Atrocity in the Garden of Eden: Myanmar

    Something new and unexpected is happening in Myanmar. No, not the most recent coup d’état. Few countries have had so many coups as Myanmar. The surprise is that, a year later, the military are still not in control. That is what has never happened before.

    On February 1, 2021, when a new parliament was due to convene, General Min Aung Hlaing, commander-in-chief of Myanmar’s army, known as the Tatmadaw, decided to act on his dislike of the result of the elections held in November 2020 and took over the government. Again, no other country has a history of coups to rival Myanmar’s, or has endured such long periods of military misrule. But this time it is different. This time the coup has been launched but it has not landed. The military are in government and they occupy the buildings of the state — but they are not in power. The government does not function, not even in the incompetent and brutal fashion in which it usually operates under the military. Resistance continues, and it is everywhere. For a military that has been in power on and off since 1958, this suggests that something has gone wrong. Or more precisely, gone right.

      No one explains Myanmar, from both personal experience and academic study, as well as Thant Myint-U, and in his book The Hidden History of Burma: Race, Capitalism, and the Crisis of Democracy in the 21st Century he records an apposite question asked by Frank Smithuis, a Dutch doctor who worked in Myanmar since 1994: “Why is there severe malnutrition in this Garden of Eden?” The doctor’s image is not accurate: Myanmar is hardly the Garden of Eden. For decades it has been one of the poorest countries in the world. And yet, even on a short visit, you cannot escape the feeling that it ought to be the Garden of Eden. The country’s assets and its potential are visible even to the casual visitor. It is a big country, roughly the size of Ukraine; it has some of the most fertile soil in Asia; from the foothills of the Himalayas to the warm waters of the Andaman Sea it has every climate you could wish for. The mangoes are legendary, but climb a bit higher and you can create a first-class vineyard. The seas are full of fish; Myanmar’s great rivers have been the arteries of civilisation for a thousand years. The forests have a wonderful legacy of hardwoods, not to mention tigers and elephants. The teak inheritance has been pillaged, but the forests can be restored; and handled well they would be a unique asset. There are beaches, lakes, and wooded hills to please the most discerning tourist. In the hills you can find every mineral, every rare earth, every gemstone (including diamonds, it is said). There is oil and gas, too. Myanmar’s potential for looting and drug production has already been plentifully exploited, but in a well-governed country the prospects for development would be unlimited.

             Well-governed: there is the catch. Myanmar has never been well governed. That is not the fault of the people. According to Thant Myint-U, his country “ranks consistently as one of the most generous countries on earth.” Some ten years ago, in Myanmar on official business, and tired of meetings with government officials in air-conditioned offices, I stopped in a remote village to visit a small project, and to see how ordinary people lived. The head of the village organized a meeting, providing local peanuts and milk. Everyone came. One remark in particular, from the collective conversation, sticks in the memory: “The government doesn’t help us, so we help each other.” This spirit runs through the whole society: no matter how poor the people, they look after their children, and are proud of them; they keep themselves and their villages as clean as they can. They do not have many opportunities, but there is a respect for learning and a great desire of education. Nor is this just my own view of today’s Myanmar: Viscount William Slim, who commanded British forces in Burma in the war against Japan, described his impression of a Burmese village when he first arrived there in 1942: it seemed, he wrote “much cleaner and better kept than similar places in India — as indeed are all Burmese towns and villages.” All Myanmar needs is a break from the wars, and a halfway decent government.

    Britain began to annex Burma in 1852 and it became one of the last additions to the British Empire, a province of British India, in 1886, a time when its older possessions, notably Ireland, were beginning to press for home rule. It lost Burma, briefly, to Japan in World War II, and gave it independence in 1948. The movement for independence had begun in the interwar years among the students at Rangoon University, partly inspired by Ireland. That movement included many individuals who would matter later: U Nu, the country’s first prime minister; U Thant, the first non-European UN Secretary General; and Aung San, Burma’s first elected leader. Aung San was expelled from university for an article attacking its principal, but reinstated after a student strike. He admired Abraham Lincoln, read voraciously, learned some of Edmund Burke’s speeches by heart, and at different times embraced every ideology from left or right, provided it pointed to independence.

    The British government, meanwhile, was beginning to experiment with pseudo-democratic institutions: a Burmese parliament and a council of ministers. These were all a façade: power remained in the hands of the Governor — including direct rule over the hills of the periphery, the regions of minority peoples such as the Shan, the Karen, and the Kachin, seen by the British as good war-like material for the British army. It is important to understand that Burma, now Myanmar, is an uncommonly diverse country. No less than 135 ethnic groups have been officially recognized, and they have been grouped into eight “major national ethnic races.” The largest is the Burmese, or Bama. Burma is where China meets India and where both meet Thailand, Laos and Bangladesh. To an outsider the Wa seem Chinese, and the Chin might be from Nagaland, and the Karen and Shan resemble Thais. (And there are villages in Vietnam where everyone looks and dresses like the Burmese). Belonging to one of these groups is a way of qualifying as a citizen — which has made the absence of the Rohingya from the official list a serious problem.

    The first military intervention in British Burma was the Japanese invasion in 1942. The Japanese claimed to come as liberators and brought with them a small “Burmese Independence Army” (BIA), led by Aung San. Despairing of change under the British, and with help from Japanese intelligence, he had made his way to Tokyo, returning secretly to recruit other young men — the “thirty comrades” who arrived with him in Burma as auxiliaries to the Japanese army. As Japan moved into Burma, Aung San and his comrades recruited more Burmese, so that his “independence army” grew to approximately three thousand still a tiny number when compared with British or Japanese forces. But the sight of Burmese people in uniform, helping to drive the British out, inspired patriotism among some Burmese. For others, such as the Karen, who were stalwarts of the British colonial army, it brought anxiety. The arrival of the BIA thus set off communal violence among Burma’s different peoples. The Japanese intervened to stop it. (The Kachin, who had fought in Flanders in World War I, also fought the Japanese, but as part of the campaign to liberate China, and under the auspices of the OSS, which was the predecessor of the CIA.)

    In 1943, the Japanese organized an independence ceremony, appointing Dr. Ba Maw as Leader — this was, after all, a fascist regime. Both the independence and the office were hollow, as the office of prime minister under the British had been. The same Ba Maw had held that position too; but now Aung San was his number two and his minister of defense. By 1944, it became increasingly clear that independence under the Japanese was not the real thing; also that they were losing the war. Aung San, in secret, created a new movement: the Anti-Fascist People’s Freedom League. When the British got word of this, they signalled that they would be ready to arm and work with his new organization. A few weeks later Aung San and his men joined a Japanese parade in front of Government House, but instead of marching back to barracks they turned in a different direction, to join the war against Japan. Another few weeks, and Aung San arrived, by invitation, in General Slim’s headquarters — causing a stir, since he was still in the uniform of a Japanese general. Slim asked Aung San if he was not taking a rather large risk in coming: after all, he had committed innumerable offenses and had only oral promises of safe conduct. “No” he replied, and, when Slim asked him why not, he said: “Because you are a British officer.” But had he not come now only because the British side was winning? Aung San replied that it would not have done much good to come to Slim if the British had been losing. Slim liked his frankness, and judged him to be a patriot, straightforward and bold. And so he was.

    Shortly afterwards, parties of Burmese soldiers began to arrive in Japanese uniforms, announcing that they were reporting for duty with the British. By then Japan was being beaten in Burma. A few months later, after Hiroshima and Nagasaki, they surrendered. The British side had plans for the peace: an orderly transition to independence under British supervision, including a new Burmese Advisory Council, based on a British White Paper. Aung San’s Anti-Fascist League would have a special position in this body. But they had also made promises of independence for the Karen, the Kachin, and others. Aung San’s message was simpler: only independence mattered. By now he had a private army and a growing public following. The “strength of the League appears to depend on the personality of Aung San,” wrote the British colonial Governor, Sir Reginald Dorman-Smith.

    In late 1946, Aung San made four demands: elections the following spring; the inclusion of all Burmese territory — including the hills of the periphery, where the Shan, the Karen, the Chin, the Kachin and others lived; a review of economic reconstruction and the role of British companies, and above all, independence by early 1948. As always: clear and concise. Britain was already dealing with the post-war complications of India and Palestine, the occupation of Germany, and its own domestic wreckage and debt; it had every incentive to settle Burma quickly. The government invited Aung San and a delegation to London in the freezing January of 1947. Aung San went with his deputy Tin Tut, an able lawyer, but none of the delegates with him were from the minority peoples. Karen and Shan leaders warned that they would not be bound by an agreement where representation for them was absent.

    By comparison with Burma’s internal complications, the negotiation with Britain was easy — the Attlee government was committed to independence for India and had no reason to hang on to Burma. The only question left open was that of membership of the Commonwealth. Rivals on the right — U Saw — and on the left — the clever Communist Party leader Thakin Than Tun — joined the conference in London, but they refused to sign the agreement and they also opposed membership in the Commonwealth. In practice, this was never a runner. The name “British Commonwealth” did not sound very different from “British Empire.” And it was headed by the Queen. It would be hard to explain to a newly independent country (itself a former monarchy) that Her Royal Highness was not a real sovereign and would have no power. The shape of the Burmese constitution, and the position of non-Burmese peoples, such as the Karen, was hardly discussed. (The ethnic minorities tended to favor the idea of being part of the Commonwealth and were nervous that the end of the Commonwealth might put them “at the mercy of Burmese-dominated Burma.”)

    Aung San was in his early thirties. His life had been full of drama: as a student he had joined any number of dissident groups, including Dobama Asiayone, or the We Burmese Association, whose members gave themselves the ironic title Thakin, or Lord; he had been expelled from university, along with U Nu, but reinstated after a three-month strike by the other students. After graduating he became Secretary General of the Burmese Communist Party and left it twice. All of these activities were unpaid, so he had lived in poverty. Then he had been a soldier on both sides in the war, and now, as Governor Dorman-Smith said to him, he was “the people’s idol.” “I did not seek that,” Aung San said, “but only to free my country. But now it is so lonely.” And then he wept.

    The path to independence began with parliamentary elections in April 1947. Before the elections Aung San gathered the leaders of non-Burmese peoples, Shan, Karen, Kachin, and Chin, together in the town of Panglong in the Shan Hills. The Shan agreed to join the new republic on condition that they had the right to secede in ten years. The Karen refused. They had fought on the British side against the Japanese, and against Aung San’s small army too; they had promises of independence from Britain. They boycotted the elections, which unwittingly helped Aung San’s party to win a huge majority.

    The Panglong meeting is still remembered in Myanmar as a bid for national reconciliation. So it was, but just as significant was the composition of Aung San’s Executive Council — which he nominated after the elections as the interim government, under British authority, until independence. It included neither the extreme right (U Saw) nor the Communist Party; but Aung San persuaded important Shan, Kachin, and Chin leaders and to join it, as well as a well-regarded Moslem figure from Mandalay.

    Independence was scheduled for January 4, 1948 — a date identified by the astrologers as auspicious. Until then the British Governor, now Sir Hubert Rance, presided. On July 19, 1947, the Executive Council met for an informal session under Aung San. As the meeting began, three men in military fatigues burst in, firing sub-machine guns. Aung San died instantly, and so did many members of his cabinet and staff. U Saw, who had organised the slaughter, was later hanged. Aung San left behind him his wife, Daw Khin Kyi, and three children. The youngest, his daughter Aung San Suu Kyi, was two years old.

    The death of Aung San was a calamity. It was as though Abraham Lincoln had been assassinated before the Civil War. With him died the best men of his generation: he had brought them together to rebuild the country as an independent state and a union. He was young, but he was the creator of Burma as an independent state, and also of its army.

    Instead of Aung San, the Prime Minister at independence in January 1948 was U Nu. He was older than Aung San, but they had been expelled together from Rangoon University many years before and had been active in the same movements. U Nu had a different temperament. He was charming, thoughtful, and a devout Buddhist. Perhaps he had some of the naivete of someone who is essentially a good man. What is certain is that he did not have Aung San’s hard edge, nor his decisiveness, nor the authority that his experience of military command had brought him.

    In retrospect U Nu’s time as Prime Minister is commonly regarded as a golden age. In fact it was a time of turmoil, shaken by rebellions of every sort, especially by the Karen. U Tin Tut, an experienced colleague of U Nu (and they were few) was killed by a bomb that was planted in his car, no one knows by whom. At this time too, the civil war in China spilled over the borders into northeast Burma, where some of hill tribes are cousins of the Chinese. U Nu’s closest friend and adviser was U Thant; but he, too, was a man of words and of peace. The Burmese army had much to do, and did it well enough; but increasingly the military became a separate entity, led by General Ne Win, responsible only to its own command structure. It was at this time that the military began to run private businesses for profit — the beginning of the military-commercial-political complex that has been a disaster for Myanmar.

    U Nu offered U Thant the job of Burmese ambassador to the United Nations in 1957. A few years later, as Secretary General, he became the most famous Burmese in the world. But U Nu himself was left more isolated. In the following summer some of his own party proposed a vote of no confidence in the government; U Nu won the ballot, but rumors circulated of plots by army field commanders for Ne Win and the army to take the government “under its protection.” U Nu then announced that, “because of the situation,” he had invited General Ne Win to “assume the reins of government” as a “caretaker.”

    Strictly speaking, this was not the first of the military’s coups d’état, but that is how it is remembered. There was no violence, but it was in part a result of the killing of Aung San and his government in waiting. In hindsight it also looks a lot like a dry run. The military governed rather well, if also rather brutally. They cleaned up Rangoon and other cities; they dealt with rebels and with corruption, except their own (the army’s commercial interests continued to expand). And they handed power back on time, through elections in February, 1960. U Nu won by a landslide. The people clearly preferred civilian government, but it seemed also that the military could be trusted with power.

    Wrong! After the dry run, came the real thing. On March 3, 1962, tanks and armored units moved into downtown Rangoon. Prime Minister U Nu, other ministers, and the chief justice were arrested; so were a number of Shan and Karen leaders. With a few exceptions the coup was bloodless, but now there was no promise of future elections. When, in July, students in Rangoon University demanded the restoration of democracy, troops arrived and fifteen students were killed. The next morning the army blew up the Students Union building where, as students, Aung San, U Nu and U Thant had all spoken.

    Ne Win, like Aung San, was from the middle classes. He went to Rangoon University to read natural sciences, hoping to become a doctor. But he failed his examinations and, after two years, dropped out. He tried different kinds of work, but found that small business was dominated by the Indian community. He ended up working for the Post Office. When he was not selling stamps, his free time was spent with politically minded students, and he helped to translate The Communist Manifesto into Burmese. With Aung San and others he was a Thakin in the We Burmese association. Then he joined Aung San as one of the thirty, taking “Ne Win” (meaning “bright sun”) as his nom de guerre, and it stuck. He was Aung San’s second in command, and after independence he became the army chief of staff. In private life he was happily married several times, and known as a playboy.

