniformity and regimentation. Art is disrespectful and artists are antinomian. The artist responds to demands of fidelity, Non serviam. He or she is consecrated to a resolute secularity and an instinct to transgress boundaries: the writer makes the sacred merely legendary, the painter turns icons into portraits. (The religious artist does not altogether escape this effect.) It makes sense to say, “I am a Millian” or “I am a Marxist,” but it does not make sense (or not the same sense) to say, “I am a Flaubertian” or “I am a Joycean.” The opinions that may be mined are typically amenable to contradictory interpretations — they invite contradictory interpretations. And let us not overlook the obvious: parody and satire, comedy and farce, are aesthetic modes. Laughter lives inside literature.

    Identity politics tends to be fought out on the field of culture because identity is among art’s subjects. Art confers weight and depth upon identity; and so it is no wonder that identity groups now constitute themselves in part through their capacity for censoriousness. Race politics, gender politics: art has a salient place in them, as do art controversies, in which the various communities pursue cultural grievances by denying legitimacy to certain symbolic expressions. Identity warfare is attracted to art in much the same way that class warfare is attracted to factories. Politics in our day has taken a notably cultural turn, and so art has become a special focus of controversy. Of course, low politics also plays a role in these outrages against art — the Ayatollah’s fatwa was a power-play against Saudi hegemony, and Giuliani’s protest against a sacrilegious painting was a means of distracting Catholics from his pro-choice record. But the problem cannot be reduced to such politics alone.

    Unlike artists, art cannot be manipulated. Specifically, works of art are immunized against fake news, because they are all openly fabricated. Novels are openly fictional: that is their integrity. The artist is the last truth-teller. As already fictional accounts, artworks cannot be subverted by “alternative facts,” and as forms of existence with a distinctively long reach, and a distinctive endurability, they are more difficult to “scream into silence” (Ben Nimmo’s phrase for the phenomenon described by Tim Wu as “reverse censorship,” a pathology of internet inundation). But this is hardly to say that works of art — and their makers — are not vulnerable. Artworks are accessible: books can be burned, canvases can be ripped, sculptures can be pulled down. They are also susceptible to supervision — by, among others, pre-publication “sensitivity readers.” One measure of censorship’s recent advance is the phenomenon of “publishable then, but not publishable now,” and “teachable then, but not teachable now,” and “screenable then, but not screenable now.” The essayist Meghan Daum relates that when she asked a professor of modern literature whether he still taught Lolita, he replied, “It’s just not worth the risk.” This widespread attitude is of course an attack on an essential aspect of art’s existence — its life beyond the moment of its creation.

    III

    To whom should we look for the defense of art?

    Not the state. Of course, the state should provide effective protection for its citizens who are writers and artists. But the state cannot be art’s ally, in part because of its neutrality and in part because of its partisan tendencies. Even in those states which have a tradition of government patronage of the arts, the state must not take sides on aesthetic or cultural questions. Art criticism is not one of the functions of government, and the history of art under tyrannies, secular and religious, amply shows why not. Moreover, the state, or more specifically government, has its own interests that will most certainly interfere in the free and self-determined development of art and literature: its desire for civil peace, which may cause it to intervene in cultural controversy; its privileging of religious freedom, as defined by the confessional communities themselves; its desire for the soft power that art of a certain kind gives; its majoritarian prejudices; and so on.

    What is more, the arguments for state involvement in the arts usually exclude too much art, preferring instead national projects with social and economic benefits, which are usually inimical to art’s spirit. Whatever the individual artist’s debts and responsibilities to her society, as an artist she works as an individual, not a member, not a citizen. It has often, and correctly, been said that the social responsibility of the writer is to write well. When the conditions of artistic freedom are present, the artist represents only her own imagination and intellect. John Frohnmayer, the chairman of the National Endowment of the Arts during the culture wars of the late 1980s and early 1990s, mis-stepped when he wrote: “We must reaffirm our desire as a country to be a leader in the realm of ideas and of the spirit.” That is not an ambition that any writer or artist should endorse.

    Not the right. Simply stated, there is no decent theory of free speech (let alone free art speech) that has come from the illiberal right in any of its various, and often contradictory, reactionary and conservative versions. We will not find a defense of free intellectual and artistic speech in the counter-Enlightenment, or in the illiberal reaction to the French Revolution, or in the conservative or reactionary movements of the late-nineteenth century and early mid-twentieth century. The very notion of free speech is problematic to those traditions. They promote authority’s speech over dissenting speech. They reject the Kantian injunction, sapere aude, dare to know; they reject its associated politics, the freedom to make public use of one’s reason. They esteem reason’s estrangement — prejudice — in all its social forms: superstition, hierarchy, deference, custom.

    In the United States, to be sure, the situation is different. There is, after all, the First Amendment. Conservative articulations of freedom of speech are frequent and well-established. But if one subtracts from their positions what has been borrowed from the liberal order and what is merely self-interested (it is my speech I want heard), is there anything that remains upon which the arts may rely for protection? Let us disaggregate. There are the increasingly noisy and prominent activists of the alt-right, the Trumpists, the neo-Confederates, the militia groups at the Charlottesville “Unite the Right Free Speech March,” and the like. In the matter of free speech they are the merest and most discreditable of opportunists: we should not look to the champions of statues of Confederate generals to protect free speech. Then there are the publicists and the pundits, the Fox commentators, the Breitbart journalists, and the like. They are part borrowers, part opportunists. We should not look for a renewal of free speech thinking to the authors of  The New Thought Police: Inside the Left’s Assault on Free Speech  and Free Minds; Bullies: How the Left’s Culture of Fear and  Intimidation Silences Americans; The Silencing: How the Left is Killing Free Speech; End of Discussion: How the Left’s Outrage Industry Shuts Down Debate, Manipulates Voters, and Makes America Less Free (and Fun); Triggered: How the Left Thrives on Hate and Wants to Silence Us, and so on. Their defenses of free speech altogether lack integrity; they are merely ideological (and often paranoid) in their polemics.

    And then there are the lawyers, the right-wing academics, think tanks, and lobby groups, the administrators, legislators and judges, and the corporations. The widely noticed “turn” of the political right towards the First Amendment had led only to its redefinition in the interests of conservative grievances and objectives: to the disadvantage of liberal causes (anti-discrimination measures, exercise of abortion rights free of harassment, university “speech codes,” and so on); to the disadvantage of trade unions (compulsory deduction of fees enlists employees in causes they may not support); to the benefit of for-profit corporations (conferring on “commercial speech” the high level of protection enjoyed by “political speech”); to the general benefit of right-wing political campaigns (disproportionately benefited by the striking down of campaign finance law in the name of corporate — or “associational” — free speech); and to the benefit of gun-rights activists (advancing Second Amendment interests with First Amendment arguments). So, again: part borrowers, part opportunists. These three prominent currents of American conservatism, united by their self-pity and their pseudo-constitutionalism, have nothing to contribute to a climate of cultural and artistic freedom. In the matter of a principled free speech doctrine, we can expect nothing from the right.

    Not the left. There is no decent theory of free speech, let alone free art speech, that has come from the left. (Rosa Luxemburg is an exception.) There are only leftist critiques of liberal doctrine, external and immanent, respectively. In the external critique, liberal rights are mere bourgeois rights; they are a fraud, of instrumental value to one class, worthless to the other class. This criticism was pioneered by Marx, and successive generations of leftists have regularly rediscovered it in their own writing. A recent example is P.E. Moskowitz’s book The Case Against Free Speech, in which we read that “the First Amendment is nearly irrelevant, except as a propaganda tool … free speech has never really existed.” In the immanent critique, liberal rights are recognized but must be dramatically enlarged, even if they put the greater liberal undertaking in jeopardy; certainly, received liberal thinking about free speech is too tender to commercial interests, while weakening the interests of non-hegemonic groups (including artists and creative writers). Free speech requires campaign finance laws (to enable effective diversity of expressed opinion), restrictions on speech that inhibits speech, and so on.