    Anyone who thought that in power the army would repeat the technocratic pattern of its previous two years was incorrect. As chairman of the Revolutionary Council, Ne Win declared that “parliamentary democracy was not suitable for Burma,” created the Burma Socialist Programme Party, and declared all other political parties illegal. When there were riots at Rangoon University, he shut all universities down. Health care was nationalized, and so was almost everything else, including major private enterprises. Foreign trade and development aid — except some Soviet programs — were banned. This was “the Burmese road to socialism.”

    Officially, Burmese foreign policy was “non-aligned,” or unaffiliated with either the United States or the Soviet Union, the great power rivals in the Cold War; but it would be more accurate to say that it was isolationist. The country turned inwards. In 1964, Ne Win expelled Burma’s large Indian community, some three hundred thousand people. Burma also had a substantial Chinese population, with its own school system, and as they became more visible — with flags and badges — during the Cultural Revolution in 1967, they too became a target. But China sent troops into Burma, to join related ethnic communities in the Kokang and Wa hills, close to the border with China’s Yunnan province, where traffickers ran opium, and today, methamphetamines. The government did not touch Chinese schools or communities.

    In 1966 U Nu was released from prison. He met Ne Win and discussed the possibility of a return to democracy. Ne Win was against it, but he gave U Nu permission to leave the country. He did, and promptly set up an organisation to over-throw Ne Win. It failed. In 1974, U Thant died. His family brought his body back to Burma. Ne Win, who believed that U Thant had been conspiring with U Nu against him, refused any official recognition. His family arranged for his coffin to be displayed in a dignified way in a public space (the old racecourse) with flowers and his portrait; and when a torrent of well-wishers came to pay their respects, the government reluctantly gave permission for a (private) burial. Anti-government students hijacked the coffin and took it to Rangoon University and the site of the Students Union, where monks watched over it with the students, who wanted it buried on the spot. Thousands of soldiers and police arrived: they arrested many of those who had gathered, probably killing some. Eventually U Thant was buried close to the great Schwedagon Pagoda.

    The Burmese road to socialism turned out to be a road to nowhere. The country grew isolated and impoverished. Ne Win contributed to the decline with a series of demonetizations. In 1964 he decreed that 50 and 100 Kyat notes would cease to be legal tender. This was a clumsy effort against the black market, but its main effect was to wipe out the savings of the poor. Later, in 1987, having been told that the number nine was astrologically auspicious for him, Ne Win introduced 45 and 90 Kyat notes — both numbers being multiples of, and adding up to, nine. That is not a sound basis for monetary policy. Around this time, I visited Rangoon briefly for the first time. Two memories are especially vivid. The first was the complaint of a woman that to buy a bag of cement she had had to fill in twenty-four forms and obtain permission from almost as many ministries. The second was the story that Ne Win had been told by a soothsayer that in the coming year Burma would turn to the right. As a pre-emptive strike against the prediction coming true through the overthrow of his left-wing government, he announced that traffic would henceforth drive on the right. This made no sense, as cars were largely imported from Britain or Japan and they suddenly had the steering wheel on the wrong side. No matter: it was done and everyone drove on the wrong side. As usual, the Burmese people managed.

    In the end numerology and bad luck got the better of Ne Win. In 1988 he announced that he would resign, thoughtfully suggesting that this might be the moment to return to multi-party democracy, but leaving the details to his military successors. They accepted the resignation and forgot the rest. The students, as usual, wanted better; their demonstrations met a violent response and many were killed. Then came the numerology: the number eight is lucky in Burma, so on 8/8/88 the students tried again. A massive demonstration was put down with massive force, but this time others joined in: workers, civil servants, and even policemen and soldiers.

    Then the bad luck: Aung San Suu Kyi was in Rangoon. She had left Burma long ago, when U Nu had sent her mother to India as ambassador; and from India she had gone to Oxford University, and then to New York, where she had worked in the Secretariat of U Thant’s UN, returning to Britain to marry Michael Aris, a quiet, serious scholar of Tibetan Buddhism. They had lived in Bhutan and were living in Oxford, with their two children, when in 1988 Aung San Suu Kyi returned to Burma to care for her mother, who was dying. That being her purpose, she had no wish to involve herself in politics. But after many approaches, from old friends and from young people, she agreed to address the students. Her first words were: “I never left Burma.” They were true: whether she was enjoying herself in New York, or looking after her children in Oxford, a part of her mind had always been in Burma.

    In 1988, hundreds of the protesters were imprisoned, usually far from their families to worsen their isolation. A year later Aung San Suu Kyi herself was placed under house arrest. She was now committed to the fight for democracy in Burma and, with one or two breaks, when the political atmosphere improved, she spent most of the next twenty years isolated in her mother’s house in Rangoon. During this time her husband died of cancer. She had declined the government’s offer to let her visit him when his illness worsened, being sure they would not let her return.

    soon a new general would rule in 1992: Than Shwe would replace the Burmese road to socialism. In 1990 they held elections. Remarkably, they were well conducted. We know this because the National League for Democracy (NLD) — Aung San Suu Kyi’s party created in 1988 — won over eighty percent of the seats. (The army has never understood how unpopular it is). The new military government, renamed the State Peace and Development Commission (SPDC), declared that the implementation of the election results would have to wait for the new constitution that they were starting work on. The United States and the European Union adopted a policy of sanctions and isolation, out of sympathy for Aung San Suu Kyi and the NLD. This approach often punished the people more than the rulers who profited from illegal trade in timber, gemstones, and drugs. But what else can you do? The West also criticized ASEAN when it admitted Burma (now calling itself Myanmar) to its ranks. In retrospect this had a good side: visiting thriving countries such as Indonesia and Thailand gave Myanmar’s generals a sense of how far their own country was falling behind their regional peers, whom they had always looked down on. But at home nothing changed, unless for the worse. Inflation and seizures of land made the lives of peasant farmers — most of the population — even poorer.

    In 2007 the monks took up the cause of the people in what the West has called “the Saffron Revolution.” As their protests were beginning, recent newspaper photographs of Than Shwe’s daughter in a wedding dress covered with diamonds added fuel to the dissident fire. The demonstrations began in late August and continued through September. In many places, contrary to Buddhist custom and doctrine, the monks were met with force. On September 24, demonstrations were held in twenty-five cities; in Rangoon a long line of monks walked in front of Aung San Suu Kyi’s house. She opened the gates, watched them in silence, and received their blessing. But there was no revolution. Instead the SPDC carried out its plan to move the capital from crowded Yangon (the former Rangoon) — always at risk from mass protests — to an empty Disneyland capital in the middle of nowhere, called Naypyitaw. There the government would not have to worry about unsightly and dangerous demonstrations.

    Then, in May 2008, Cyclone Nargis struck. It made landfall on the flatlands of the Irrawaddy Delta, with the wind at more than a hundred miles per hour and a storm surge reaching twenty-five miles inland in a densely populated area. The government refused to acknowledge either the damage or its incapacity to deal with it. Eventually UN Secretary General Ban Ki-Moon persuaded Than Shwe to accept foreign aid and aid workers, with a promise that no military would be involved. The death toll of Nargis is thought to have been more than a hundred thousand people. In other countries it would have been natural to involve the military in relief operations; eventually this happened in Myanmar too, though the Tatmadaw had no plans for civil emergencies and no experience in helping, as opposed to oppressing, the people.

    And right after Nargis, another storm hit, not natural but political: the referendum on the new constitution. This had been drawn up by the National Convention, which was almost entirely from the military. The NLD had been invited to join, but it refused when it was offered only a small number of the seats. It had won a big majority in the election of 1997, but the SPDC decided to set this aside until the new constitution was agreed upon. Government figures claimed that, despite the chaos brought by Nargis, turnout for the referendum was at 99%, with 92.4% voting for the new constitution.

    That constitution, which would be in force today had the Tatmadaw not set it aside, promises Myanmar a “flourishing of a genuine, disciplined multi-party democratic system.” But it has some unusual features. Three are especially important: a quarter of the members of each of the two parliamentary chambers are military officers nominated by the Commander in Chief of the army, and they vote according to his orders; one of the qualifications for the office of the presidency, as specified in Article 59, is that he or she must not have a spouse or a child who is a foreign citizen (this was designed to exclude Aung San Suu Kyi); the president appoints all ministers, but the ministers of defense, home affairs, and border affairs are appointed from a list of “suitable Defence Services personnel” who are “nominated by the Commander-in-Chief of the Defence Services.” Constitutional change in Myanmar requires a majority of 75% plus one in a vote in Parliament. In other words, military control is secure.

    Yet the constitution does provide for elections. When elections were held under the new constitution in 2010, Aung San Suu Kyi was under house arrest and the NLD did not register as a political party. A few NLD members, seeing no other way forward, broke away from the party and ran in the elections. When votes were counted and it began to look as though they might win, sacks of advance votes were “discovered” to ensure that they did not. A rigged election that followed a rigged constitution seemed to suggest that nothing was going to change.

    But when the new government, with U Thein Sein (the general who had chaired the National Convention) as president, took over, a series of surprises followed. A controversial and unpopular mega-dam was put on hold, greatly to the annoyance of China; some political prisoners were released; and then “the Lady’s” house arrest was not renewed. She was invited to meet the president in private, and after much thought and consultation she agreed to register the NLD under the new constitution and to contest forty-four seats in upcoming by-elections. (The constitution is based on the separation of powers, so members of parliament must resign their seats if they become ministers. Montesquieu might have wondered whether a constitution where the head of the army appoints members of parliament really embody a separation of powers.) The by-elections, when held, were visibly free and fair: the proof of this was that the NLD won all the seats but one. Aung San Suu Kyi and the NLD were now in the Burmese parliament for the first time. But they were far from being in power.

    In 2012, the NLD was a small minority party in parliament, though Aung San Suu Kyi played a prominent role. In the general election four years later, she and her party contested every seat, and won a large majority. Admiration for her and her father was a factor — at rallies many carried his picture as well as hers. So was the unpopularity of the military, who had corruptly enriched themselves and who were fighting a never-ending series of wars against the non-Burmese peoples of the border lands. Aung San Suu Kyi dealt with the problem of Article 59 by having a trusted friend elected president, inventing the title “state counsellor” for herself, and acting as if she were president. Yet there was no way to get around the impossible parliamentary threshold needed for constitutional change: the military vote under orders and acted as a permanent blocking minority.

    Nor did it prove easy to make peace in the border regions, though U Thein Sein’s government tried hard. Peace is a condition for both development and a secure democracy. Long-term conflicts have their own momentum, especially if some of those involved benefit commercially. The NLD is seen by some as a Bama party. Aung San Suu Kyi herself is a heroine in regions such as Kachin, but minority peoples are not well represented in her party. The heart of the problem, however, was and is the Tatmadaw: Bama in its composition, and from the day of independence under no one’s control except its own. Abroad Aung San Suu Kyis was seen as a saint, but her government was unable to perform miracles. On reflection, a long period of solitary confinement is poor preparation for government. (Nelson Mandela’s prison on Robben Island was much less comfortable, but he was with his comrades and they planned the future together.)

    The area where Aung San Suu Kyi took the boldest approach was the one for which she has been most criticized. To tackle the problem of the Rohingya, an unloved Muslim minority who are mostly not citizens, she persuaded Kofi Annan to chair a commission and promised to follow his recommendations. She knew that these would include a path to citizenship, and that this would be unpopular. Only hours after his report came out, a Rohingya group attacked Burmese forces, provoking massive and wildly disproportionate retaliation against the whole Rohingya community, driving hundreds of thousands across the border to Bangladesh. A mass exodus of refugees followed — an unconscionable episode of ethnic cruelty and ethnic cleansing. Later Aung San Suu Kyi shocked many people by defending the Burmese army’s harsh actions against the Rohingya in court at The Hague. Those who had thought she was a saint now decided that she was a war criminal. In fact, the transition that she had made was from heroine to politician. She had an election to win in 2020, and seeming unpatriotic is a bad election strategy. A cold-hearted calculation perhaps, but to help the Rohingya, if that was her intention, she needed power, and she won again by another massive majority.

    And so, on February 1, 2021, there occurred yet another coup d’état, this one led by Min Aung Hlaing. There were multiple arrests, including Aung San Suu Kyi herself, who was charged with possession of an illegal walkie-talkie and “incitement” — presumably to overthrow the constitution, which of course is precisely what Min Aung Hlaing had just done. With her, many NLD members were arrested too, elected parliamentarians and veteran detainees (and also her Australian economic adviser Sean Turnell, who is one of the least conspiratorial people I have ever met). Now it is more than a year since the coup, and the army is still not in control. But neither are those who won the election. They were never going to be allowed full and legitimate control under this constitution; but now they are in prison. We can describe such events properly only when we know their outcome. Is this the start of a doomed if heroic struggle against overwhelming odds? Or are these the first steps on a path that will unite everyone against the military?

    Immediately after the coup people took to the streets all across Myanmar — not only the students of Yangon University, but people of all ages. Everyone has been involved, poor as well as middle class, women as well men, their elders are joining them, and the kids are not giving up. On the streets the leadership comes from Generation Z, who have grown up digital and connected. (For better or for worse, life in Myanmar is dominated by Facebook). And they are able to organize themselves. One woman wore a wedding dress to the protests and held a placard that read, “I am supposed to be getting married; but it’s more important for me to be on the street demonstrating for democracy.” Others are banging pots and pans, a traditional way to express scorn and to ward off evil spirits. The protests started spontaneously after the coup. Everything stopped: trains did not run; government offices emptied; doctors left their hospitals for the day. The Commander in Chief, now the leader of the junta, Min Aung Hlaing, has admitted that he did not foresee such resistance. But he still ordered his troops to shoot and kill demonstrators. Arrest warrants were issued for those who did not turn up for work, and for health care workers ministering to the wounded, and for people in the fields of television, journalism, literature, music, and theater arts.

    One of the first to lose her life was a twenty-year-old named Mya Thwate Thwate Khaing, in Naypyitaw. In Yangon, seeing young people being shot, fifty-nine-year-old Daw Tin Nwee Yee put on her school-teacher’s uniform and joined her colleagues and her pupils. She was shot on the street by a rubber bullet and died of an immediate heart attack. In Mandalay, Kyal Sin, singer, dancer, and taekwondo champion, was shot dead. As the mass marches were driven from the streets of the big cities, the small towns took up the struggle. Myanmar people abroad are providing money for food and for guns. Eleven months after the coup, a silent strike was organized to show that the people have not forgotten, have not given in: fifty-five million people vanished for the day.

    Away from the streets there are dissident organizations: an underground government, the National Unity Government (NUG), brings together those who have been elected and are not yet in prison. Under its auspices, supporters in local areas have established People’s Defence Forces (PDFs) to protect the people against the Tatmadaw. The NUG would like to win the support of the Ethnic Armed Organizations (EAOs) who for years have fought the Tatmadaw. That the NUG now speaks of establishing a federal democracy — putting the word “federal” first — is itself a sign of change. It has also put aside Aung San Suu Kyi’s longstanding policy of non-violent resistance.