    While liberals may safely dismiss the external critique, they are obliged to engage conscientiously with the immanent critique. The elements of greatest relevance to art free speech relate to two discourses deprecated by the immanent critique. One is “hate speech,” the other is “appropriation speech.” It is frequently argued that minority groups characterized or addressed in a “hateful” way should not have their objections defeated by any free speech “trump.” Jeremy Waldron has given the most compelling (not least because it is also the most tentative) liberal critique of hate speech. He understands hate speech in terms of “expression scrawled on the walls, smeared on a leaflet, festooned on a banner, spat out onto the Internet or illuminated by the glare of a burning cross.” What then of literature and the visual arts? Here he is somewhat casual, writing in passing of “an offensive image of Jesus, like Andres Serrano’s Piss Christ.” Regarding “appropriation speech,” in this case the censor arrives on the scene as a territorialist, and addresses the over-bold artist: “This art, this subject, this style, etc. is mine. Stay in your lane. You cannot know my situation; you lack epistemic authority. You strain for authenticity, but it will always elude you.” This cultural nativism owes an unacknowledged debt to Herderian values and counter-Enlightenment ideas: the spiritual harmony of the group, the irreducible individuality of cultures, the risks of contamination and theft, and so on — in many ways a rather unfortunate provenance.

    Sometimes hate speech and appropriation speech combine: “In your mouth, this is hate speech.” Sometimes, the one is treated as an instance of the other: “Appropriation speech is hate speech.” Though this hybrid is at least as old as Lamentations (“ani manginatam,” “I am their song,” the author writes of his vanquishers), it is largely a post-1989 phenomenon. Against it, the literary artist, the visual artist, is likely to respond with Goethe: “Only by making the riches of others our own do we bring anything great into the world.” Notwithstanding all this, however, and the broader switching of sides with the right on free speech (which is often overstated), the left remains an occasional ally.

    Not the confessional communities. Religions are constitutively, even if not centrally, coercive systems. Within those systems of conformity, there are censorship sub-systems, protective of divinity and its claims, of institutions and clergy, of practices and dogmas. The master prohibition of these sub-systems relates to blasphemy. Religions are coercive of their own members, and in many cases also of non-members. Whether or not they hold political power, and no religion has been averse to it, they hold communal and social and cultural power. They certainly do not respect artistic autonomy, though they have permitted great artists to flourish in the doctrinal spaces in which they were commissioned to work. There is no decent theory of free speech that has come from any of the major religions. Certainly not from the monotheisms: they take ownership of speech. It is sacred both in its origins (“In the beginning was the Word”) and in its most elevated uses (Scripture, worship). Its lesser and other uses are denigrated or proscribed. Historically speaking, freedom of speech developed as a revolt against ecclesiastical authority.

    Religions are invested in art, and they control it when they can — both their own art and the art of non-members. They subordinate the artist to confessional and institutional purposes. Christianity does so the most — its aesthetics are theological: just as God the Father is incarnated in God the Son, so God the Son is incarnated in the Icon, writes the art historian and philosopher Thierry de Duve. The Christian work of art, though it may be breathtakingly beautiful, affirms the theological and historical truth of the Christian story. The model religious artist is the Biblical artisan Bezalel, and the model religious artwork is his sumptuous construction of the Tabernacle in the desert. “Bezalel” means, in Hebrew, “in God’s shadow.” The general stance of the church towards art may be termed Bezalelian. “Artists avoid idolizing the arts,” writes a contemporary Bezalelian, “by resisting any temptation to isolation and instead living in the Christian community, where worship is given to God alone.”

    Religion has too many red lines; it is too used to being in charge; it cleaves to the non-negotiable (“the Bible is our guide”); it must have the last word. And when the drive to subordinate art is denied, when the desired orthodoxy is frustrated or broken, a strong sense of grievance is generated, and this in turn leads repeatedly to scandalized protests — to the burning of books and the destruction of artworks. In a word, to iconoclasm, in its old and strict sense, as the doctrinally justified destruction of art with heterodox meanings, or the use of force in the name of religious intolerance.

    To be sure, confessional communities are ardent in defense of Bezalelian artists — of wedding photographers who refuse to photograph, and bakers who refuse to make cakes for same-sex marriages. And there is some truth in the argument that religion and art have common adversaries in the everyday materialism of consumerist societies, and could make common cause against everyday philistinism and banality. The history of the association of religion with beauty is long and marvelous. But in the matter of securing artistic freedoms, the confessional communities are simply not reliable. Certainly they have not been allies in recent times.

    Not writers and artists. Though they are anti-censorship by vocation; though they named censorship (“Podsnappery,” “Mrs. Grundy”); though much of the best anti-censorship writing in modern times came from them (Wilde, Orwell, Kundera, Sinyavsky), advocacy is for writers and artists an unfair distraction and burden. It takes them away from artmaking. In 1884, the novelist George Moore, in Literature at Nurse, wrote: “My only regret is that a higher name than mine has not undertaken to wave the flag of liberalism.” Called upon to defend their work, artists get understandably irritated: “I don’t feel as though I have to defend it,” answered Ofili regarding The Holy Virgin Mary. “The people who are attacking this painting are attacking their own interpretation, not mine.” Moreover, their work is often opaque to them. It always holds more meanings than they know, than they designed. Byron cheerfully admitted as much: “Some have accused me of a strange design / Against the creed and morals of the land, / And trace it in this poem every line: / I don’t pretend that I quite understand / My own meaning when I would be very fine… “ And artists are often poor advocates in their own cause. They too readily concede the principle of censorship; they pursue vendettas, and they grandstand; they turn political; they contradict themselves; they advance bad arguments, which sometimes they mix up with better ones; they misrepresent their own work. What is more, they frequently undermine in their art the defenses that are commonly deployed on their behalf.

    “But every artist has his faults,” Maupassant once said to Turgenev. “It is enough to be an artist.” In this censoring moment, that should be the beginning of wisdom.

    IV

    This leaves the liberals. Will they rise to the defense of literature and the visual arts? Freedom of speech, after all, is integral to a liberal society. As a historical matter, free speech is liberalism’s signature doctrine. It is embraced by all the major liberal thinkers; it is incorporated into all the international legal instruments that comprise the liberal order. Execrations of censorship are to be found everywhere in canonical liberal discourse — in Milton, in Jefferson, in Mill, in Hobhouse, in William James. Censorship stultifies the mind, they all affirm. It discourages learning, lowers self-respect, weakens our grasp on the truth and hinders the discovery of truth. Liberals typically figure prominently among the champions of oppressed authors and banned books; they tend to recoil, with a certain reflex of contempt, when in the presence of affronted readers or minatory censors.

    But there is a problem. Liberalism has traditionally cast a cold eye on literature and the visual arts, and has been peculiarly unmoved by their vulnerability. Literary and artistic questions have not been pressing for liberals, in the matter of free speech. We may even speak of a failure within liberalism to value literature and the visual arts, or to value them in a way that translates into a defense of them within a broader defense of free speech.

    To begin with, there is an historical circumstance that contributes to the explanation for this peculiar neglect. The defense of free speech in the liberal tradition is significantly tied up with the political virtue of toleration of religious dissent. This is reflected, for example, in the First Amendment to the American Constitution: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press …” The free exercise of religion requires the free exercise of speech. Liberalism was tied at its inception to the defense of confessional dissent. Starting from a position in which loyalty to the state requires loyalty to its ecclesiastical institutions (in Protestant states) or to the ecclesiastical institutions favored by it (in the case of Roman Catholic states), liberals asked: Can the state accommodate citizens who wish to give their loyalty to it, but not to its ecclesiastical institutions? They gave several reasons for their affirmative answer. Tolerance is itself a theological matter. It derives from a respect for the individual conscience. It is not just a defense of theological dissent; it is itself an act of theological dissent. But none of this, of course, has anything to do with the welcoming of art, of artists, of artmaking. What was applied to religious works, practices, beliefs, and collectives was not applied to literary works, practices, or collectives. No question of tolerance in respect of the creative writer or artist arose for liberalism, within its own historical trajectory. (Indeed, when illiberal elements sought to exercise a censoring influence over art, they were often accommodated by liberals).

    This is not to say that liberal arguments for free speech are limited to religion. But if we look at its arguments, we search in vain for literature and the visual arts. Instead we are instructed, quite correctly, that the validity of a proposition cannot be determined without exposing it to challenge, and that a silenced opinion may be true, and that a false opinion may yet contain a portion of the truth, and that true opinions may become mere prejudices if we are forced to defend them — and so all opinions must be permitted. We are also told, again correctly, that free speech is the precondition for controlling abuses and corruptions of state power, since it empowers citizens to act upon the government, and impedes the freedom of governments to act on citizens. It reverses the flow of power, governments do not limit citizens; citizens limit governments. And also that free speech is the precondition of deliberative democracy: autonomous citizens cannot act autonomously, that is, weigh the arguments for various courses of action, if they are denied access to relevant facts and arguments. The promoting of public discussion requires a vigorous, generous free speech regime. The liberal tradition also includes, particularly in Humboldt and Mill, the ideal of self-realization, which broaches the large realm of free communication and free culture.

    But where does art figure in all this? Almost nowhere. Alexander Meiklejohn, the American philosopher and educator who wrote authoritatively about freedom of speech, did observe that “the people need novels and dramas and paintings and poems, because they will be called upon to vote” — a defense of the arts, but not in their integrity, a utilitarian defense. (He denied that the people needed movies, which are engaged in the “enslavement of our minds and wills.”) We can instead trace a liberal indifference, and in some cases even a liberal hostility, toward literature and the visual arts. How many liberals would have endorsed Schiller’s declaration that “if man is ever to solve the problem of politics, he will have to approach it through the problem of the aesthetic, because it is only through Beauty that Man makes his way to Freedom”? The great liberal thinkers have not found artworks to be useful texts to think with. Indeed, the liberal complaint that the literary sensibility has a reactionary character dates back to the French Revolution, its adversaries and its partisans. Writers such as Paine and Cobbett directed some of their most venomous attacks against a literary imagination whose origin they saw in a morally bankrupt, libertine, aristocratic culture. The confrontation thus framed, the decades that followed merely deepened it, with creative writers fully returning fire. Poets and novelists made nineteenth-century liberalism their declared enemy (Baudelaire, Dostoyevsky); twentieth-century liberalism is modernism’s declared enemy (Joyce is the honored exception); reactionary politics and avant-garde art are taken to be, in M.H. Abrams’ phrase, mutually implicative. This ignores, of course, the enlistment of the arts in the modern revolutions; but liberals are not revolutionaries.

    It is therefore little wonder that when one surveys the modern intellectual history of liberalism, there are very few liberal thinkers for whom, in the elaboration of a theory of free speech, literature and art figured. I count two, both of them outside the Anglo-American tradition: Benjamin Constant and Alexis de Tocqueville. Here is Constant, in a direct affirmation of inclusiveness: “For forty years I have defended the same principle — freedom in all things: In religion, in philosophy, in literature, in industry, and in politics.” Constant defended this freedom against “the majority,” which in his view had the right to compel respect for public order and to prohibit expression of opinion which harmed others (by provoking physical violence or obstructing contrary opinions) but not to otherwise restrict expression. Constant was himself a man of letters, a novelist of the poignancies of love — a Romantic, who brings to mind Victor Hugo’s description of Romanticism as “liberalism in literature.”

    As for Tocqueville: in Democracy in America he wrote about democracy’s inhibiting effects on fresh and vigorous thought. “There is a general distaste for accepting any man’s word as proof of anything. So each man is narrowly shut in himself, and from there, judges the world.” This does not lead to debate. Each man mistrusts all others, but he is also no better than others. Who then to trust? “General sentiment,” by which Tocqueville means the tyrant he most fears in an open society: “public opinion.” He famously observed that “I know of no country where there is less independence of mind and true freedom of discussion than in America.” But then he went on to offer a brief account of the significance of literature in the growth of democratic sentiment, and a longer account of the type of literature that a democratic society might foster. Literature, he believed, is a counter to despotic tendencies. This is not literature passing as political theory; this is literature in its aesthetic integrity.

    Constant and Tocqueville — but not Mill. This is surprising, since it was literature — the French writer Marmontel in particular — that saved Mill from his nervous breakdown and alerted him to the emotional limitations of utilitarianism. And yet it is Mill’s name that we must give to liberalism’s defeat in its first major test in respect of arts censorship. It was in 1858 that he completed On Liberty, one of the very scriptures of modern liberalism — but which, in this context, must be remembered as the great work on freedom of expression in which the philosopher failed to address three major setbacks to artistic freedom that happened even as he was writing it: the trial for obscenity (“an outrage to public morality and religion”) of Flaubert’s Madame Bovary, the trial for obscenity (“an insult to public decency”) of Baudelaire’s Les Fleurs du Mal, and the passage in Parliament of the Obscene Publications Act, which allowed the British state to seize and destroy works of art and literature without even giving their makers a right to be heard. It must also be added that in this failing Mill had successors in the weak response of liberals to the attack on Rushdie: not only were they few in number, but their defenses of the novelist rarely included defenses of the novel, of the dignity of his aesthetic project, of the autonomy of art and its right to blaspheme. The same blindness to art and its rights disfigured many liberal interventions in the American controversies of the late 1980s and early 1990s. They attacked Jesse Helms and company for many good reasons; just not this one.

    *

    We have discovered a problem. Even liberals are not good on literature and the arts, and this matters now more than ever before. How might things improve? We could attempt to give liberals reasons why they should take literature and the visual arts seriously. We might make the case for a liberal literature — the case advanced finely by Martha Nussbaum in her discussion of The Princess Casamassima, which she reads as contending for “liberalism as the guiding principle in politics,” taken by her to include “a demand for artist’s freedom of expression.” But what about works of art that contend for a conservative politics? No, the case for artistic freedom must be made only on the grounds of art as such. Writers and artists will not find relief from their troubles unless art itself, aesthetic expression as such, is explicitly inducted into the class of protected free speech.

    There are many reasons to do so. I will give only some. Art is a human good. An attack on literature and art is an attack on capacities and practices that constitute human beings as human and allow us to flourish. When we attack writers and artists, we attack ourselves. We are species-constituted by our artmaking and art-experiencing capacities; we realize ourselves by our artmaking and art-experiencing practices. The arts aid mental development and social harmony; they offer representations of a transfigured world. Art contributes to our understanding of ourselves and of the world; art makes it easier for us to live peaceably together. That is to say, it makes us more transparent to ourselves, and it makes the world more transparent, as well as less threatening and more beautiful. Artworks are goods whose desirability cannot adequately be expressed in individual terms — that is to say, they are “public” or “communal” goods.

    We must recognize (and value) the form of existence of the writer and the artist. People who pursue the literary and artistic life are pursuing an estimable life, and the fruits of their pursuit, their literary and art works, should be secure. They have a “plan,” in the liberal sense of the word; in more heroic and Tocquevillian terms, they seek to forge their own destiny. They certainly pursue a conception of the good life. That is, to make use of a distinction drawn by Jeremy Waldron, they are to be held to account not by reference to what they have done, but rather by reference to what in general they are doing. Free speech occupies a special place in this “plan.” It is the precondition to the artistic vocation. None of this has anything to do with the seeking of privileges. That some will pursue this plan in a degraded manner is not to any point. The pornographer stands to the art world as the fundamentalist stands  to the religious world. Each is reductive, blinkered, unthinking — but it would be an inconsistency to grant toleration to the one and deny it to the other.