    In some areas there has been a positive response from the minority peoples who have been fighting the Tadmadaw for years. Some are helping to train PDFs; some are fighting alongside them. Others are offering refuge to those fleeing the Tadmadaw. Here are two small examples of what might be described as the battle for the hills. The battle began in 1948, when the state was founded. The objective has always been to change the state’s shape, and the enemy has usually been the army. In Chin State on the Indian border, an area that until recently was relatively peaceful, the local Chinland Defense Force has clashed with Tatmadaw units, who have abducted citizens, including children, to use as human shields. The Chin National Front now has an agreement with the National Unity Government; it works with the parallel NUG administration to deal with COVID-19, and it offers training for the new People’s Defense Forces.

    Several hundred miles away over bad roads and across wide rivers, on the border with Thailand, is the township of Lay Kay Kaw in Kayin state. Here the forces of the Karen National Union (KNU) are giving shelter to members of the civil disobedience movement, who are organizing demonstrations and urban resistance. The picture is grim. In December the military attacked the town of Lay Kay Kaw, using, they said, “limited force,” claiming that the town was sheltering “terrorists.” The KNU spokesperson denied there were terrorists in the town: “We accepted the guests on the basis of human rights. Those people wouldn’t have to seek refuge in Lay Kay Kaw if the military didn’t keep killing and torturing people.” Twenty-one people were arrested, including members of the National Unity Government, and public servants taking part in the Civil Disobedience Movement. When junta troops returned to Lay Kay Kaw the next day, they found themselves under siege. What triggered the conflict, according to the KNU, was the behavior of the Tatmadaw. who did not just make arrests but also stole and destroyed property belonging to residents. “We couldn’t stand by and do nothing. They have acted with impunity for their actions for too long.”

    People were fleeing by the thousands. By December 20, 2021 the clashes in Lay Kay Kaw had become so serious that the KNU made an appeal to the United Nations to declare a no-fly zone over the area. Three days later the regime launched airstrikes and heavy artillery attacks that forced thousands more to flee their homes. The junta said the attack was in accordance with its rules of engagement. The KNU spokesperson memorably retorted, “What rules of engagement did they follow? The entire world knows that they’ve been indiscriminately shelling entire villages… The military keeps sending reinforcements. The battles are bound to continue… the locals can’t come back.” A woman (who did not want to give her name) from the nearby Thai-Myanmar border town of Myawaddy had this to say about the regime’s professed attempts to repatriate displaced villagers: “It’s pure fantasy. No one believes a word of it. People here know the real situation, and so do those who fled the fighting. Everyone knows the military even fired shells into Thailand. They’re only telling lies about this to maintain stability inside the army.” Another KNU spokesperson summed it up: “The more the military treat the people as enemies, the more enemies they will have.”

    The eventual settlement in Myanmar will have to be far-reaching: not just elections, but a constitution that recognizes ethnic diversity in a federal framework, and offers a better electoral system than the colonial legacy of first-past-the-post, the most primitive of all electoral systems. This is still a long way off. But there are grounds for hope. The battle for the streets and the battle for the hills are becoming the same battle in some places. This is a development of enormous significance. Those who seek democracy and those who seek autonomy have joined forces. The wish for autonomy is old, of course; it goes back before independence. What is new is the realization that the two fights can be made one — that democratic majorities and protection of minorities can be a single cause.

    What has made this national solidarity possible is the other new factor in the struggle against military dictatorship in Myanmar: the experience of democracy, from 2010 to 2020. This was a mediocre democracy in every way, with the military taking a quarter of the seats in parliament, and a primitive electoral system inherited from Britain — but even that experience of flawed and limited democracy has had such a powerful effect that people are risking their lives for it.

    The catalogue of arrests, torture, trials, and killings grows long. By the abysmal standards of Myanmar justice, Aung San Suu Kyi has gotten off lightly so far: in December she was convicted of violating COVID-19 restrictions during the election campaign and of calling for public opposition to the coup, and was sentenced to six years in prison; this was reduced to two years in a show of magnanimity by the military; and more recently she was given a four-year sentence for owning a walkie talkie, also reduced to two years. Many other charges against her remain, and if she is found guilty she could spend the rest of her life in prison. The Assistance Association for Political Prisoners, an organization based in Thailand, founded and staffed by Burmese former political prisoners, does its best to keep a record: their latest update since the most recent coup, as of late January, records 1,503 killed, 8,778 arrested, and 1,672 on the run. The numbers go up every day.

    That inexperienced city kids and disparate ethnic organizations might win against the ruthless, disciplined, well-armed Tatmadaw may seem impossible, but they are many in number, and their courage and endurance is extraordinary. A year after the coup, the military is still not in control of the country. Yet the authoritarians in power in Yangon, like the authoritarians in power in other capitals around the world, may believe that there is a new historical trend in their favor: the indifference of the West, and particularly the United States, to the global attrition of democracy. Democratization no longer figures among our foreign policy priorities; indeed, it is increasingly described as imperialism.

    We who live in democratic countries have increasingly lost sight of the worth of democracy, both for ourselves and as a way of making the world more peaceful and more decent. The tyrants in Myanmar will persist in their vicious policies until they encounter not only serious resistance at home but also serious resistance abroad. But who among the powers will put up the impediments to their cruelty?

    Bans, Then and Now

    Can anything surprise us anymore? A madman with no political experience who boasts of sexually assaulting women is elected president of the United States, and the only thing that keeps him from doing irreparable harm to the American republic is his own stupidity and incompetence. A rabid mob of citizens, incited by his lies and the misinformation promulgated by right-wing pundits, attacks and ransacks the United States Capitol while Congress is in session. In America, books are being banned from libraries and schools. Meanwhile, the planet is on what seems to be an irreversible path to environmental disaster, while a global pandemic continues to rage and disrupt our social, economic, and political welfare. Conspiracy theories are everywhere. And none of this is keeping billionaires from devoting their immense wealth to a competition that involves sending themselves (on round-trips, alas) into space. We deserve to be the least surprisable, the most jaded and disabused, people who ever lived.

    And yet, out of a usually quiet corner of the beautiful, peaceful, and tolerant city of Amsterdam, late in the year of 2021, came this gem of a letter, addressed by a prominent Dutch rabbi to an Israeli-American professor of philosophy:

    Amsterdam, 28 November 2021 / 24 Kislev 5782

    To the attention of Professor Yitzhak Melamed,

    The chachamim [rabbis] and parnassim [lay directors] of Kahal Kados Talmud Torah [Talmud Torah Congregation] excommunicated Spinoza and his writings with the severest possible ban, a ban that remains in force for all time and cannot be rescinded.

    You have devoted your life to the study of Spinoza’s banned works and the development of his ideas.

    Your request to visit our complex and create a film about this Epicouros [heretic] in our Esnoga [synagogue] and Yeshiva (Ets Haïm) is incompatible with our centuries-old halachic, historic, and ethical tradition and an unacceptable assault on our identity and heritage.

    I therefore deny your request and declare you persona non grata in the Portuguese Synagogue complex.

    The letter is signed by Rabbi Joseph Serfaty of the city’s Portugees-Israëlitiesche Gemeente (Portuguese-Jewish Community), who closes by wishing Professor Melamed “a meaningful Chanuka.”

    As the Dutch might say, Wat in Godsnaam?!

    In the spring of 1656, Bento de Spinoza was not yet the infamous philosopher, the bold and radical thinker who would scandalize Europe by identifying God with Nature, denying the possibility of miracles, and proclaiming the Bible to be a “corrupt” and “mutilated” collection of human writings whose only value is that its stories are morally edifying. At this point Spinoza was, in fact, an importer of dried fruit — just another merchant from a prominent family in Amsterdam’s Sephardic community, the same community that Rabbi Serfaty now serves. Just a few years earlier, at the age of twenty-one, when his father Michael de Spinoza died, Spinoza had to cut short his formal schooling and take over the family business. As far as we can tell from the extant documentation, everything was fine. Spinoza was still donating (or at least pledging) his semi-annual dues and charity payments to the Talmud Torah congregation, although the amounts were gradually diminishing. An indication of a loss of faith? More likely just a consequence of the serious debts that he had inherited from his father. To all appearances, Bento was still an upstanding (if financially struggling) member of the community.

    Thus, what happened next comes — to us, at least — as a bit of a shock. On July 27, 1656, or the 6th of Av, 5416 on the Jewish calendar, the following ferocious proclamation was read out from in front of the ark of the Torah in the congregation’s synagogue on the Houtgracht, the “Wood Canal,” filled in during the nineteenth century and now the Waterlooplein, site of the city hall, the opera house, and a flea market.

    The Senhores of the ma’amad make known to you that having for some time reports of the bad opinions and acts of Baruch de Spinoza, they have endeavored by various means and promises to turn him from his bad ways. But being unable to effect any remedy, on the contrary, each day receiving more information about the abominable heresies which he practiced and taught and about the monstrous deeds which he performed, and having many trustworthy witnesses who have reported and testified on all of this in the presence of the said Espinoza, who has been found guilty; after all of this has been examined in the presence of the rabbis, they [the members of the ma’amad] have decided, with their [the rabbis’] consent, that the said Espinoza should be banned and separated from the Nation of Israel, as they now put him under herem with the following herem:

    With the judgment of the angels and with that of the saints, we put under herem, ostracize, and curse and damn Baruch de Espinoza, with the consent of Blessed God and with the consent of this entire holy congregation, before these holy scrolls, with the 613 precepts which are written in them; with the herem that Joshua put upon Jericho, with the curse with which Elisha cursed the youth, and with all the curses that are written in the law. Cursed be he by day and cursed be he by night; cursed be he when he lies down and cursed be he when he rises up. Cursed be he when he goes out and cursed be he when he comes in. Adonai will not forgive him. The fury and zeal of Adonai will burn against this man and bring upon him all the curses that are written in this book of the law. And may Adonai erase his name from under the heavens. And may Adonai separate him for evil from all of the tribes of Israel, with all the curses of the covenant that are written in this book of the law. And you that cleave unto Adonai your God, all of you alive today: We warn that no one should communicate with him orally or in writing, nor provide him any favor, nor be with him under the same roof, nor be within four cubits of him, nor read any paper composed or written by him.

    The young Spinoza was now formally — and irrevocably — ostracized from the Portuguese-Jewish community of Amsterdam by the parnassim (directors) sitting that year on the ma’amad (board of directors) of the Talmud Torah congregation. The writ of ostracism, the ban called a herem, may originally have been composed in Hebrew. It is extant only in a Portuguese version entered into the community’s record book, the Livro dos Acordos da Naçao e Ascamot, the sole copy of which is now in the Portuguese-Jewish Archives of the Municipal Archives of the City of Amsterdam. Spinoza was only twenty-three years old when he was issued the herem; as far as we know he had not yet made public anything he may have written.

    Herem as a coercive or punitive measure exercised by a Jewish community upon recalcitrant and rebellious members goes back at least to the period of the Mishnah, in the first and second centuries CE. Originally, in its biblical use, the term herem designated separating something or someone from all other things and forbidding ordinary use or contact; in some cases, it could mean destroying that thing or person. The reason for separation might be that the item or individual is sacred or holy, or it might be that it is polluted or an abomination to God. The Torah, for example, declares that anyone who sacrifices to any god other than the Israelite God is herem (Exodus 22:19). He is to be killed, and the idols that he worshiped are to be burned. Deuteronomy (7:1–2) declares that the nations occupying the land that God has promised to the Israelites are herem and thus must be destroyed. On the other hand, something that has been devoted to the Lord (herem le-Adonai) is “most holy” (Leviticus 27:29) and therefore cannot be sold or redeemed. There are also in the Hebrew Bible occasions when a separation or destruction is used to threaten or punish someone who disobeys a command. The people of Israel are ordered to destroy (taharimu) the population of Yavesh-gil’ad because they failed to heed the call to battle against the tribe of Benjamin (Judges 21:5–11). In the post-exile period, Ezra declared that anyone who did not obey the proclamation to gather in Jerusalem within three days would “lose [yoh’ram] all of his property and . . . be separated from the congregation of the exiles” (Ezra 10:7–8).

    By the late medieval and early modern era, herem had become a regular congregational instrument of punitive ostracism. A person who has violated Jewish law or commandment, or even just a local community’s regulations, could be punished by being put under herem. The harshness and duration of the punishment usually depended upon the seriousness of the offense, and the terms varied from place to place. What could earn one a herem in Amsterdam might lead to only a slap on the wrist in Venice or Hamburg. In pretty much all cases of herem, though, the sanctioned individual is to be isolated from the rest of the community and treated with contempt. To be put under a herem was of great consequence for an observant Jew, affecting his or her life and the life of the family in both the religious and secular domains. The person under a herem was cut off, to one degree or another, from participating in the rituals of the community and thus from performing many of the ceremonies and tasks that make everyday Jewish life meaningful.

    A man under herem would likely be forbidden from serving as one of the ten males required for a minyan (prayer quorum), or from being called to the Torah in synagogue, or from serving in a leadership post of the congregation, or from performing any number of mitzvot, deeds that fulfill halakhic (legal) obligations. In extreme cases, the punishment extended to the offender’s relatives: as long as he was under a herem, his sons were not to be circumcised, his children were off-limits for marriage, and no member of his family could be given a proper Jewish burial. This is all very harsh. Owing to the ban’s restrictions on any kind of conversation or dealing, a person under herem was also forbidden from engaging in ordinary social and business contacts. Clearly, a herem carried tremendous emotional and even economic impact. As the historian Yosef Kaplan has put it, “the excommunicated individual felt himself losing his place in both this world and the next.”

    The power to ban an individual was typically vested in a community’s rabbinical court, the Beth Din. Among the Sephardim in seventeenth-century Amsterdam, however, such prerogative belonged to the community’s lay leaders. They were certainly permitted and even encouraged to seek the advice of the rabbis before issuing a ban against someone, particularly if the alleged offense involved a matter of Jewish law. But such consultation was not required. The Amsterdam ma’amad’s exclusive right to ban members of the community went virtually unchallenged in the seventeenth century (although it was a source of some tension between the parnassim and the rabbinate, and apparently it remains so, as we shall see).

    Disregarding Maimonides’ admonition to be sparing in the use of this most severe form of punishment, Amsterdam’s Sephardim employed the herem quite broadly. A herem was primarily attached to the violation of certain rules regarding religious and devotional matters, such as attendance at synagogue, the observance of the dietary laws of kashrut, and the observance of holidays. A Portuguese Jew in Amsterdam was forbidden, for example, from buying meat from an Ashkenazic (German or Eastern European Jewish) butcher. Then there were ethical regulations: one could be banned for gambling or for lewd behavior in the streets. Social precepts protected by the ban included a rule against marrying in secret, without parental consent and not in the presence of a rabbi. There were also regulations deriving from the political and financial structure of the community. One could be banned for failing to pay one’s taxes, or for showing disrespect to a member of the ma’amad. Jewish women were forbidden, under threat of herem, to cut the hair of gentile women, and members of the community were warned not to engage gentiles in theological discussions. Sexual relations between Jews and gentiles were also prohibited (but, it seems, at least in the case of Jewish men and gentile women, rarely punished). It goes without saying that the public expression (orally or in writing) of certain heretical or blasphemous opinions — such as denying the divine origin of the Torah or slighting any precept of God’s law or demeaning the reputation of the Jewish people — would also warrant a herem.