    The makers of art (and the audiences for art) merit recognition as a distinct group. Artists are not best imagined as individuals under contract; they should be recognized as members of their own communities, with their own practices and institutions. Artmaking is the characteristic activity of art-communities. And if art-makers are in their own way a group, then they, and their art, merit the protective attention that identity- and religious-groups and their products typically receive in liberal societies. Indeed, the liberal state should take positive steps to ensure that art-making flourishes when threatened by confessional or other “identity” groups. In certain respects, the art community is the ideal community, and a model for all given communities; the free speech that it needs is the free speech that we would all need for our ideal existence.

    The art community is many communities. None is coercive. All are time-bound: specific formations do not last. They have no transcendental quality. They are fully secular. They are self-constituting: they do not require myths of origin. They are non-exclusive. They are unboundaried; there are no impassable barriers to entry. They are open to the world; they address the world; their solicitations are gentle and may always be refused. Literary and art communities are communities for anti-communitarians. They can never be a menace to society, in the sense that fanatical communities, or fanatical members of other communities, are a menace.

    Art is a liberal good: to defend literature today is to defend liberalism, not as an ideology or a political doctrine but by modelling the benefits of its freedoms. How do we name the members of a liberal society? One way is to call them citizen-readers. Among art’s forms and kinds, it is the novel — with its many standpoints, its diversity of human types, its provisionality, its interest in ambiguity and complexity — that comprises the distinctive art form of a liberal democratic society. To make war on the novel really is to make war on liberal democracy.

    Literature and the visual arts have so many things in common with liberal societies. They are both committed to a certain process of making explicit. “The liberal insistence,” writes Waldron, “[is] that all social arrangements are subject to critical scrutiny by individuals, and that men and women reveal and exercise their highest powers as free agents when they engage in this sort of scrutiny of the arrangements under which they are to live.” He goes on, “society should be a transparent order, in the sense that its workings and principles should be well-known and available for public apprehension and scrutiny.” Does this not describe the work of the writer? And they are both reflexive: for the liberal, identities should be treated as a matter for continuous exploration, receiving at best only conditional and contingent statement. And they both tend to the agonistic. By the agonistic, I mean interests or goods in irresolvable conflict — one that cannot be settled and cannot be won. There can be no resolved triumph of one over the other. The understanding by each of the other is bound up with each’s self-understanding; neither recognizes itself in the account given of it by the other. Liberal societies exist to accommodate agonistic conflicts, and art exists to explore them. It also has its own agons — with religion, with philosophy, with science, with history. The work of art, said Calvino, is a battleground.

    Both liberal societies and the arts are committed to a flourishing civil society. Precisely because literature, in its difference from other writing, solves no problems and saves no souls, it represents a commitment to the structural openness of a wholly secular space, one which is not programmatic, not driving towards any final, settled state in which uniformity rules. The artwork, like the open society, is promiscuous in the invitation that it extends. It is available to all; all may enjoy it; all may interpret it; all may judge it. Both liberal societies and the arts, in sum, have the same necessary condition. That condition is freedom. Illiberal societies prescribe a literature and visual arts that is both a diversion (“bread and circuses”) and an instrument of legitimation (“soft power”). But liberal societies need the existence of a freeliterature and art. Works of art are liberal public goods.

    From time to time, and in our time almost daily, events occur that prompt the question: Is liberalism equal to the challenge? I do not believe that the censorship of literature and the visual arts is the worst evil in our world, but it is a bad thing, and there is too much of it around. In these censoring times, liberals should strive to give to aesthetic expression an honored place in their theory of free speech.

    A New Politics, A New Economics

    The major political phenomenon of the past decade has been a popular revolt against the economic arrangements that took form at the end of the twentieth century. The revolt is global. It takes both left- and right-wing forms, and often presents itself as overtly anti-immigrant or otherwise ethnonationalist, but the undercurrent of deep economic dissatisfaction is always there. Inequality in the developed world has been rising steadily for forty years now. The aftermath of the financial crisis of 2008 activated the politics of economic populism: in the United States, the rise of Bernie Sanders, Elizabeth Warren, and other politicians on the economic left, plus the Tea Party movement and to some extent Donald Trump and his acolytes who rail against globalization, Wall Street, and the big technology companies. In Europe, there is Brexit, new nativist parties (even in Scandinavia), and the Five Star movement in Italy, among other examples. What all of these have in common is that they took the political establishment utterly by surprise. And all of them regard the establishment, and any consensus that it claims to represent, with contempt.

     The dynamic of this moment brings to mind the politics of the early twentieth century. During the nineteenth century, succeeding waves of the industrial revolution created (along with enormous and highly visible wealth) a great deal of displacement, exploitation, and want, which at first manifested itself in radical rebellions — in the United States they took the forms of agricultural populism and labor unrest. This was followed by a series of experiments in translating economic discontent into corrective government policy. Then as now, popular sentiment and electoral politics came first, and the details of governance came later. Most of the leading intellectuals of the Progressive Era were deeply uncomfortable with populism and socialism. The young Walter Lippman, in Drift and Mastery, called William Jennings Bryan, three-time presidential nominee of the Democratic Party, “the true Don Quixote of our politics.” But Lippmann and his colleagues shared the view that private and institutional wealth had become more powerful than the state and that the imbalance had to be righted, so they set about devising alternate solutions. We are now in the early stages of a similar period of forging a new political economy for this still young century. It is going to be a large, long-running, and not very orderly task, but those who don’t take it seriously are going to find themselves swept away.

    It shouldn’t be necessary, but it probably is, to stipulate that economies are organized by governments, not produced naturally through the operations of market forces. National economies do not fall into a simple binary of capitalist or not; each one is set up distinctively. Government rules determine how banks and financial markets are regulated, how powerful labor unions are, how international trade works, how corporations are governed, and how battles for advantage between industries are adjudicated. These arrangements have a profound effect on people’s lives. The current economic discontent is a revolt against a designed system that took shape with the general assent of elite liberal and conservative intellectuals, many of whom thought it sounded like a good idea but were more closely focused on other issues to pay close attention to the details. To begin the discussion about a new system requires first developing a clearer understanding of the origins of the current one.

    In an essay in 1964 called “What Happened to the Antitrust Movement?,” Richard Hofstadter noted that for half a century, roughly from 1890 to 1940, the organization of the economy was the primary preoccupation of liberal politics. Hofstadter meant antitrust to be understood as a synecdoche for a broader concern with the response to industrialism in general and the rise of the big corporation in particular. He was not mourning liberalism’s shift in focus; instead, he was typical of midcentury liberal intellectuals in thinking that the economic problems that had preoccupied the previous generation or two had been solved. And that view of the postwar decades still resonates even all these years later, in the economically dissatisfied political present. During last year’s presidential campaign, Donald Trump’s “Make American Great Again” and Joe Biden’s “Build Back Better,” both backward-looking slogans, share the embedded assumption that at some time in the past, roughly when Hofstadter was writing, the American economy worked for most people in a way that it doesn’t now. But was that really true? And if it was, what went wrong?

    Most people would probably say that the economy really was better back in the mid-1960s — that it had earned, through its stellar performance, the conventional view that it was working well — and that what changed was globalization: in particular the rise of the United States’ defeated opponents in the Second World War, Japan and Germany, and previously unimaginable advances in communications and data-processing technology,  and the empowerment of Saudi Arabia and other oil-producing Arab countries. But if that is what most people think, it highlights a problem we have now in addressing political economy, which is a belief that economic changes are produced by vast, irresistible, and inevitable historic forces, rather than by changes in political arrangements. That is a momentous mistake. A more specific account of the political origins of the mid-century economy, and of what blew it apart, is a necessary precondition for deciding what to do now.