    In all, between 1622 and 1683, as Kaplan has discovered, thirty-nine men and one woman were banned by Spinoza’s congregation, for periods ranging from one day to eleven years. Rarely — as in the case of Spinoza — was the ban never removed. All of this indicates that a herem was not intended by the Jewish community of Amsterdam to be, by definition, a permanent end to all religious and personal relations. It might, on occasion, turn out to have that result, as it did for Spinoza. But it seems usually to have been within the power of the individual being punished to determine how long it would be before he or she fulfilled the conditions set for reconciliation with the congregation — usually a matter of apologizing and paying a fine.

    The herem, then, was used in Amsterdam to enforce the religious, social, and ethical conduct thought appropriate to a Jewish community, to discourage deviancy not just in matters of liturgical practice but also in everyday behavior and the expression of ideas. This was particularly important for a community founded by the descendants of “conversos” — forced converts to Christianity — who, for generations in Spain and Portugal, had been cut off from Jewish texts and practices and who had only recently been re-introduced to Jewish orthodoxy and were still being educated in its norms. The leaders of the Talmud Torah congregation, formed from the merger of three congregations established at the beginning of the seventeenth century, had to work hard to maintain religious cohesion among a community of Jews whose faith and practices were still rather unstable and often tainted by unorthodox beliefs and practices, some of which stemmed from their lives within Iberian Catholicism. (The Purim festival, for example, was apparently called the Feast of St. Esther.) Moreover, such a community might have felt insecure about its Judaism, and thus in compensation would have been inclined to resort frequently to the most rigorous means to keep things “kosher.”

    In its vehemence and its fury, the text of Spinoza’s herem exceeds all the others proclaimed on the Houtgracht. There is no other herem document of the period issued by the Amsterdam Sephardic community that contains the wrath and the maledictions directed at Spinoza when he was expelled from the congregation. More typical was the herem against Isaac de Peralta, which he received for assaulting one of the parnassim in the street:

    Taking into consideration that Isaac de Peralta disobeyed that which the aforesaid ma’amad had ordered him, and the fact that Peralta responded with negative words concerning this issue; and not content with this, Peralta dared to go out and look for [members of the ma’amad] on the street and insult them. The aforesaid ma’amad, considering these things and the importance of the case, decided the following: it is agreed upon unanimously that the aforesaid Isaac de Peralta be excommunicated [posto em cherem] because of what he has done. Because he has been declared menudeh [a pariah], no one shall talk or deal with him. Only family and other members of his household may talk with him.

    After four days Peralta begged forgiveness and paid a fine of sixty guilders, and the herem was cancelled. In Spinoza’s case, by contrast, there seems to be no hope of reconciliation, no amends that could be made to have the herem lifted. Spinoza was out for good.

    The obvious question is, why was Spinoza banned with such hostility, such extreme prejudice? Neither the herem text nor any document from the period tells us exactly what his “evil opinions and acts [más opinioins e obras]” were supposed to have been, nor what “abominable heresies [horrendas heregias]” or “monstrous deeds [ynormes obras]” he is alleged to have taught and practiced. Spinoza never refers to this period of his life in his extant letters, and thus does not offer his correspondents, or us, any clues about why he was expelled. The whole thing is very mysterious.

    Odette Vlessing, a former archivist for Amsterdam’s Portuguese-Jewish archives, has argued that Spinoza’s herem was directly related to his machinations to avoid financial obligations. In March 1656, just four months before the ban, Spinoza initiated drastic steps to relieve himself of debts he had inherited along with the estate of his father. He took advantage of a Dutch law that protected under-aged children who had lost their parents. Since he was a year and a few months shy of his twenty-fifth birthday, he was still legally a minor. Spinoza was thus able to file a petition with the civil authorities and be declared an orphan. The Orphan Masters for the city of Amsterdam then appointed a guardian for him, who successfully argued that he should be discharged from any obligations he might have incurred by initially settling some of his father’s debts. According to Vlessing, Spinoza had committed a political sin: his legal maneuver threatened the Jewish community’s general reputation for trustworthiness in business affairs — something it counted on heavily in its relations with the Dutch. And it was not only Dutch creditors on his father’s estate whose expectations would not be met. Spinoza was also shirking commitments to fellow Portuguese-Jewish merchants. In other words, Spinoza, the son of a one-time parnas, was going over the heads of the sitting parnassim and putting Dutch law above communal regulations (which stipulated that business disputes should be handled within the community) and Jewish law, and this, as Vlessing sees it, was a very serious offense indeed.

    “Michael Spinoza’s financial disaster and Baruch Spinoza’s appeal for release from his father’s estate on the grounds of minority must have shaken the Jewish community,” Vlessing argues. She makes a plausible case. Yet the text of Spinoza’s herem suggests that his offense was more than just a matter of business and financial irregularities or some ordinary violation of Jewish law. The document refers explicitly and dramatically to his “abominable heresies” and “evil opinions.” Vlessing insists that “Spinoza was not excommunicated on account of his philosophical ideas.” But given the wording of the ban, not to mention its length, its vitriol, its uniqueness, and its finality, it is hard to avoid the conclusion that it was precisely his ideas that occasioned the final and irrevocable ostracism.

    Evidence that this is what happened is found in a report that an Augustinian monk, Tomas Solano y Robles, made to the Spanish Inquisition in 1659, when he returned to Madrid after some traveling that had taken him to Amsterdam in late 1658. The Inquisitors were no doubt interested in what was going on among former conversos in northern Europe who had once been within their domain and still had connections with possibly Judaizing families back in Iberia. Brother Tomas told them that in Amsterdam he met Spinoza and another former member of the Sephardic community, a certain Juan de Prado, who were apparently keeping each other company after their respective bans. He claimed that both men told him that they had been observant of Jewish law but “changed their mind,” and that they were expelled from the synagogue because of their views on God, the soul, and the law. They had, in the eyes of the congregation, “reached the point of atheism.”

    Charges of “atheism” are notoriously ambiguous in early modern Europe and rarely provide a clue as to what exactly the subject of the accusation actually believed or said. But if we take as our guide Spinoza’s works, it is not very difficult to imagine the kinds of things he must have been thinking — and probably saying — around late 1655 and early 1656, particularly with the help of Brother Tomas’ report, as well as the report made to the Inquisition on the following day by Captain Miguel Perez de Maltranilla, another recent visitor to Amsterdam. For all of Spinoza’s writings, those he published and those left uncompleted at his death, contain ideas on whose systematic elaboration he was working continuously from the late 1650s onward.

    In both the Ethics, Spinoza’s philosophical masterpiece begun in the early 1660s, and the aborted Short Treatise on God, Man and His Well-Being, possibly from as early as 1659 (only three years after the herem!) and containing many of the thoughts of the Ethics almost fully expressed or in embryonic form, Spinoza basically denies the immortality of the soul. Although he is willing to grant that a part of the human mind — its ideas — is eternal and persists after the death of the body, he believes that there is no such thing as a personal soul that enjoys life in some world to come. Thus, there is nothing to hope for or fear in terms of eternal reward or punishment. Indeed, the notion of God acting as a judge who dispenses either mundane or eternal reward and punishment is based on absurd anthropomorphizing. Ecclesiastics, he claims, have long maintained that “the gods direct all things for the use of men in order to bind men to them and be held by men in the highest honor. So it has happened that each of them has thought up from his own temperament different ways of worshipping God.” Ignorance, prejudice, and superstition — not to mention the cynical manipulation of our emotions by priests and preachers — are thus at the basis of organized religion. Finally, Spinoza insists, God is simply the infinite, eternal substance in which all things exist and, as such, is identical with Nature itself. Everything else follows from “God or Nature [Deus sive Natura]” with an absolute necessity. The whole notion of a supernatural, providential God is nothing but a pernicious fiction.

    Among the primary teachings of the Theological-Political Treatise, published to great alarm in 1670 — one overwrought critic called it “a book forged in hell by the devil himself” — is that the Pentateuch, the first five books of the Hebrew Bible, was not in fact written by Moses, as it claims, nor are its precepts literally of divine origin. While there is indeed a “clear divine message” conveyed by the moral teachings found throughout all the prophetic writings, the Bible was really the work of a number of authors and later editors in different historical and political circumstances, and the text we have is the product of a natural process of historical transmission. Spinoza also maintains that if the Jewish people were “elected” in any meaningful sense, it is only a matter of their having achieved, through natural causes, a “temporal physical happiness” and autonomous government during the era of the ancient commonwealth and kingdoms. With God’s (Nature’s) help, they were able to preserve their sovereignty for an extended period of time and survive as a cohesive political and social unit under their own laws. Yet the notion of the Jews as a “chosen people” has no metaphysical or moral significance; and whatever advantages they did and do happen to enjoy is not necessarily something unique to them. The Jews, Spinoza insists, are neither a morally superior nation nor a people surpassing all others in wisdom.

    These were not sentiments that were likely to endear one to the rabbis and lay leaders of a Jewish community in the seventeenth century. And it is all but certain that Spinoza’s views regarding God, the soul, the Bible, and the Jewish people that he began to commit to writing just a few years after the herem were already fairly developed by 1656. Indeed, Spinoza himself insists, at the heart of his discussion of the Bible in the Theological-Political Treatise, that “I write nothing here which I have not thought about long and hard.” Moreover, there are the reports of Brother Tomas and Captain Maltranilla. According to their testimonies before the Inquisition, both Spinoza and Prado were claiming in 1658 that the soul was not immortal, that the Law was “not true” and that there was no God except in a “philosophical” sense. In his deposition, Tomas says that

    he knew both Dr. Prado, a physician, whose first name was Juan but whose Jewish name he did not know, who had studied at Alcala, and a certain de Espinosa, who he thinks was a native of one of the villages of Holland, for he had studied at Leiden and was a good philosopher. These two persons had professed the Law of Moses, and the synagogue had expelled and isolated them because they had reached the point of atheism. And they themselves told the witness that they had been circumcised and that they had observed the law of the Jews, and that they had changed their mind because it seemed to them that the said law was not true and that souls died with their bodies and that there is no God except philosophically. And that is why they were expelled from the synagogue; and, while they regretted the absence of the charity that they used to receive from the synagogue and the communication with other Jews, they were happy to be atheists, since they thought that God exists only philosophically . . . and that souls died with their bodies and that thus they had no need for faith.

    If Spinoza was saying these things about God, the soul, and the Law in 1658 — and to strangers! — then the likelihood of his having discussed them two years earlier with members of his own community is quite strong, particularly as that would help to account for the seriousness with which the leaders of the congregation viewed his “heresies” and “opinions.” He was a philosophical prodigy and rebel, and he was prodigiously punished for his rebellion. In modern parlance, he was guilty of thought crimes.

    All of that is ancient history — or, rather, early modern history. It has been over three hundred and fifty years since Spinoza’s ban. By the end of the twentieth century, the Amsterdam Portuguese-Jewish community seemed to have made its peace with its homegrown heretic. Books about him are for sale in the synagogue’s shop; they even sell Spinoza finger puppets. Why not try to capitalize on Amsterdam Jewry’s most famous son? Members of the community are also eager to learn and talk about Spinoza’s life and ideas; after all, he is part of their history, for better or for worse. And yet, at this late date, out of the blue, we now have this letter from the Portuguese congregation’s rabbi to a prominent Spinoza scholar essentially banning him from the premises. A second ban to honor the first ban. How did this happen?

    It began with a very simple, and seemingly innocent, request. On November 22, 2021, the director of Amsterdam’s Joods Cultureel Kwartier (Jewish Cultural Quarter, or JCK) conveyed to the board of directors of the Portuguees Israëlitiesche Gemeente a request that he received from a joint Israeli and Dutch television project to visit the synagogue complex and do some filming there, including inside the famed Ets Haim library. The JCK is the non-profit organization that is responsible for the management of a number of sites and institutions of Jewish heritage in the city of Amsterdam. Its portfolio includes the Portuguese synagogue, the Jewish Historical Museum, and the National Holocaust Museum. The film was to be part of Yair Qedar’s Israeli television series Ha-Ivrim (The Hebrews), which is focused on “Hebrew writers from the seventeenth century to today” and is produced by the Israeli Public Broadcasting Corporation. Professor Melamed, who was not himself personally involved in the request to film inside the synagogue complex, was to be the primary academic consultant for the episode on Spinoza and featured in the film.

    According to a message that the parnassim later posted (in Dutch) on the internal website for community members, the board had no problem with the request. But a part of the proposal involved an interview with the congregation’s rabbinate, and so they passed it on to Rabbi Serfaty “met positief advies” — that is, with the recommendation that he approve it. The board was thus stunned by the rabbi’s letter to Professor Melamed, which it learned about only when Melamed posted it on social media and it quickly made the rounds of Facebook, the Twitterverse, and the international news media. “The College of Parnassim was not aware of this [letterl in advance and thus was taken by surprise.” The board acknowledged the rabbi’s right not to participate in any interviews for the film. It also reiterated that the herem against Spinoza remains in place, as was reaffirmed in December 2015 by then-Chief Rabbi Pinchas Toledano at a symposium in Amsterdam organized by the journalist Ronit Palache (who hails from an old and distinguished Amsterdam Portuguese-Jewish family) in which arguments pro and con were publicly discussed before an audience of five hundred. “However,” the board continued, “it was not necessary for the rabbinate to ratify this again, and it really goes beyond all limits to act on behalf of our community and also to declare someone ‘persona non grata.’ Moreover, and more importantly, this was not within the purview of the rabbinate.”

    Thus there reappeared the centuries-old tension between rabbi and parnassim, between clergy and lay leadership, over the right to ban people. The board wanted the members of the community to know that “we are not happy with what has happened, because it generates a lot of negative energy and gives a negative image of our community.” Meanwhile, they noted, while “the rabbinate [Rabbis Serfaty and Toledano] has apologized for the way it has released the letters, it stands behind their contents. We have given the rabbi a warning, and will make the necessary effort to bring cooperation to the desired level.” The board concluded its intramural message by saying that it remains open to considering the filming request, and asked the JCK for more information on the planned documentary.

    As for the JCK, its director, Emile Schrijver, was not at all pleased with the rabbi’s letter, to say the least. In a November 30 interview with JONET.NL, an independent Dutch Jewish news site, he said that “I find the letter shocking and we strongly distance ourselves from it. The letter is completely unacceptable … The reactionary position of the rabbi is totally on him … Free scientific research, free use of resources, free exchange of ideas and so on, should always be possible. You’d hope that in 2021 there would have been no more question about it.” In a separate interview with the Nieuw Israëlitiesch Weekblad, on November30, 2021, he called the rabbi’s action “outrageous” and “completely dissociates” the JCK from Rabbi Serfaty’s views. (The interviews were in Dutch; the translations are my own.)