    In the presidential election of 1912, Theodore Roosevelt ran on a program he called “The New Nationalism,” and Woodrow Wilson on “The New Freedom,” with the third major candidate, William Howard Taft, having a less defined position. This was the heart of the period when economic arrangements were the major topic of presidential politics. (The perennial Socialist candidate, Eugene Debs, got his highest-ever total, 6 per cent of the vote, in 1912.) Advised by Lippmann and other Progressive intellectuals, Roosevelt proposed a much bigger and more powerful federal government that would be able to tame the new corporations that seemed to have taken over the country. Wilson, advised by Louis Brandeis, called for a restoration of the economic primacy of smaller businesses, in part by breaking up big ones. It is clear that Hofstadter’s sympathies, as he looked back on this great debate, were on Roosevelt’s side; he considered Wilson’s position to be sentimental, impractical, and backward-looking, in much the way that Lippmann had thought of Bryan’s economic inclinations as quixotic. Wilson won the election, but Roosevelt probably won the argument, at least among intellectuals. (Politicians, because they represent geographical districts, have a build-in incentive to be suspicious of economic and political centralization.) The years immediately after the election of 1912 saw the advent of the Federal Reserve, the income tax, and the Federal Trade Commission — early manifestations of the idea that the national government should take responsibility for the conduct of the American economy.

    The argument between Roosevelt and Wilson never entirely went away. During the New Deal, when the economic role of the federal government grew beyond Theodore Roosevelt’s wildest dreams, there were constant intramural debates within economic liberalism, between centralizers such as Adolf Berle, the highly influential Brain Truster-with-out-portfolio, and de-centralizers such as Thurman Arnold, the head of the antitrust division of the Justice Department. Despite major defeats, notably the Supreme Court’s striking down of the National Industrial Recovery Act in 1935, the centralizers generally had the better of it, especially after the American entry into the Second World War, when the federal government essentially took over industrial production and also set wages and prices, with an evidently happy result.

    After the war, Berle and his younger allies, John Kenneth Galbraith among them, celebrated the taming of the once menacing industrial corporation, thanks to the forceful and long-running intervention of government. Big corporations remained economically dominant, but because they were now answerable to a higher authority, they no longer ran roughshod. It is important to note that these were not the benign, socially responsible corporations one hears touted today — they were forced to be socially responsible, by govern-ment legal and regulatory decree. The liberal debate about corporations in the postwar years was primarily sociological and cultural, over whether they had eroded the American character by engendering a pervasive “conformity” — not over whether they exploited workers or dominated government. The economy was growing in ways that — in sharp contrast to today’s economy — conferred benefits at all income levels. As Hofstadter put it, “The existence and the workings of the corporations are largely accepted, and in the main they are assumed to be fundamentally benign.” Only conservatives, he asserted, with their resistance to modernity, failed to accept the reality of corporate dominance.

    Partly because the main economic problems seemed at that point to have been solved, and partly because mainstream midcentury liberal thought was almost unimaginably unaware of national problems such as race, women’s rights, and the environment that demanded urgent attention, most liberals turned their energies toward those neglected non-eco-nomic topics. Hofstadter wrote that antitrust “has ceased to be an ideology and has become a technique, interesting chiefly to a small elite of lawyers and economists.” But that glosses over a crucial element in the development of economic liberalism.

    Keynesian economics, which was in its infancy during the heyday of the New Deal, had become so prestigious by the 1960s as to have become the conventional way of thinking about government’s role in addressing economic problems — not just among economists, but by anybody who had ever taken an undergraduate economics course. For Keynesians, the most potent economic tools at government’s disposal were adjusting the money supply, tax rates, and overall government spending — not directly controlling the economic activities of corporations, through antitrust, regulation, and other means. (Adolf Berle used to boast that half the industries in America were regulated by federal agencies, and it was inevitable that the other half would be soon.) So the kind of government economic role advocated by a long line of liberal intellectuals, even as they squabbled over the details, fell out of the conversation.

    It is always easy to see the vulnerabilities of a regime in retrospect. The mid-twentieth-century economic order depended on the corporation to provide a range of social benefits — good wages and salaries, employment security, pensions, health care, social services, and a measure of personal identity — that in most other developed nations would likely have come from government, or the church, or a stable local community. The American political system didn’t seem willing to expand the New Deal into a full-dress social democracy, and corporations were available to perform these quasi-state functions — but that meant they were bearing a lot of weight. They did not command the loyalty of those whom they did not enfold in their warm embrace, so they had a limited number of political allies.

    Even more important, the corporation-based social order rested on the assumption of their economic invulnerability. Corporations had to be able to afford the social burdens being imposed on them by government. What could cut into the economic resources that would require? Three possibilities come to mind: a demand by shareholders that they get a higher return; a weakening of customer loyalty; or competition from other businesses. Adolf Berle’s classic work (with Gardiner 

    Means) The Modern Corporation and Private Property, which appeared in 1932, declared that corporations’ shareholders, their supposed owners, had no power because they were so widely scattered: how could the hundreds of thousands of individual owners of stock in AT&T force management to do anything? After the Second World War, Berle only increased his estimate of the power and stability of the largest corporations, and of the irrelevance of their shareholders. So that was one potential threat assumed away. Galbraith agreed, and made the claim of corporate immortality even more capacious by observing that corporations were also invulnerable to fluctuations in consumer taste, because advertising had become so effective. There went another threat. And much of the rest of the world was still flat on its back after the Second World War, which took away the threat of competition, at least from abroad. Berle and others regular predicted the demise of Wall Street — heavily constrained by regulation since the advent of the New Deal — as a force in the American economy, because big corporations, ever larger and more powerful, would have so much capital of their own that they would no longer need access to the financial markets. Another common claim in that era was that innovation would, and could only, come from large corporations, because only they had the resources to operate substantial research divisions.

     

    The corporate social order, taken for granted by many millions of people who lived within it, and not particularly appreciated by political thinkers on the left or the right, began to come apart spectacularly in the 1980s — which was also, not coincidentally, when the rise in inequality began. The forcing mechanism for this was the “shareholder revolution” — a great reorienting of the corporation’s priorities toward increasing its asset value in the financial markets (and therefore its shareholders’ wealth), and away from the welfare of its employees or of society. Most people credit Milton Friedman with launching the shareholder revolution, specifically with an article in the New York Times in 1970 called “The Social Responsibility of Business Is to Increase Its Profits.” This suggested an ideal for corporations that was almost precisely opposite to Adolf Berle’s, but it didn’t propose specific techniques for achieving it. The true chief theoretician of the shareholder revolution was Michael C. Jensen, a University of Chicago-trained conservative economist, who neatly reversed Berle’s life’s work by making the re-empowerment of the shareholder his own life’s work. 

    Jensen proposed such mechanisms as putting a corporation under the control of a single purchaser, at least temporarily, instead of a widely dispersed body of small stockholders (that’s the private equity business), and paying chief executives primarily in stock options rather than salary, so that they would do whatever it took to increase their companies’ share prices. Such measures would permit the corporation to attend to its new sole purpose. Jensen ceaselessly promoted these and related ideas through the 1970s, 1980s, and 1990s, with highly influential publications (he is the co-author of one of the most cited academic papers of all time), his popular teaching at Harvard Business School (whose graduates shifted from being corporate employees to corporate dismantlers), and public appearances before Congressional committees and elsewhere. This coincided with a great wave of mergers, acquisitions, and buyouts that remade corporate America in ways that stripped out the social and political functions that had been imposed on it since the New Deal.

    Since his work had large political as well as economic implications, Jensen may stand as the most under-recognized public intellectual of the late twentieth century. But his influence, like that of anyone whose ideas have consequences, was substantially a matter of context. He arrived on the scene at a time when the kinds of institutional arrangements on which the midcentury political economy rested had fallen deeply out of fashion. The large economic disruptions of the final quarter of the twentieth century, when they are not attributed to inevitable market forces, are often laid at the feet of an organized corporate-conservative effort to remake the political economy, beginning, perhaps, with the future Supreme Court Justice Lewis Powell’s famous memo to the U.S. Chamber of Commerce in 1971 suggesting the building of a new conservative infrastructure of think tanks, publications, and campus leadership training institutes. But this misses a couple of important elements. One is the tension between corporations and finance — that is, between Main Street and Wall Street. When a company like IBM or General Electric dropped its de facto guarantee of lifetime employment and its company-paid defined benefit pensions, this was “corporate” only in the sense of corporations were now being run for Wall Street investors, not in the sense of benefiting Organization Man-style corporate employees.