    An even more angry response to Rabbi Serfaty’s letter to Professor Melamed came from Israel. Rabbi Nathan Lopes Cardozo is an orthodox rabbi and the dean of the David Cardozo Academy and of the Bet Midrash of Congregation Avraham Avinu in Jerusalem. This is from the open letter (in English) that he published in The Times of Israel (November 30, 2021):

    It would seem that you may be ignorant of the fact that the famous former Chief Rabbi of Israel Rabbi Yitzhak HaLevi Herzog of blessed memory (1888-1959) has already stated that the ban was only in force halachically as long as Spinoza was alive. Furthermore, it would seem you are unaware of the story concerning the ban and the many deliberations concerning the real cause of this ban and the very teachings of Spinoza himself … Your view that the ban on Spinoza’s works is still in force clearly indicates that you are not familiar with his writings, and are thus completely incapable of expressing an opinion about his philosophy … I strongly object to your terming the Professor as a “persona non grata” — an act that is a tremendous insult and chutzpah. By banning the professor from the complex of the synagogue, and as such, not even allowing him to join a minyan in our synagogue, you have created an enormous Chillul Hashem, desecration of God’s name, making Orthodox Judaism a farce in the eyes of the many. You have done all of us, who fight for the honor of Judaism, a great disservice. Shame on you.

    Rabbi Cardozo, incidentally, along with myself and several other scholars, was among the panelists at that symposium in 2015 which discussed at great length whether the herem against Spinoza should be lifted. He argued strenuously that it should be rescinded.

    When Rabbi Toledano quite patiently and eloquently explained at that symposium that he was not going to lift the herem, he offered three reasons. First, only the authority that issued the herem in 1656 had the right to lift the ban. (And I remember him also saying something like, “Are we today that much wiser than our rabbinic forbears, who at least had first-hand knowledge of Spinoza’s offenses?”) Second, he claimed that any religious community has the right to police ideas that circulate within it, and that this community at least cannot tolerate people who put the existence of God in doubt and propound other heterodox notions. Third, he insisted that Spinoza had thirty days to retract his views, which he did not do. (As far as I know, there is no historical evidence for this third point.) Toledano could have added that lifting the herem against Spinoza would be a meaningless act anyway, since such a ban is primarily a matter of liturgical and social ostracism against an individual, and thus, as Rabbi Cardozo insists, operative only for a living person (although it is true that the herem also forbids reading anything Spinoza may have written). What Rabbi Toledano did say toward the end of his remarks at the symposium, however — and this is quite remarkable, given the present affair —that there is no reason why Jews, like anybody, cannot study Spinoza’s writings.

    Rabbi Toledano, it is worth mentioning, also rejected the request to film within the Amsterdam synagogue, although he did so somewhat more politely:

    28 November 2021 / 24 Kislev 5782

    Dear Professor Melamed,

    This is to let you know that ten professors from all over the world including from Israel came to the symposium which took place on 6 December 2015.

    This matter of Spinoza was discussed at length. I myself, as the Chacham [rabbi] of the congregation gave a lecture on this subject and the conclusion was that the cherem which was imposed by our rabbis of the past is to remain.

    In view of the above, there is no question of you discussing Spinoza in our complex.

    Yours faithfully,

    Chacham P. Toledano

    One wonders how Rabbi Toledano, or Rabbi Serfaty for that matter, would react were he to catch a member of the congregation “discussing Spinoza in our complex.”

    As for Rabbi Serfaty’s letter, where to begin? Of course, the tone is rude and insulting. (It is interesting to note that in his official profile on the Portuguese-Jewish community’s website, Serfaty claims that he “knows how to propose unpredictable solutions through his broad halakhic knowledge and human kindness.” Unpredictable? Yes, that seems right. Kindness? One can only wonder.) Serfaty asserted that the herem against Spinoza is “in force for all time” and “cannot be rescinded.” If, as moral philosophers since Kant say, “ought implies can,” anyone with a bit of logic will recognize that “ought not” does not imply “cannot” (although the world would be a much better place if it did). It is up to the rabbis and/or the parnassim to decide whether Spinoza’s herem ought to be lifted; but of course if there is even a question as to whether it ought be lifted, it must be the case that it can be lifted. There is no point in arguing as to whether something should be done if it cannot be done. Moreover, how a mere request to visit the synagogue and do some filming there can be “an assault on our identity and heritage” boggles the sensible mind. One would think that the identity and heritage of a well-established, centuries-old congregation with a rich and celebrated history could survive in the face of such a bid.

    Most disturbing of all in this affair is the declaration that Yitzhak Melamed, the Charlotte Bloomberg Professor of Philosophy at Johns Hopkins University — and, it must be added, a Torah-observant orthodox Jew — is now “persona non grata” at the Amsterdam Portuguese-Jewish complex. What does this even mean? Is it a legitimate rabbinic designation? Rabbi Serfaty might be saying that the members of the community should not, and will not, do anything to help Melamed in any endeavor he may undertake regarding the community. My guess, though, is that it is supposed to mean something stronger than this: that Melamed is not welcome to attend the synagogue, make use of the resources of the Ets Haim library, or visit any other facility under their control. Does it, in other words, constitute a new herem? The problem is that, once again, among the Amsterdam Sephardim, the right to issue a herem belongs only to the parnassim. And in this case the parnassim have made their view clear. In their online message to the members of the community, they say that “Prof. dr. Melamed is, like every visitor to our complex, welcome regardless of his or her background and/or belief.” Similarly, Heide Warncke, the curator of the Ets Haim library, immediately reassured the public that Rabbi Serfaty’s letter has no bearing on access to the library, and that its extraordinary resources, along with her invaluable assistance, remain available “to any reputable scholar to do research.” Even if Rabbi Serfaty were authorized to issue a “persona non grata” ban, whatever that may be, one cannot help but wonder how it could possibly be justified in this case. The professor’s only offense has been to have read and written about Spinoza. But so have a lot of people, including myself, and we have all been graciously and generously welcomed by the Amsterdam Portuguese-Jewish community and granted access to its rich intellectual, cultural, and religious resources. The rabbi’s intemperate letter to the professor may have been consistent with his view of his responsibilities to the events of 1656, but it was not in keeping with his pastoral vocation. Everyone — Jew, Gentile, Spinozist, anti-Spinozist, Aristotelian, whatever — should be offended by it.

    There is something especially ironic about Serfaty’s claim that anything having to do with Spinoza is incompatible with Jewish “ethical tradition.” It is true that Spinoza dismisses the ceremonies and laws of Judaism as having any validity for latter-day Jews; since the destruction of the Second Temple, he asserts, these have all lost their raison d’être. Yet Spinoza’s central argument in the Theological-Political Treatise is that theology and philosophy are totally distinct disciplines, and so just as the former should not be allowed to set any limits on the “freedom to philosophize,” so the latter represents no threat to religion, or at least to what Spinoza calls “true religion.” Philosophy is about truth and knowledge, which are the bailiwick of reason. Theology, on the other hand, is about faith and obedience to God’s law. And that law is quite simple: love God and treat other people with justice and charity. All the ceremonies, rites and rules of Judaism — including the 613 commandments of the Torah — have nothing whatsoever to do with true piety. Neither does true religion demand a conception of God as a lawgiver and judge. All of these are merely superstitious practices and doctrines that ecclesiastics have introduced in order to control people’s hearts and minds. None of the Bible’s authors’ descriptions of the cosmos or claims about nature, historical events, or even God should be regarded as philosophically or scientifically informed, as necessarily true propositions. The ancient prophets were not philosophers or scientists or even learned theologians. They were simply morally superior individuals who, because of their superb imaginations, were also gifted storytellers and thus could craft morally inspiring narratives. Therefore, philosophical truths about God, the world, or human nature cannot possibly be a threat to religion, that is, to true piety and its ethical behavior — which happens also to be the ethical imperative of Judaism (and Christianity). As Galileo is reported to have said, the point of the Bible is to tell us how to go to heaven, not how the heavens go.

    Thankfully, the Serfaty-Melamed affair seems to have run its course. Professor Melamed was provided with a thoughtful and courteous letter from the chairman of the ma’amad of Talmud Torah and the director of JCK, in which they distance themselves from Rabbi Serfaty’s action and “regret that a perfectly normal request to visit the premises of the Portuguese Synagogue in order to work on a documentary … has led to an international uproar.” They reiterate that it is the ma’amad and not the rabbinate that has “sole authority to declare anyone ‘persona non grata’ on its premises,” confirm “that we will gladly welcome you to visit our premises to work on said documentary” and express their “hope that you will decide to pursue your plans to come to Amsterdam and do your work as requested.” They do so, they say, in the name of “academic freedom.” To their great credit, the directors of the orthodox Amsterdam Portuguese-Jewish community recognize that we are no longer living in the seventeenth century. As for Rabbi Serfaty, on January 5, 2022, the Dutch newspaper Trouw reported that the ma’amad has decided that his services will no longer be needed in the Amsterdam Portuguese-Jewish congregation. His contract expired on December 31 and will not be renewed.

    We do not know whether the seventeenth-century Portuguese-Jewish community’s rabbis and governors cut Spinoza off without making a concerted effort to persuade him to repent and return to the congregation’s fold. The herem document does state that the members of the ma’amad “endeavored by various means and promises to turn him from his bad ways.” According to an early biographer, Jean Maximilian Lucas (1647–1697) — who, it should be said, is not always to be trusted — Chief Rabbi Saul Levi Mortera, a formidable figure, rushed to the synagogue to see if the reports of the young man’s rebellion were true, and then “urged him in a most formidable tone to decide for repentance or for punishment, and vowed that he would excommunicate him if he did not immediately show signs of contrition.” Spinoza’s alleged response seems to have been calculated impudently to push the rabbi over the edge: “[I] know the gravity of the threat, and in return for the trouble that [you] have taken to teach [me] the Hebrew language, allow [me] to teach [you] how to excommunicate.” The rabbi left the synagogue in a fit of rage, “vowing not to come there again except with a thunderbolt in his hand.” Spinoza’s attitude toward his expulsion is probably best captured in the words attributed to him by Lucas: “All the better; they do not force me to do anything that I would not have done of my own accord if I did not dread scandal. But, since they want it that way, I enter gladly on the path that is opened to me, with the consolation that my departure will be more innocent than was the exodus of the early Hebrews from Egypt.”

    The path upon which the banished Spinoza embarked, with more innocence than the ancient Israelites, is what we now know as secular, liberal modernity. Among the essential values of this modernity — enshrined in the late eighteenth century in the First Amendment of the United States Constitution, in the nineteenth century in John Stuart Mill’s On Liberty, and in innumerable other works of philosophy and political theory, legal briefs, case law, and even religious texts — is freedom of thought and expression. When, in 2015, Rabbi Toledano said that a religious community has the right to police ideas that circulate within it, one could argue that he had a point. Judaism may thrive on debate, but it is a circumscribed debate. We can live with sectarian congregations setting limits on what opinions they will allow to be openly promulgated among their members, even if it is not in their best interest to do so. The real danger is when such intolerance creeps into the civic arena. This is precisely what seems to be happening in these increasingly illiberal times, when the immediate response to the expression of ideas is often a secular herem. People are sanctioned, cancelled, punished, ostracized, and even imprisoned for what they have written or said, and books are banned for their content. And the campaign against “heterodoxy” comes from all sides of the international political spectrum: it occurs in military dictatorships and civilian authoritarian regimes but also within democracies. The threat this poses to the vitality of intellectual life and the health of our societies should not be underestimated.

    Tolerating, even encouraging, the free exchange of ideas, especially unpopular ones, can only advance the pursuit of truth and strengthen our common defenses against the lies, misinformation, and prejudices that, in this age of social media, are more dangerous than ever. Such toleration, as Spinoza recognized before anyone else, poses no threat to our political, social, economic, and even religious well-being. This is the great lesson of his Theological-Political Treatise. Spinoza began the book just when he feared that the more conservative and intolerant faction within the Dutch Reformed Church was exercising greater influence over Dutch society and threatening the peace and security of what was Europe’s most liberal, cosmopolitan, and secular polity. The subtitle of the work — which was banned by the ecclesiastical, civic, and academic authorities — proclaims that its goal is to “show that a republic can grant freedom of philosophizing without harming its peace or piety, and cannot deny it without destroying its peace and piety.” And its final chapter closes with this remarkable declaration about freedom of thought and expression:

    We conclude that nothing is safer for a republic than that piety and religion should include only the practice of loving-kindness and equity, and that the right of the supreme powers concerning both sacred and secular matters should relate only to actions. For the rest, everyone should be granted the right to think what he wants and to say what he thinks.

    Amen.

    The Fiction That Dare Not Speak Its Name

    Pity literary biographers. There are few writers less appreciated, there are none more despised. There they sit, with their church bulletins of family trees and their dental records, their interviews with ex-lovers, mad uncles, and discarded children, and go about “reconstructing” the life of someone they never knew, or knew just barely. To George Eliot, biographers were a “disease of English literature,” while Auden thought all literary biographies “superfluous and usually in bad taste.” Even Ian Hamilton, the intrepid chronicler of Robert Lowell, J. D. Salinger, and Matthew Arnold, thought that there was “some necessary element of sleaze” to the whole enterprise.

    And yet biographies of writers continue to excite the reading public’s imagination. Last year alone saw big new accounts of the lives of W. G. Sebald, Fernando Pessoa, Philip Roth, Tom Stoppard, D. H. Lawrence, Elizabeth Hardwick, H.G. Wells, Stephen Crane, and Sylvia Plath. The most controversial of these, of course, was Blake Bailey’s biography of Roth, which was withdrawn by its publisher just a few weeks after it appeared owing to accusations against Bailey of sexual assault and inappropriate behavior. Even before these accusations were reported, Bailey was criticized by some reviewers for being too sympathetic toward his subject — and for posthumously waging many of Roth’s quarrels and vendettas, particularly against ex-wives and lovers. He presumptuously called his book Philip Roth: The Biography. The biography? As opposed to what?

    Whatever privileges Bailey was granted by Roth, his biography will not be the last (it wasn’t even the first), nor will it be once and for all definitive. No biography can be. The entire notion of an authorized or definitive or “official” biography is mostly humbug; new information will always come to light, and fresh perspectives will eventually become necessary. (In the case of Roth, a fresh perspective already seems necessary.) That said, a “definitive” biography may serve as a temporary bulwark against the author-industrial complex. Heather Clark’s Red Comet: The Short Life and Blazing Art of Sylvia Plath is, by my count, the fourteenth biography of Plath, a poet who published just two books before her suicide at the age of thirty, and whose every letter, journal entry, and laundry list has been subjected to forensic analysis by a termitary of critics, scholars, relatives, schemers, and biographers. But to what end, exactly? I have read three of those biographies, as well as several volumes of Plath’s letters and journals, and I still don’t have the faintest idea who Plath really was. (“For all the drama of her biography, there is a peculiar remoteness about Sylvia Plath,” wrote Hardwick.). Each new biographical intervention feels like a paving over of the previous one, adding yet another layer between the reader and the subject.

    But perhaps the cases of Roth and Plath are too unusual to be representative. After all, few writers’ lives are subject to the kind of bitter posthumous contention in which Plath’s family and friends have engaged, and even fewer are embroiled in the criminal accusations against the life-chronicler. On the whole, very little happens to writers in the practice of writing, even to those who, like Vladimir Nabokov, Thomas Mann, or Naguib Mahfouz lived in the thick of history, with all its peril and precariousness. Consider Mann: born four years after the unification of Germany, he lived through the First World War, the Weimar Republic, the Third Reich, the Second World War, and the postwar division of Germany. He was hurled into exile, stripped of his citizenship, put on an arrest warrant for Dachau, and surveilled by the FBI for alleged communist sympathies. In America, his social circle included Albert Einstein, Theodor Adorno, and Franklin Delano Roosevelt, among others. All of which amounts to an exceptionally fascinating life, but it tells us little or nothing about what finally matters: the fiction. In every account of his life, every time he sits down at his desk, whether in Munich, Küsnacht, Princeton, or Los Angeles, Mann disappears from view. We can reconstruct his punctilious routine, we can describe the texture of his desk, we can even name the various brands of cigar that he liked to smoke — but we cannot be present for the moment when the author of Buddenbrooks, Death in Venice, and The Magic Mountain put pen to paper and chose this word over that word and refined this idea or that idea and generally brought his fictional world to life. Writing is not an activity that can be meaningfully described from the outside. “Surely the writing of a literary life,” said Leon Edel, Henry James’ celebrated biographer, “would be nothing but a kind of indecent curiosity, and an invasion of privacy, were it not that it seeks always to illuminate the mysterious and magical process of creation.” But can this really be done? What is the bridge from the external to the internal?

    There are exceptions to the above, of course, when the writer’s external circumstances are so extreme that they penetrate more closely to the heart of the mystery of his or her art. Consider Osip Mandelstam, for instance, or the Hungarian poet Miklós Radnóti, composing verse surrounded by the worst totalitarian horrors. Nor do I mean to suggest that one shouldn’t try to imagine the act of literary creation, or that it cannot be meaningfully documented in some way. But a straight historiographical method may not be the best way to get at the elusive target. In recent years, for example, there has been a flurry of biographies of individual books, and biographies of individual novels, including Portrait of a Lady, The Stranger, and Les Misérables. By reversing the role of the writer and the writing, placing a single text at the story’s center, these studies liberate the historical and documentarian impulse of literary biography from some of its sleazier and more invasive aspects. It prefers the achievement of the writing to the psychology of the writer, which in many cases would be a welcome reversal.

    Still, if the process of creation is precisely what traditional biography cannot illuminate, then what purpose does the genre serve? Is it just a form of higher gossip? Or a way of prolonging our intimacy with an author, as John Updike charitably put it?

    The genre is as old, almost, as the modern novel, and shares its subversive nature. If Don Quixote, among many other things, brought fiction down from the chivalric heights to the pedestrian grounds, so literary biography served as a tonic to the genre of biography as a whole, which has always tended toward the exemplary. James Boswell’s Life of Samuel Johnson, considered by many to be the first modern literary biography, details its subject’s appetite for drink, his shabby clothes, his disgusting eating habits. Johnson himself thought it the “business of the biographer to…lead the thoughts into domestic privacies, and display the minute details of daily life.”

    But what can the daily life of a person whose main occupation consists of sitting at home tell us? A writer’s life, truthfully told, would be unremittingly, unbelievably boring. (At least those writers who have the historical privilege of a secure and peaceful life.) It would be a catalog of all the possible ways of describing everyday banalities: scratching one’s head, gazing out the window, tapping an impatient finger against a desk. (For excitement, perhaps posting a letter, or emptying the dishwasher.) A writer lives on paper, but on paper a writer’s life resembles nothing so much as a failure to live. To circumvent this problem, most biographers tend to put the process in reverse: since they cannot find much to say about the writer’s work from the dailyness of the life, they instead mine the work for clues about the life. They frantically insist on what is incriminatingly known as the biographical fallacy: the connection between life and art. “They have to,” as Martin Amis once put it, a little simplistically, in a review of a biography of Philip Larkin. “Or what are they about? What the hell are they doing day after day, year after year… if the life doesn’t somehow account for the art?”

    This is what gives many literary biographies their reductive, psychologizing, and prurient nature. Childhood trauma, sexual repression, marital failure: complex fictional worlds are reduced to the graspable symptoms of underlying conditions, and the author is stripped of his mystery and his ability in some way to transcend his conditions and become more than the totality of his circumstances. As late as 1911, an essay by Frederick Graves in The Westminster Review dismissed literary biographers as rakers: “No degree of eminence, no feeling of compassion, may appeal, for the greater the man in the halls of fame, the more touching his struggles on the slopes of Parnassus, the busier are the rakers upon the ashes of his past.” But by then it was already too late: Lytton Strachey’s reputation-puncturing Eminent Victorians was published in 1918, freeing all future biographers from the chains of decorum and respect. In his preface, Strachey said that it is not the business of the biographer to be complimentary but to “lay bare the facts of the case, as he understands them.” He concluded the preface to his exercise in genre subversion by quoting the French economist Charles Dunoyer: “Je n’impose rien; je ne propose rien: j’expose.”

    In his lively book on the subject, The Impossible Craft, the late Scott Donaldson, a career biographer of Cheever, Hemingway, Fitzgerald, and others, wrote that with biography there is a time before Freud and a time after Freud. (Lytton Strachey’s brother and sister-in-law, James and Alix Strachey, were Freud’s authorized English translators.) As theories of psychoanalysis began to pervade the broader culture, artistic achievements were regarded as clinical documents — as the records of sublimated sex drives or compensations for some general inadequacy. Thus, Robert Louis Stevenson’s life is read in the light of his relationship to his mother, or Thomas Mann’s fictional works as a sublimation of his homoerotic desires. And so on. In other words, the mystery of literary creation is trivialized by being rendered familiar, comprehensible, scrutable. (It is worth pointing out that Freud himself remained skeptical of this biographical approach, and in 1936 turned down Arnold Zweig’s offer to serve as his biographer, remarking that “to be a biographer, you must tie yourself up in lies, concealments, hypocrisies, false colorings, and even in hiding a lack of understanding.”)

    And yet we should keep in mind that the notion of the “biographical fallacy” was introduced by exponents of New Criticism in the 1930s and 1940s — by radical formalists with no interest in the connections between literature and life. Espousing the primacy and the autonomy of the text, New Critics repudiated the idea that a writer’s life could in any way be reconstructed or inferred from a piece of writing. There is a cautionary grain of truth in their insistence on reading art as art, on the independent power of the imagination; but as Edel sensibly pointed out, “if a work cannot be redissolved into a life, it can offer us something of the — shall we say? — texture of that life.” Some of the great nineteenth-century critics, such as Georg Brandes and Charles Sainte-Beuve, were gluttons of life; their essays are fattened with anecdote, detail, incident, gossip. True, their critical judgments were not always sound — Sainte-Beuve in particular was almost impressively wrong about all the writers who mattered — but they wrote with an attractively novelistic ravenousness.

    Perhaps they also wrote with a certain innocence, a charming naivete that could not be sustained into the twentieth century. Certainly the attitude toward literary texts and their authors became more interrogative, more suspicious, even accusatory. At its worst, the post-Freudian psychobiography degenerated into a dismal rap sheet of cruelties, failures, traumas, and offenses. Lo and behold, behind a masterpiece there stands a mere mortal! And a rather repugnant one at that. I have always found James Atlas’ account of his decision not to write a biography of Edmund Wilson, for instance, a little comical. In the introduction to his biography of Saul Bellow, Atlas recounts signing a contract for a Wilson book only to discover, five years later, that he had a “toxic response” to Wilson’s character: “The bullying proclamations, the tedious self-revelations, the drinking and philandering — in the end, he just didn’t appeal to me as a subject to whose life and work I was willing to apprentice myself for the better part of a decade.” It is an odd admission: as if Atlas thought his task was to write the biography of a philanderer and alcoholic rather than of an uncommonly brilliant and prolific literary critic. I do not mean that the unsavory aspects of Wilson’s life and character should be excised from an account of his life; only that to be appalled by the realization that a writer whose work you admire was, in his or her private life, disappointingly and fallibly human — well, why on earth are you reading literature if not to be baffled by humanity? (Atlas went ahead and wrote a nasty biography of Bellow, whom he clearly disdained.)

    All writers lead double lives: one on the page, one off. And no account or portrait of a writer’s life will resolve this fissure. There will always be a scandalizing disproportion between the human messiness of a writer’s life and the size, the scope, and the opacity of their fictional work. Partly this has to do, I think, with a general epistemological uncertainty. One of the sources of human tragedy is that we cannot ever truly and definitively know anyone, not other people and not even ourselves. We must always be approximating and interpreting. Philosophers call this the problem of other minds — and what is literature, if not the creation, and the interpretation, of other minds? How, then, should we presume to know someone whose life consists of living vicariously through fictional invitations? “My own view,” Valéry observed in an essay on Descartes, “is that we cannot really circumscribe a man’s life, imprison him in his ideas and his actions, reduce him to what he appeared to be and, so to speak, lay siege to him in his works. We are much more (and sometimes much less) than we have done.”

    A small confession: I am a one-time literary biographer. My subject, fortunately, was little known, long dead, and largely forgotten, thereby all but ensuring that my book would be hermetically sealed from public interest. But in the three years I spent writing it (and in subsequent work of a related nature), I have come to sympathize with an idea of Roland Barthes’, the truth of which I see no point in denying: literary biography is fiction that dare not speak its name.

    The subject of my biography was Jens Peter Jacobsen, an influential Danish novelist and botanist who died of pulmonary tuberculosis in 1885 at the age of thirty-eight. Though his great novel Niels Lyhne would eventually become, as Stefan Zweig put it, the Young Werther of its time, Jacobsen produced only a few hundred pages of writing and virtually nothing in the way of diaries or letters. My task, then, was both remarkably straightforward and virtually impossible: I had to imagine being a young man whom I had never known, in a time in which I had never lived, using only whatever scraps of biographical material he left behind, filling in the gaps with the recollections of his contemporaries. Beyond that, I had only two novels, six stories, and a few dozen poems to work with.

    Where possible, I stuck to the facts. The fiction that dare not speak its name is not entirely fiction: there are facts and they matter. But sometimes the facts are few or controversial. If I came across an anecdote about Jacobsen that I suspected of being apocryphal, or one that I could not verify — well, if it suited my purposes, I naturally decided to include it. Why not? Any portrait of another human being, especially one about whom so little is known, will require an element of fiction beyond that afforded by the written record. And during the writing, adherence to the real, the actual, is gradually augmented by adherence to the imagined, the inferred, the supposed, to your educated but imperfect impression of what this or that person was like. I found it both daunting and emancipating to realize, a year or so into the writing of the book, that my portrait of Jacobsen would inevitably be equal parts Jacobsen and Jensen. (As if to emphasize this point, a flyer advertising one of my readings erroneously identified me as “Morten Peter Jacobsen.”)

    Let me give another example. In 2000, a minor controversy flickered in Denmark when the Kierkegaard scholar Peter Tudvad, in a blizzard of newspaper articles, began a sustained and systematic assault on his colleague Joakim Garff’s acclaimed and bestselling biography of Kierkegaard, called SAK for its subject’s initials. In an essay in the Danish literary journal Faklen entitled “SAK – An Unscholarly Biography of Kierkegaard,” Tudvad accused the book’s author of being so insufficiently critical of his sources that it was “impossible to distinguish systematically between historical truth and literary fiction.” One of the supposed infractions that Tudvad pounced upon involved the matter of Kierkegard’s servant, Anders Westergaard. In Garff’s biography, Kierkegaard was accompanied by Westergarrd on his trip to Jutland on July 17, 1840, but as Tudvad painstakingly expends five paragraphs demonstrating, this was impossible, because Westergaard was not hired by Kierkegaard until 1844. What’s more, Garff mistakenly describes Westergaard as being two years older than Kierkegaard, when in fact he was four years younger. An outrage! Tudvad continues:

    There are many other errors in Garff’s chapter on the Jutland trip, errors particularly well suited to strengthen the view of Kierkegaard as a dandy. He is described by Garff, for example, as installing himself immediately upon his arrival in Århus in the city’s best hotel, even though we know nothing of where Kierkegaard stayed that first night. Similarly, Garff presents Kierkegaard, the resident of Copenhagen, as offended by the amount of bovine excrement in the streets of Århus, even though he must have been accustomed to maneuvering his way through such excrement since Copenhagen had three times as many cows then within its city walls as did Århus.

    His extreme pedantry no doubt performs a certain scholarly service, but really what Tudvad is revealing is simply that his image of Kierkegaard is at odds with Garff’s. Tudvad does not agree with Garff that Kierkegaard was a dandy — but so what? That is a difference of interpretation, not scholarly fact. In other words, Tudvad is himself inferring things from his imagination, the very crime for which he arraigns Garff.

    In general, Tudvad treats literary biography as a kind of science, or at best an art form that demands overwhelming empirical rigor. He accuses Garff of telling a story at the expense of a “trustworthy biography.” But what kind of biography could deserve to be called completely trustworthy? “Biographers aren’t stenographers,” the biographer and critic Ruth Franklin observed recently, “we’re more akin to novelists, constructing a narrative of a person’s life and making editorial choices at every turn.” A biography, if it is to be more than just a collection of evidentiary material, must necessarily tell a story, and a story distinguishes itself by what it leaves out as much as by what it includes. To suppose that rigorous scholarship could ever be sufficient basis for the portrayal of a life seems to me a ludicrous positivistic presumption.

    Obviously — well, I hope it is obvious — I don’t mean to diminish the necessary, the indispensable, the fundamental role that history and recorded fact serve in any account of a writer’s life. Without it, biographies of Shakespeare and Cervantes, writers about whom we know very little, would almost be inconceivable. When Clarence Brown wrote his great life of Mandelstam, the excavation of basic facts out of the obscurity of the poet’s exile, the establishment of the poet’s whereabouts in any given month or year in the Stalinist hell, was an even greater accomplishment than his readings of the poems. And even if we cannot look over Joyce’s shoulder as he wrote Ulysses or Finnegan’s Wake, our understanding of his life and his work have no doubt been improved by the colossal achievement of Richard Ellmann, his best biographer.

    The crucial point is that although we can reconstruct much, if not most, of a writer’s life, in terms of events and incidents in the world, we cannot reconstruct the writer’s inner life. The vagaries of Virginia Woolf’s mental health, Thomas Mann’s feelings toward his children, the precise nature of Henry James’ sexuality — these are questions to which there will always be different answers. There is nothing relativistic about this; it is the very nature of humanistic understanding. The facts are the anchor but interpretation is the sea, and it is seldom still.

    Perhaps the question of fiction in biography can be illuminated by the question of biography in fiction. Based on what I have written above, I ought to be gratefully receptive to what John Mullan calls “biographical fiction,” and what Anthony Domestico refers to as “literary fanfic.” Here the fictional element in the account of a real author takes center stage, and a proper novelist, unshackled by fealty to the clang and whir of biographical machinery, imagines a fellow writer into being from the ground up. Tolstoy, Zelda Fitzgerald, Vanessa Bell, and Virginia Woolf are just a few of the increasing number of writers who have had novels made out of them. Possibly the best-known example of this peculiar genre is Colm Tóibín’s The Master, a much-lauded and award-cosseted portrait of Henry James.