    Also liberalism was changing, and many of these economic rearrangements happened with liberal (or at least elite liberal) assent. For one of many possible examples, consider that the crusade against the airline-regulating Civil Aeronautics Board, now of blessed memory, which had to approve every route and every fare (and one of whose creators was Adolf Berle), was led by Senator Ted Kennedy, with another future Supreme Court Justice, Stephen Breyer, as his chief advisor. It had the enthusiastic support of Alfred Kahn, the liberal economist who was Jimmy Carter’s appointee as the euthanasiast chairman of the CAB. (Ralph Nader, then probably the leading liberal activist in Washington, was another participant in this crusade.) There was little or no liberal opposition to the supersizing of Wall Street, which mirrored the downsizing of the industrial corporation; the shareholder revolution would not have been possible without dozens of regulatory changes that enabled it, which didn’t attract much notice because at that moment economic deregulation was seen as an uncontroversial good cause. Much of the newly emerging economic Brahmin class was populated by elite liberals: graduates of Ivy League univer-sities who worked at McKinsey or Goldman Sachs or Google, proudly and profitably “disrupting” the old economy for a living. People at such companies became an important part of the funding base of the Democratic Party, playing the role that political machines and unions had previously played. The old instinct that the way to solve problems is by making corporatist bargains among government, labor, and business had faded away. A fluid, fast, transaction-oriented society, which proposed instead to solve problems by dismantling institutional arrangements and putting more innovative, efficient ones in their place, was now the ideal.

    I don’t want to sound facilely dismissive of these ideas. I was entranced by them when I was young. In those days one still saw people who had served in the New Deal strolling through downtown Washington — Tommy Corcoran, Ben Cohen, Joe Rauh. They appeared to me not as honored participants in a supremely successful political and economic order, but as ghosts, men who had outlived their times. “Neoliberal” had not yet become a dirty word. Books proposing to save liberalism by jettisoning its traditional formations, such as Theodore Lowi’s The End of Liberalism and Mancur Olson’s The Rise and Decline of Nations, were mesmerizing. Liberal heterodoxy was in the air. Why couldn’t liberalism off-load all those clunky appurtenances of its past, the labor unions and the interest groups and the government agencies, and just solve problems? Why did we have to defend to the death vast, wasteful, expensive programs such as Social Security and Medicare? Why couldn’t we be less political, more efficient, smarter, more attuned to real needs and less to powerful constituencies? Didn’t the sluggish economy need the kind of jump-start that deregulation and a general embrace of markets could provide?

    Maybe the Civil Aeronautics Board had indeed outlived its usefulness. The problem was that this broad antinomian logic was applied everywhere. With hardly a peep except from self-interested industry groups, the United States ended broadcast regulation, ushering in the age of hot-blooded talk radio and cable news. It set up the Internet to be an unregulated information platform that enriched a handful of immensely wealthy and powerful companies and made no effort to distinguish between truth and falsity. It declined to regulate the derivatives markets that brought down the global economy in 2008. In all those cases, policies that sounded good by the standards of the newly dominant form of economic liberalism wound up having old-fashioned libertarian effects that should have been predictable: more inequality, greater concentration of wealth and power, more disruption of social and economic arrangements that had been comfortable and familiar for many millions of people. The flaws in the new system were not immediately evident to its designers, because they were prospering. But many of the less well educated, more provincially located, and less securely employed eventually made their vehement dissent known through their voting behavior. That is where we are now.

    People get to choose how to involve themselves in politics, as participants and as voters. It would be wildly unrealistic to demand that everyone’s politics be “about” some topic that seems preeminent to you, or that their politics align with an outsider’s balance-sheet determination of their interests. If you are reading this, it’s likely that Donald Trump cut your taxes. Did you vote for him? Or did you vote because of longstanding party loyalty, or your values, or the way the candidates struck you, or what you think the American government should stand for at home and abroad? It is especially foolhardy to imagine that politics can be about economics rather than, say, race, or gender, or religion, or culture — or that it can be rigorously empirical, based on meticulous scientific determinations of the truth. Still, because democratic politics is meant to deter-mine the activities of the state, and much of what the state does is allocate resources, in the end economics runs through just about everything in politics, including matters that do not present themselves as economic.

    Racism would not command the public attention it does if blacks and whites were economically indistinguishable, and most of the proposed remedies for racism entail big changes in how governments get and spend their money. Nativism may express itself as hatred of the other, but it takes root among people who see immigrants as competitors for jobs and government benefits. The bitter controversies over the pandemic have been powered by the highly different ways it has affected people’s health and employment depending on where they stand in the class system. So, even when politics is not obviously about economics, it is still about economics. To address the deep unfairness of the current economic order requires political solutions, but they have to be political solutions that meet people where they are — that do not seem distanced and abstract. That will be the only way to build popular support strong enough to enact them.

    The fundamental test of the American political economy ought to be whether it can offer ordinary people the plausible promise of a decent life, with a realistic hope of economic progress and their basic needs met: health care, a good education, protection from want, security in old age. The country has failed that test for a generation. Until it succeeds economically and socially, it will not function well politically. And to function well politically requires addressing an enormous economic problem, which can come across as dry and statistical, in ways that feel immediate and palpable enough to inspire passionate engagement.

    I am proposing a great remaking of the political economy as a primary task over the next generation. At this moment the most useful next step in that project is not to produce a specific policy agenda, but instead to outline an approach to politics that could create widespread popular support for the larger project. In recent years the gap between voters and technically oriented policymakers who are genuinely concerned about inequality has been very wide — wide enough for pure grievance to take up the political space that ought to be devoted to fixing the problem. I will suggest three guiding principles for how to proceed.

    Work through institutions. Consequential human activity takes place through institutions. It has been an especially self-destructive element of recent thought to exaggerate the disadvantages of “bureaucracy” and other aspects of institutional life and to overestimate how much can be accomplished without them. This turn has coincided with the severe deterioration of the traditional bulwark institutions of American liberalism, such as labor unions and churches. Media and messaging meant to influence public opinion, organizing campaigns conducted only on social media — these are the snack foods of politics, far less effective over the long term than building institutions that have more conventional functions like structured meetings, ongoing rituals, and planned campaigns aimed at specific government policy outcomes.

    It is a familiar irony that the opponents of an inclusive economy have often used anti-institutional rhetoric while building up powerful institutions of their own. During the twenty-first century, we have seen a great consolidation of one economic sector after another, always made possible by favorable political arrangements, which only become more favorable as the sector gains more economic, and therefore political, power. To curb the power of big tech, big finance, big pharma, and big agriculture will require countervailing institutions. Institutions (which are not the same thing as communities) are necessary to achieve change, and also to instantiate change. Awakening consciences and changing minds is noble and necessary, but such advances lack staying power unless they lead to the creation of consequential new laws and institutions. 

    Address inequality upstream, not downstream. It is deeply ingrained in our economic thinking that the solution to inequality is redistribution. That way, in theory, a society can have the best of both worlds: the efficiency, flexibility, and growth associated with unimpeded markets, plus the corrections to markets’ inequities that only the state can provide. The master tool for redistribution is a progressive income tax system, but there are plenty of more specific tools that address economic injustice in the same spirit: unemployment benefits for people who lost their jobs, food stamps for the hungry, retraining for people whose workplace moved abroad. All of these instruments have in common that they offer a remedy after something bad has happened to people, rather than trying to prevent something bad from happening to them in the first place.