    Any reader would sympathize with the desire to imagine one’s favorite writers into being, especially with the solvent of fiction, whereby the novelist is free to go where we biographers generally fear to tread. Imagine what I might have done with — or to — Jens Peter Jacobsen had I been gifted with a talent for fiction and the artistic daring required to pursue him off-piste. Would I have permitted him a brief romantic dalliance? A passionate exchange with a literary ally? Or perhaps a tearful goodbye with his friends in Copenhagen, before he returned home to his parents in Thisted to die? And all the while I would insist that, no matter how fanciful my inventions, I was still writing about the actual Jens Peter Jacobsen.

    The problem with most biographical fiction is that it is too anxiously tempted toward biography and thus away from fiction. Ironically, therefore, it suffers from a paucity of imagination. It is intimidated by fact, and it battens off the allure of facticity. With so much of the scaffolding already done, the enterprising bio-novelist is free to acquit himself by merely applying a little fictional adhesive to the preassembled bits of written record. Tóibín’s second foray into the genre, The Magician, a novel about the life of Thomas Mann, reads less like a novel than a diligently paraphrased biography. Here is a passage from about a third-way into the novel, just as the First World War gets underway and Thomas and Heinrich Mann, brothers and bitter rivals, find themselves on opposite sides of the conflict:

    While Heinrich developed a following among young, left-wing activists, Thomas found himself the object of casual deprecation even among those who had been his avid readers. Since much opinion was censored, it was difficult to write openly about the war. Offering views in print, instead, on the relative merits of the Mann brothers came to be an indirect, but powerful, way for writers and journalists to make their position on the war clear.

    This sentence could be lifted and seamlessly dropped into virtually any biography or biographical essay about Mann, unchanged even in tone. Nothing distinguishes it as an exertion of the imagination. Here is another example:

    Late in 1915, Heinrich published an essay invoking Zola as a novelist who had, during the Dreyfus case, attempted to alert his fellow countrymen to a wrong that was being committed… As the war waged, Thomas continued to monitor Heinrich’s articles. His brother, he saw, did not often write directly about the conflict. Instead, he shared his views on the French Second Empire, leaving enough space for his readers to understand the connections between France then and Germany now.

    And here is Ronald Hayman, from his biography of Mann, which Tóibín reviewed in the London Review of Books in 1995:

    Now, unable to criticize either Germany or complaisant intellectuals, Heinrich had found a way of breaking the awkward silence he’d kept since August 1914 by commenting obliquely on the current situation. Attacking France’s Second Empire as a state that had come into existence through violence, he praised Zola for realizing that it was disintegrating and for championing Dreyfus, the Jewish officer who’d been unjustly accused of treason.

    Tóibín’s passage has the linguistic flatness of information, which is much more egregious in a novel than in a biography. When he was typing such paragraphs, and the novel is full of them, what did he think he was doing?

    The Magician is one of the most anxious and perfunctory novels that I have ever read. It is nothing but protracted literary piety, or very long-form book chat. It is so unpersuaded by its own claim to being a work of fiction that it dare not loosen its grip from the sturdy handrail of biography. And so it proceeds in meek chronological order, dutifully integrating little facts into the colorless edifice of its prose, and goes exactly, literally, where you expect it to go. Why is this interesting? And when Toibin shakes himself loose from his prosaicness and tries to take flight, things get worse and one longs for a return to austerity of the factual. The few flights of fancy that Tóibín allows himself — most notably, the unlikely idea that Mann acted on or consummated his homosexual desires, a fantasy that has become the hot cliché of contemporary Mann worship — more closely resemble failures of imagination than feats thereof. They seem more like examples of wishful thinking. Is Mann being enlisted in the cause? Was this novel about Mann conceived as a contribution to gay literature?

    Perhaps biographical novels are, in essence, little more than minor instances of historical fiction, the perfect middlebrow entertainment. The satisfactions of historical fiction are vicarious and voyeuristic, which is why so many historical novels eventually become adolescent fare. One of the most astute diagnosticians of the historical novel was Henry James, who in 1901 wrote to the historical novelist Sarah Orne Jewett:

    The “historic” novel is, for me, condemned, even in cases of labour as delicate as yours, to a fatal cheapness, for the simple reason that the difficulty of the job is inordinate & that a mere escamotage, in the interest of ease, & of the abysmal public naïveté, becomes inevitable. You may multiply the little facts that can be got from pictures & documents, relics & prints, as much as you like — the real thing is almost impossible to do, & in its absence the whole effect is as nought; I mean the invention, the representation of the old consciousness, the soul, the sense, the horizon, the vision of individuals in whose minds half the things that make ours, that make the modern world, were non-existent. You have to think with your modern apparatus a man, a woman — or rather fifty — whose own thinking was intensely — otherwise conditioned, you have to simplify back by an amazing tour de force — & even then it’s all humbug.

    James is here describing what we have come to call kitsch. And some of the same “cheapness” and “naivete” impairs most biographical fiction. Like biopics, they seem like projections of our own cultural moment grafted onto the past.

    To read a work of biographical fiction is to read a novel that desperately, harassingly, wants to assure you that it is not just a novel, that it is more than a novel. But it is less than a novel, and except for reasons of commerce it has rarely anything to commend it. (The dialogue is usually the fictional equivalent of Romans or Nazis speaking in English or American accents). And as is the case with The Magician, there is usually an acknowledgments section to undo the spell, like the long unspooling of credits at the end of a movie. These acknowledgements are the final insult, because there is something rather peacock-ish about them. Research is nothing new in fiction; but it is fatal for fiction to recommend itself for its research.

    Of course it is possible to write imaginatively about other writers, only it requires a more oblique, sidelong approach. Lisa Halliday’s Assymetry, a novel partly based on its author’s affair with Philip Roth, is a bold exploration of fiction’s ability to conjure the consciousness of others. Jose Saramago’s novel The Year of the Death of Ricardo Reis, based on the last year of Fernando Pessoa’s life, is a metafictional inquiry into narrative and selfhood. In The Messiah of Stockholm, Cynthia Ozick explored the legacy of the Polish Jewish writer Bruno Schulz in the farcical yet finely moving scenario of a middling Swedish literary critic convinced that he is Schulz’s son.

    Another recent example is Last Words on Earth, a first novel by the Spanish writer Javier Serena, which tells the story of a Peruvian author — “I’ll call him Ricardo, Ricardo Funes, although that isn’t his real name, or last” — who toils away in passionate obscurity in a coastal town north of Barcelona, achieving literary acclaim only to die prematurely of a lung disease. Funes, quite obviously, is modelled on the Chilean poet and novelist Roberto Bolaño, who spent the last decades of his life in Blanes, a Catalan beach town north of Barcelona, and like Funes died just as he began tasting the fruits of literary fame. To anyone familiar with Bolaño’s life and work, the similarities are almost comically obvious (and just in case, there is the back matter and promotional text to remind us) — so obvious, in fact, that some reviewers have wondered why Serena did not simply go ahead and call his fictional creation by his proper name.

    But this seems to me to miss the point. Bolaño was an intensely self-mythologizing writer; several details of his biography, such as the idea that he was imprisoned in Chile after Pinochet’s coup against Allende, or that he spent time with the guerrillas of the Farabundo Martí National Liberation Front in El Salvador, are likely apocryphal. His fictional universe, connected and constructed across several novels, novellas, and short stories in which characters appear and reappear, is steeped in literary mystery and mythmaking. At least one of Bolaño’s recurring characters, the writer Arturo Belano, is a fictional self-portrait. In the novel The Savage Detectives, Belano is described as having been involved with a rebellious literary group in Mexico City in the 1970s called the Visceral Realists, and Bolaño was himself part of such a group in the same city at the same time, called the Infrarealists. In Last Words on Earth, Serena has Ricardo Funes belong to a radical literary movement in Mexico City in the 1970s called negacionismo.

    For readers who look to the novel for a deeper and less self-regarding relationship to reality, all this may seem like a Borgesian rabbit hole. In Bolano’s case, however, it may be said that he brought it on himself. Serena’s novel succeeds because it knows that a writer whose life was as soaked in fiction and self-mythology as Bolaño’s deserves to be appropriated by a rival fiction rather than be detained by biographical fidelity. Otherwise, the novelist becomes hostage to a panoply of fictions not of his invention, and thus surrenders some crucial measure of his artistic freedom. Still, one must wonder whether all these metafictional devices and tricks should suffice to protect a writer from an empirical and critical account of the facts of his life and his style. If biography is fiction and bio-fiction is fiction, then this is yet another case of the widespread contemporary abandonment of the scruple about veracity.

    Biographical fiction, at least in its more literalist mode, is a gratuitous genre, like the novelization of a film. Biography is always already fiction, at least in part, because it involves imagining one’s way into a life lived primarily in the imagination. (This is what distinguishes the biography of a writer from, say, the biography of a politician, where the achievements for which they become known are so much more public.) What’s more, being fictional, biographical fiction is often very bad at the necessary nonfictional elements of biography. In Tóibín’s The Magician, the fascinating and formative years of the First World War, when Thomas Mann cheered the German cause and wrote his Reflections of a Nonpolitical Man, which over time became a record of his dramatic intellectual evolution, are dispensed with almost in passing, despite its being, as Mann’s biographer Hermann Kürzke has put it, one of the “great riddles a biography must solve.”

    Too self-conscious to be wholly fictional, too fictional to be sufficiently factual— no, the biographical novel is a superfluous endeavor, a bourgeois indulgence. We are stuck, in other words, with old-fashioned literary biography, warts and all. But perhaps, by virtue of leaving so much space for the imaginative, for the fictional, biographies of writers may be in some strange way the most truthful form of biography there is. Like writers, most people lead double lives, too: one in their imagination and one out there in the world. As William Dubin, the title character of Bernard Malamud’s Dubin’s Lives, a novel about a biographer writing the life of D. H. Lawrence, observes, “There is no life that can be recaptured wholly.”

    Women With Whips

    Name a classic Western of the 1950s starring a great actress of the 1930s. She should play a woman of power and influence, maybe with a little bit of a dominatrix vibe. (When critics talk about the film, they will probably call it “psychosexual”.) It is highly stylized. Whatever happens in it, it doesn’t take place in the West of the United States sometime between the 1860s and the 1890s, but in the West of Hollywood movies, and it wants you to know that it knows it. Deep down, it is all about sex and violence. Horsewhips feature prominently. And the French New Wave was obsessed with it.

    Three movies spring to mind: Fritz Lang’s Rancho Notorious, from 1952, with Marlene Dietrich; Nicholas Ray’s Johnny Guitar, from 1954, with Joan Crawford; and Samuel Fuller’s Forty Guns, from 1957, with Barbara Stanwyck. That might not be quite enough to constitute a microgenre, but it is remarkable that three such films exist at all. Not that it’s a coincidence: Ray and Fuller both revered Lang, and both certainly had Rancho Notorious in mind when making their own movies. And all three drew on trends that reflected the growing discomfort of the post-war Western: Western noirs, which paint the wide-open range with chiaroscuro shadows, and psychological Westerns, which explored how pioneer virtues such as freedom and self-reliance sour into obsessive greed, lust for power, or rancid cruelty. The post-war years even saw an uptick in films where women owned land and property —Veronica Lake in Ramrod, Agnes Moorehead in Station West, Ruth Roman in The Far Country, Barbara Stanwyck in any of half a dozen roles.

    The films in question here are doing something stranger and more specific. More than any other entries in the genre (including the others starring Stanwyck), they are interested in their own relationship with the past. Careers such as the ones Crawford, Stanwyck, and Dietrich enjoyed were incredibly rare, even in an era when stars had the full weight of the studio system behind them. (Bette Davis and Katherine Hepburn are the only other examples.) All three started acting in the silent era or very soon after the introduction of sound. They had been stars as long as the medium of film had existed. Their way of acting helped to define what female stardom meant — and by the 1950s it was on the way out. They didn’t do naturalism, like the up-and-coming graduates of the Actor’s Studio. They were not interested in representing the concerns of young people in a decade that was increasingly concerned with youth. Hollywood did not know quite what to do with them. The fear that a changing, civilizing West would have no place for the people who first settled it is a common preoccupation of the darker post-war westerns, and it is common thread in all three films. But nothing as simplistic as actresses playing themselves is taking place here. Like all great stars of their generation, they were able to embody a distinct persona that followed them from role to role ­— and in each case, that persona is the skeleton around which the rest of the film is built.

    An interviewer, discussing Rancho Notorious, once asked Fritz Lang if he watched many Westerns. “Yes,” he said. “I like Westerns. They have an ethic that is very simple and very necessary. It is an ethic which one doesn’t see now because critics are too sophisticated. They want to ignore that it is necessary to really love a woman and to fight for her.” Remarks like these make me wonder if Lang and I are talking about the same movie. There is a simple ethic at the core of Rancho Notorious, but the love of a woman is a transparent pretext. The chorus of the film’s central ballad says it all: this is a story of hatred, murder, and revenge.

    We open on a sleepy little town in Wyoming as mild-mannered cattle-hand Vern Haskell (Arthur Kennedy) gives his fiancée a diamond brooch. In short order, she is brutally raped and murdered. The next few years pass by in a couple of on-screen minutes as Vern scours the West for her killer. He only has one clue: the name “Chuck-a-Luck.” Eventually he learns that Chuck-a-luck is a ranch belonging to retired show-girl Altar Keane (Marlene Dietrich). Vern gets himself thrown in Jail with Frenchy (Mel Ferrer), Altar’s lover, and when the two break out Frenchy brings him to the ranch, a hideout for a rotating cast of aging outlaws. Altar is there, wearing Vern’s dead fiancée’s brooch. He tries to seduce her to learn the name of the man who gave it to her and, remarkably, succeeds. The whole thing ends in a gunfight where Altar dies protecting Frenchy and Vern gets his man, far too late for it to make any difference.

    Marlene Dietrich played a lot of showgirls in her day, on a spectrum from poisonous (The Blue Angel) to noble (Blonde Venus). Somewhere in the middle is the role of Frenchie in Destry Rides Again, from 1939, another western where her character ultimately dies to protect the man she loves. Rancho Notorious is full of nods to her earlier roles — Frenchy’s name, of course, and the flashbacks to Altar in her performing days, riding patrons like horses while wearing eye-popping quantities of fringe. The whole film is fixated on Altar’s past, and by extension Dietrich’s. There’s a scene where she sings the frontier ballad “Black Jack Davy” with her unmistakable throaty Teutonic monotone. We are faced with a strange, layered kind of nostalgia — for the old West, the golden age of Hollywood, and the bacchanals in Weimar cabarets where it always seems that her characters really belonged.