    A decade ago the political scientist Jacob Hacker suggested “pre-distribution” instead of redistribution as a model. In this way of thinking, the aim is to throw some sand in the gears of pure market function, so that it cannot so easily disrupt people’s lives. Strong labor laws are a good example: they boost workers’ pay and benefits and make it more difficult to fire them, which is far more dignity-promoting than the Silicon Valley model of economic justice, with no unions, a gig economy, and the cold solace of a universal basic income for those who experience misfortune. Another is restrictions on absolute free trade and outsourcing of employment. Another is making it more difficult for private equity companies to load expenses onto the companies they acquire, which puts them under irresistible pressure to break whatever compact they had with their employees.

    Most working people are focused on the particular place where they live and the particular company where they work. A politician’s signal that she understands this and will try her best to keep those arrangements in place will be far more meaningful than a promise to pursue abatements after people’s lives have been pulled apart. Economic policymakers for years have regarded policies with this goal as the province of petty rent-seeking politicians, the kind who created the Smoot-Hawley tariff back in the 1920s: all they can accomplish is to create a static, declining society; real economic policy has to be redistributionist and Keynesian. It is a longstanding part of conservative lore that liberals scored a landmark and unfair victory when they torpedoed the Supreme Court nomination of Robert Bork in 1987 — but during the borking of Bork, his liberal opponents barely mentioned what was by far his most influential belief, which was that economic efficiency and consumer benefit were the only proper concerns for government as it regulated companies’ economic activities. They barely mentioned it because they had accepted it. That same 

    year, the New York Times published a lead editorial titled “The Right Minimum Wage: $0.00.” (On the day this essay is going to press, the Times’ lead editorial is titled “Let’s Talk About Higher Wages.”) The economic program on which Joe Biden successfully ran for President, heavily emphasizing saving jobs and keeping small businesses open, was by far the most pre-distributionist by a Democratic candidate in decades. The tide is only just beginning to turn, and the Democrats’ relatively new economic constituencies are not going to be pushing the Biden administration to reinvent the party’s notion of an ideal political economy.

    Decentralize power. In 1909, in The Promise of American Life, which is still as good a framing device for twentieth-century American liberalism as one can find, Herbert Croly proposed that the country tack away from the political tradition of Thomas Jefferson and toward the tradition of Alexander Hamilton. In the present, it is necessary to be reminded of what Croly meant by that: to his mind, Jefferson was not primarily a plantation slaveholder, but an advocate for farmers, artisans, and other smallholders, and for localized government, and Hamilton was not primarily an immigrant who took his shot, but an advocate for centralized and nationalized government, and the father of the American financial system. For Progressives such as Croly, it was axiomatic that the world had become far too complex for a Jeffersonian approach to work. Like Theodore Roosevelt a few years later, Croly believed that the national government had to become bigger and more powerful — and also to employ technical, depoliticized expertise that would be beyond the capabilities of local governments. This way of thinking about government has an irresistibly powerful face validity for members of the category of people who would staff its upper ranks. Think about the coronavirus: wouldn’t you want trained public health professionals to have been in charge nationally, rather than governors of highly variable quality?

    Yet Croly’s position is a temptation to be avoided, for a number of reasons. Expertise is not, pace the insistence of the social-media mob and Fox News, merely a pretext for the exercise of power. Experts have both knowledge in their domains, and an obligation to set aside their pure, unruly human instincts and attempt to approach the world more dispassionately. They marshal evidence. They answer, rather than insult or stereotype, people who do not agree with them. That they operate with some degree of honor doesn’t make them infallible or supra-human, of course. Like everybody else, experts live in their own enclosed worlds, and they often operate on distinctive, non-universal, and not fully conscious assumptions that nobody they encounter ever challenges. Technocracy is not a guarantee of truth or wisdom. No matter how smart and epistemologically sophisticated they are, experts miss things. Over the past few decades, the list has been long: the collapse of the Soviet Union; the 2008 financial crisis; the dramatic rise and political empowerment of evangelical religion; the rise of populism. The problem with centralized, elite expert rule is not only that it creates an inviting target, but that it also requires a check on its power, a system built to incorporate alternative views. To paraphrase James Madison, expertise must be made to counteract expertise; and, in a democracy, experts must be prepared to respect and honor what the great majority of citizens who aren’t experts think.

    It is impossible to separate economic and political power in the way that the Progressives envisioned, and their present-day heirs still do. Great economic power, of the kind that the major technology and financial companies have today, requires favorable political arrangements; in return,  it uses its economic power to enhance its political power. The gentle treatment that big finance and big tech have gotten from government, including from Democratic administrations, is closely related to their role as major political funders and employers of past and future high government officials. The federal government is no longer capable of functioning as a countervailing force to all elements of economic plutocracy at all times: a Democratic administration may be able to stand up to Koch Industries, but not to Google or Goldman Sachs.

    A far better vision for liberals should be of a pluralistic society that does not assume that one major element will be so automatically good that it should be super-empowered. Super-empowerment may be the ill that ails us the most. Over the past few decades, inequality has increased substantially not just for individuals, but for institutions. The top five banks control a higher percentage of assets than they ever have in American history. The gap between the richest universities and the struggling mass is greater. The great metropolitan newspapers of the late twentieth century — the Los Angeles Times and the Philadelphia Inquirer and the Chicago Tribune and so on — aren’t great anymore. Book publishing is in the hands of the “big four” houses. Five big companies dominate the technology business. If all these arrangements are working nicely for you personally, you should not take too much comfort from that. Think about what it would feel like if people you find abhorrent had control of these institutions — it is a much better guide than thinking about the system you would want when the good guys, by your lights, are in charge.

    Politics is the arena that allowed these inequalities to flourish, and politics will be how they can get corrected. You should think in particular about what kind of political system you would want, if the bad guys were winning. You would want checks on the power of the President and on the more politically insulated parts of the federal government, such as the Supreme Court and the Federal Reserve. You would want good state and local governments to have room to do what the national government can’t do or won’t do. You would want to prevent economic royalty, individual or corporate, from being able to control political outcomes. You would want Congress to have more power than the President, and the House of Representatives to have more power than the Senate. You would want minority groups to be organized enough to be able to impress their distinctive point of view on a majority that ignores it. In other words, squabbling, bargaining, self-interest, partisanship, and “gridlock” would be signs of political health, not dysfunction. Influence would come from the sustained effort it takes to be effective through democratic means, not from finding workarounds to open, participatory politics.

    That these are ways of structuring politics, not of assuring the victory of one side or of arriving at a policy, ought not detract from their urgency. Politics should make people feel heard and attended to. It should address pressing problems successfully. Politics manifestly is not doing those things now. If the way it is framed and conducted does not change fundamentally, democratic politics, which is to say, democratic society, will not be able to function properly. Tasks that are essential to powerful interests will get accomplished, but not tasks to which they are indifferent, even if they affect the welfare of vast numbers of people. Building a new politics will take a long time, because there is a lot to undo.

    On Playing Beethoven: Marginalia

    Interpretation? Some musicians have little patience for this word, while on the other side there is a recent surge of musicologists who strive to do it justice by elucidating its essence, its development, and its historical peculiarities. After a lengthy period of purely structural reasoning about musical works, topics such as psychology, character, and atmosphere are being considered again. Every tiny portamento or cercar la nota throughout the history of bel canto is being unearthed. Recapitulations are scrutinized with the help of the stopwatch in order to find out whether, why, and by how much they may exceed the scope of the exposition.

    The anti-interpreters consider all this to be a waste of time. All they ask for is a reliable edition of the score. The rest will be provided by their own genius. Here I would like to interpose and remind the reader of the fact that to decipher a score precisely and sympathetically is a much more demanding task than most musicians realize, and a more important one as well. Among the composers who had the skill to put on paper distinctly what they imagined, Beethoven is an outstanding example. Do not register his markings with one eye only: it will not provide you with the full picture. I am thinking of his dynamic indications in particular — Beethoven was well aware of where his crescendi and diminuendi should start or end. The metronome markings are another matter. The unhesitating adherence to Beethoven’s metronome figures even in the most dubious cases (Op. 106, Ninth Symphony) has resulted in performances that hardly leave any space for warmth, dolce, cantabile, for — in the words of the prescription in his Missa Solemnis — “from the heart — may it reach out to the heart” (von Herzen — möge es wieder zu Herzen gehen). They also leave no room for Beethoven’s humor.

    While, in the past, it was the cliché of Beethoven the hero and the titan that was harmful to an appreciation of the variety of his music, the danger now comes from the predilection for breakneck speeds and virtuoso feats. Tempi are forced on the music instead of derived from it. My own experience has taught me to trust Beethoven’s markings — if not the metronome indications — almost completely, and to consider them important hints about tempo and atmosphere.

    The terms from largo to prestissimo that Beethoven uses to indicate tempo and character seem to me frequently more suggestive than metronome prescriptions. Listening to some contemporary performances, the majority of allegros sound to me like presto possibile. The diversity of the tempi gets lost. The third movement of the Hammerklavier Sonata, called Adagio sostenuto, turns into an andante con moto. While the speed of the fugue (crotchet = 144) is technically feasible, it prevents the listener from taking in the harmonic proceedings. (For many pianists, playing too fast may come easier than slightly reining in the tempo.)

    Another bone of contention is the metronome’s unshakeable steadiness. There are musicians who do not permit themselves or their pupils to use a metronome because it purportedly contradicts the natural flexibility of feeling. Obviously music should breathe, and it presupposes, not unlike our spine and pulse, a certain amount of elasticity. Yet this does not hold true for all music: not only jazz and pop, but also a considerable part of twentieth century music, would, without a rigorous tempo, be senseless. And there is another beneficial function of the metronome: it prevents progressive speeding up. Many young musicians are unaware of what they are doing to the tempo while practicing, and there are virtuosi who consider it their privilege to accelerate the pace while playing fast notes — a habit no orchestra or chamber ensemble could get away with.

    I cannot acquiesce in the widespread assumption that a soloist may indulge in all conceivable liberties, even the most outlandish ones, because he or she is neither a member of an ensemble nor the helpless prisoner of an orchestra. Quite a few soloists seem to adhere to the belief that only soloistic independence will issue in true music-making that emanates from their innermost interior, unfettered by the strait-jacket of ensemble playing. Any pianist who is about to play a Beethoven sonata should listen to a good performance of a Beethoven quartet — by, say, the Busch Quartet — in advance.

    And there is more to learn from the best conductors, singers, and orchestras than from all-too-soloistic soloists.

    Do you know the story of the eminent pianist who early on in his career was accused by a critic of playing semiquavers as if counting peas — with the result that, from then on, rhythmic steadfastness evaporated from his playing? Many years of appearing with orchestras and dealing with string quartets have confirmed my ideal of a rhythmic control that, in solo music, should never stray too far from ensemble playing. After all, the greatest piano composers — excepting Chopin and, in their young years, Schumann and Liszt — have all been ensemble composers as well, if not primarily. It seems highly unlikely that a composer should harbor two distinctly different concepts of rhythm and tempo, one for soloists, another for ensemble players. “Freedom” of playing should be confined to cadenzas, recitatives, and sections of an improvisatory nature. It goes without saying that Beethoven’s scores are neither entirely complete nor apt to be put into practice by a computer. To prepare the onset of a new idea, to give sufficient time to a transition, to underline the weight of an ending: these were self-evident matters that the performance of tonal music implied.

    Compared to the younger and short-lived Schubert, Beethoven had more time and opportunity to hear his own works performed, and to react to the performances. His hearing trouble was probably not so severe that it would have prevented him from perceiving certain tones and nuances. The Schuppanzigh Quartet, an institution that had already been associated with Haydn, accompanied his string quartet production to its very end. This was the first professional quartet in performance history, and it seems to have been available to Beethoven consistently. When Schuppanzigh stayed away from Vienna for a number of years, Beethoven halted his composition of string quartets, only to take it up again when Schuppanzigh returned. His quartet in E-flat Op. 127 was premiered within the series of “classical” chamber music concerts that Schuppanzigh inaugurated. This performance, however, turned out to be inadequate, and in due course several other performances with different players were organized to give connoisseurs the chance of getting better acquainted with such novel music. (The fact that this was feasible may have been due to the unparalleled triumph of Beethoven’s patriotic creations Wellington’s Victory and “Der glorreiche Augenblick,” or “The Glorious Moment,” which marked the peak of his popularity as well as the low point of his compositional output.)

    The profusion and the distinctiveness of Beethoven’s markings in the late string quartets did not result entirely from imagining them — it was connected to performance practice as well. Only in his fugues do we find a lack of detailed instructions. In these passages the players have to intervene and provide additional dynamic information, unless they are intent on drowning the listener of Beethoven’s “Grosse Fuge” in long stretches of fortissimo.

    Schuppanzigh’s concert series were mainly geared towards string quartets (regularly those of Haydn, Mozart and Beethoven), but they also included quintets, nonets and (“to divert the ladies”) piano trios. Solo piano works were hardly performed in public until Liszt invented the piano recital in London in 1840. Like Beethoven’s late quartets, his late piano sonatas became too difficult to be executed by domestic players. In order to tackle works such as the Sonata Op. 101 you had to be as proficient as Dorothea Ertmann, Beethoven’s much-admired pupil and friend to whom the sonata is dedicated. Works such as Op. 106 and Op.111 were deemed unplayable. Only in the second half of the nineteenth century did they start to seep into musical consciousness, thanks mainly to the advocacy of Hans von Bülow.

    In spite of the commitment of performers such as Bülow, Arthur Schnabel, Edwin Fischer, and Rudolf Serkin, the appreciation of the Diabelli Variations took considerably longer. Only recently has this magnum opus turned into a parade horse of many pianists as well as an endurance test for audiences that have now learned to sit through, and even relish, a work that is fifty-five minutes long and almost entirely in the key of C major. Among the reasons for this delay was the mythological misconception of the late Beethoven as “a loner with his God,” when in fact the profane was no less available to him than the sublime, the musical past no less than the musical present and future. In the Diabelli Variations, virtuosity and introspection, humor and gracefulness, cohabit under one roof.

    According to his assistant Schindler, Beethoven conceived these variations while “in a rosy mood,” and humor (“the sublime in reverse,” according to Jean Paul) reigns over wide stretches of the work. Wilhelm von Lenz, who took piano lessons from Liszt and became the author of the first detailed appreciation of all of Beethoven’s works, calls him “the most thoroughly initiated high priest of humor.” Conveying humor in music had been one of Haydn’s great achievements, and Beethoven linked up with it. Of course, the performer of humorous music should never appear to be forcing the comical. In the Diabelli Variations, the wit ought to become apparent, as it were, by itself, while the enraptured and enigmatic pieces provide the depth of perspective.

    Beethoven had a predilection for placing the ridiculous next to the sublime. The bottomless introspection of Variation XX is followed by a piece in which a maniac and a moaner alternate. After concluding his work on the Sonata Op. 111, his last piano sonata, Beethoven turned to finishing his Diabelli Variations, the theme of which is motivically related to the Sonata’s Arietta. Once more, the sublime and the “sublime in reverse” face one another.

    It has been claimed that Beethoven’s late style narrows down into the subjective and esoteric. What I find in it, however, is expansion and synthesis. Opposites are forced together, refinement meets bluntness, the public is paired with the private, roughness stands next to childlike lyricism. Does the inclusion of the Diabelli Variations into the wider repertory suggest that, these days, we have learned to listen to Beethoven’s late music with open ears? What we can take for granted is that no amount of familiarity with these pieces is going to erase their tinge of mystery.