    Under Lang’s direction, all of it seems to have gone sour. Vern is one of the most comprehensively nasty protagonists to swagger down the main street of Republic Studios’ western set. He lies and manipulates, seduces Altar and coldly reveals his contempt when he finally has what he wants. Kennedy gives him a breathtakingly malicious sneer as he lays into it. One might almost suspect that he is enjoying it, if only he were capable of joy. I have never understood what Altar is meant to see in Vern that she doesn’t see in Ferrer’s gentlemanly Frenchy, except youth. “I wish you’d go away,” she tells him, “and come back ten years ago.” Not that it would have made a difference. No one in a Lang movie can escape their fate.

    The first thing everyone remembers about Johnny Guitar is the colors: teal, turquoise, and deep earthy browns, punctuated by the occasional violent pink dress or the scarlet of Joan Crawford’s lipstick. When critics talk about this film, which is often just plain bizarre, they like to use words like “operatic” or “phantasmagoric,” and it is easy to see why: the palette would be right at home in Tales of Hoffman, or more appropriately a Douglas Sirk melodrama. In fact, Johnny Guitar is really a Western melodrama, the way Rancho Notorious is a Western noir. The plot, such as it is, exists to push outsized characters into outsized confrontations — and nobody does outsized like Crawford.

    Here she plays Vienna, the owner of a cathedralesque saloon, which is certainly one of the hands-down stranger spaces in the whole Western genre. Instead of the traditional low ceilings and smoke stains, it has a vaulting A-frame roof, bright white walls, and a weird rock-lined dais with an out-of-place piano. The whole effect is very ‘70s for a movie made in 1954. Mostly, it looks like a twisted stage. Characters are always emerging from the wings and presenting themselves in strikingly arranged groups. Truffaut nailed it in his famous review of the film:

    Johnny Guitar is a phony Western, but not an “intellectual” one. It is dreamed, a fairy tale, a hallucinatory Western…. Johnny Guitar was “made” rather hastily, out of very long scenes that were cut up into ten segments. The editing is jerky, but what interests us is something else: for example, an extraordinarily beautiful placement of individuals in a certain setting. (The members of the patrol at Vienna’s, for example, arrange themselves in the V of migratory birds.) … Johnny Guitar is the Beauty and the Beast of Westerns, a Western dream. The cowboys vanish and die with the grace of ballerinas.

    That’s the other thing everyone remembers about Johnny Guitar: it’s the men who flutter and leap and die like dancers. One of the central male characters is an outlaw called the Dancin’ Kid. The other is the titular Johnny Guitar, the dopily handsome traveling musician played by Sterling Hayden. Vienna has hired him to play at her saloon, but it is obvious that more is going on. Johnny Guitar is actually the renowned gunslinger Johnny Logan, and Vienna’s former lover. She left him because she wanted to settle down and build something — and she has. Her land stands in the way of the new railroad route, and when it is built she stands to make a killing. Meanwhile she is locked in a sexually charged feud with Emma Smalls, played with unforgettable derangement by Mercedes McCambridge. (Crawford wanted Bette Davis for the part, which would have made an interesting prequel to Whatever Happened to Baby Jane?)

    We meet Emma when she bursts into Vienna’s place with a posse and her brother’s corpse, trying to pin the murder on the Dancin’ Kid and his gang. McCambridge plays Emma as a seething mass of repression and rage, a sharp contrast to Crawford’s cuttingly precise performance. In Vienna’s first appearance, in trousers and a to-die-for teal bolo tie, her acting is concentrated in the hips and shoulders. The way she propels herself through space is square and deliberate and, yes, very masculine. Later, when she swans down a staircase to confront Emma, it’s all in the face. Each perfect individual movement of her eyes, her eyebrows, or her lips telegraphs a new shift from anger to contempt to defiance. This is not naturalistic acting. Crawford didn’t do naturalistic acting. It is instead a master class in emoting for an audience. We know exactly what she thinks and how she feels and what kind of person she is: independent and hard.

    In contrast, Sterling Hayden looks and acts like a golden retriever. He is gentle and relaxed and a little bit droopy — Sterling Hayden! — especially in his scenes with Vienna. There is plenty of threatened masculinity in this film, but it comes mostly in response to his softness, not her hardness. At one point one of Vienna’s bartenders remarks that “I’ve never seen a woman who was more a man …she thinks like one, acts like one, and sometimes makes me feel like I’m not.” But still he is happy to work for her. When Johnny refuses to play a song for the Dancin’ Kid, it is a different story: the Kid is practically hysterical that this man who doesn’t even carry a gun will not rise to his bait. Being a man in his mind is not just about the willingness to use violence; it is about living in a world where violence is the thing that gets you what you want. And beneath the pacifist persona, Johnny is also fighting the same gravitational pull of violence. The first time he gets his hands on a gun, we can see him sweat and tremble with the stress of keeping himself from pulling the trigger. Hayden makes the pull towards violence look like a real physical illness.

    This ethic of violence, its normative status in this contrived world, is most fully embodied not by any of the male characters but by Emma. Once again, the girls are butcher than the boys. We are told that Emma lusts after the Kid, even as she agitates to have him lynched. A minor character remarks that “he makes her feel like a woman — and that terrifies her.” Emma has repressed her own desires so violently that her personality has collapsed into a monotonic rage. Ray isn’t exactly subtle when he hints at the possibility that one of the objects of her obsessive desiring might be Vienna.

    In the end there is a climactic ambush, Emma is killed, Vienna and Johnny kiss under a virulently green waterfall, and shooting solves everyone’s problems. If you want thematic consistency, don’t look for it in Johnny Guitar. Instead, there is the fluid succession of gorgeous individual scenes, like the truly oneiric scene in which Vienna puts on a poofy white organza gown and sits down to play the grand piano while a posse comes to arrest her, or the one in which she flees her burning saloon through an abandoned mineshaft and emerges by a turquoise lake. When Truffaut called it the Beauty and the Beast of Westerns, he meant that Vienna was the beast — and she can be beauty when she wants to be. (Sterling Hayden’s beast is there, too, waiting to be let out.) Finally the film is a fairy tale. It doesn’t have to make sense.

    Unlike Dietrich and Crawford, Barbara Stanwyck had a long history with Westerns, which were probably her favorite genre. Her career spanned from studio programmers such as Annie Oakley and Union Pacific in the 1930s through genre-busting 1950s psychological westerns such as The Furies and Forty Guns, ending with the television series The Big Valley in the late 1960s. By that point in her career Stanwyck had perfected the steely, ambitious landed frontierswoman — she had played versions of the ranching aristocrat role in The Violent Men, The Maverick Queen, and the aptly named Cattle Queen of Montana. I have to imagine that she felt a natural connection to the part. She really did own a ranch, rode horses daily, and did her own stunts well into middle age. There is a famous scene in Forty Guns (there are many famous scenes in Forty Guns) where Stanwyck’s character is dragged behind a horse in a tornado. She did it herself — she was forty-nine at the time — and when Fuller wasn’t happy with the take she did it again. Twice. Stanwyck was as steely as they come; her natural toughness was an essential part of her on-screen persona.

    You know that you are watching a Fuller movie when your jaw hits the floor between the thirty-second and two minute marks, and Forty Guns is no exception. It opens with a tracking bird’s-eye view of vast, silent ranchland with a flyspeck of a wagon rolling down the dirt road. As the camera shifts to a low-angle view of the wagon, with a man on the driver’s bench, he sees something that we do not yet see and calls a halt. At that moment an endless-looking line of men on horseback cuts across the empty landscape. We see the horses’ legs — the dust they kick up — the three men on the wagon, gawping, as the line of riders parts and curves around them — and finally the woman at their head, dressed in black and riding a white stallion. She looks positively mythological. And then they’re gone, cutting across the empty landscape in a clean, brutal, diagonal slash. From the beginning, the bones of the film are on display: Fuller’s penchant for odd framings and ambitious compositions and slightly queasy low-angle shots, the gothic visual austerity amid the photographic grandeur, and the fact that none of us know what to make of Jessica Drummond, the Stanwyck character, who runs her ranch and the rest of Cochise County, Arizona backed up by forty hired guns.

    The man in the wagon is Griff Bonnel (Barry Sullivan), a gunslinger-turned-lawman who has come to Cochise with a warrant to bring in one of Jessica’s men for mail robbery. It is quickly obvious that Jessica is the real mastermind behind the operation. Her men are responsible for tax collecting in Cochise. In exchange, the government turns a blind eye when she skims the profits. Her younger brother, Brockie, terrorizes the nearby town of Tombstone with equal impunity. Not that any of this presents an obstacle to the developing romance between Jessica and Griff. We can tell Jessica is interested the moment they meet, when Griff shows up at her mansion to arrest her deputy hours after pistol-whipping Brockie unconscious in the town square. Jessica is not the kind of woman to let such trivialities stop her from getting what she wants.

    It’s about sex, of course. Jessica and Griff’s early flirtation is full of Fuller’s characteristic tabloid vulgarity. (At one point, Jessica asks to feel Griff’s “pistol.” He warns her off: “It might go off in your face.” “I’ll take a chance,” she leers back.) But for all the heat, there is something unexpectedly adult about their relationship. It surfaces in the quiet moments between shootouts and showdowns — when Griff casually unburdens his guilt about his past as a hired killer, or in the extraordinary scene where the two of them are trapped in an abandoned shack by a freak tornado.

    Stanwyck had a gift for balancing icy control with remarkable tenderness. The gentleness in her little gestures — the way she holds Griff’s hand or bends down to kiss his knuckles — stands out in this movie full of cavernous Cinemascope shots and heightened performances. While the storm rages, Jessica explains that the shack is where she was born, where she delivered Brockie, and where their mother died in childbirth. Griff comes to Cochise with his own younger brothers in tow: responsible Wes, his right-hand man, and callow Chico, who is being reluctantly packed off to California to work their parents’ farm. They have both acted as parents to their siblings, made a name for themselves in the unforgiving frontier, done terrible things and made their peace with it. And they both represent a way of life that is dying.

    “There’s a new era coming, Chico,” Griff tells his youngest brother. “My way of living is on the way out.” Jessica tells him the same thing when she asks him to settle down with her: “This is the last stop, Griff. The frontier is finished.” And her sweetheart deal with Uncle Sam can’t last forever. They are both essentially melancholy characters, living with one foot in the past, reluctantly dragging themselves towards an uncertain future. This is not what draws them together (that would, again, be the sex), but I think it explains how quickly and easily they fall into intimacy. For the few days that the romance lasts, it feels more real and solid than anything else in Fuller’s self-consciously artificial landscape.

    The past is always close to the surface in Forty Guns. When Jessica finishes her story, Griff asks her if she has kept the old shack as a shrine. Her response is a summation of her character, and of almost every character Stanwyck ever played: “No. Just a reminder not to let go of anything.” Those words, and the way she says them — quietly, firmly, not to him but to herself — would be equally at home with the scrappy Depression-era gangster’s molls and working girls that she played in the early 1930s or her femme fatales of the 1940s. In that moment, she could be Lily Powers from Baby Face, with her ruthless pursuit of wealth, Stella from Stella Dallas, singlemindedly clawing out a place in society for her daughter, Phyllis Dietrichson in Double Indemnity, or Vance Jeffords in The Furies — all very different women, representing a fraction of Stanwyck’s range, but built around the same hard core. Stanwyck excelled at portraying women who wanted things, who would stop at nothing to get them, and who, once they had them, knew how to hang on for dear life.

    In the end, Jessica does let go of her empire. The film shifts into serious mode about two-thirds of the way through. Jessica and Griff are talking in her parlor when they are interrupted by gunfire. The shots came from one of Jessica’s deputies, Ned, who proceeds to confess his love for her with painful, halting sincerity. Fuller frames the scene with a stunning triangular shot, from Jessica to Ned to Griff, each facing each other but isolated on the huge cinemascope screen. Ned leaves. And then Jessica crumples, confessing her love and her willingness to leave everything for Griff. A chair topples in another room. They go running. Ned, of course, has hung himself. It is not unusual for Stanwyck’s self-made women to give it all up for love, but what we see here is different. In the hands of a different director, her sacrifice would lead straight to death or redemption. Fuller, being Fuller, cuts straight from Ned’s swinging body to a raucous communal bath scene. Once the moment is interrupted, it’s gone — there is no quick resolution here. Stanwyck is playing her real age here, and she is old enough that moments which might seem life-defining to a younger woman sometimes just pass.

    Griff’s brother Wes falls for the daughter of the town gunsmith, and Brockie shoots him dead outside the church on the day of their wedding. For this he is going to hang — Jessica cannot fix this and she wouldn’t if she could. But when Griff arrives at the jail, Brockie breaks out, grabs Jessica as a human shield, and drags her into the street. Griff pulls out his gun and, for the first time since turning white-hat, shoots to kill — right through Jessica. Brockie dies. Jessica, improbably, survives. In the final shot of the film, we see her running after Griff’s wagon while the town balladeer croons that this high-riding woman with a whip is only a woman after all. He stops to let her on, and they ride off together for California.

    It is too facile to mistake an ending like that for an attempt to turn the film into a battle of the sexes. That misses the point. When Jessica and Griff are pushed apart, it is not by his masculinity, injured or otherwise. They both have deeper, earlier obligations. And in any case the movie was never meant to end that way. As an independent producer, Fuller was able to get around the most officious forms of studio meddling, but his distributors at 20th Century Fox had one absolute requirement: Jessica had to live. Fuller hated the studio-mandated ending, and would complain about it in interviews years later:

    Zanuck said she must not die. “We’ve been making pictures for years, and the hero does not kill the heroine. You’ve seen High Noon. At a very vital moment, Kelly pushes the guy away, and that’s when Cooper shoots him.” Now how can [Stanwyck] push the guy away? He’s holding her with an iron grip. That man [Barry Sullivan] hasn’t used a gun in ten years. When he picks up a gun, it’s to kill. If that was his mother shielding that guy, he’d kill her because he has a gun and doesn’t want to use a gun. [Sullivan] said, “Wait a minute, you cannot kill the heroine. I like the picture, but you cannot shoot her.”” I said, “He’s not himself. He’s a gun.”

    In a movie full of deliberately strange performances, Barry Sullivan’s is hands-down the weirdest. With his hyper-stressed, staccato delivery and exaggerated physical movements, he almost looks like a parody of a Western marshal. There’s none of Sterling Hayden’s gentle, deliberate trembling when he gets his hands on a gun. Sullivan is a square-jawed cliché up until the moment he shoots through his love interest to kill her brother.

    So let us imagine Griff riding off into the sunset alone. Where does that leave us? And, more importantly, where does that leave Barbara Stanwyck? In an essay in Cahiers du Cinéma, Claude Chabrol claimed that Jessica is just like a Fuller man. I don’t quite agree, but she is certainly not defined by sex — no Nicholas Ray-style hallucinatory meditations on femininity here. If anything, it is the weird, schematic Griff who is flattened into a sketch of Western masculinity. And in his final shootout, he is flattened even further: he’s not a man, Fuller reminds us, “he’s a gun.” It is interesting to compare the ending of Forty Guns to that of Johnny Guitar. For all its grotesquerie, Johnny Guitar is much more interested in the dehumanizing potential of violence, but it is Forty Guns that follows through. Whether or not Jessica survives, there is nothing redemptive or freeing about the moment when Griff shoots her. In the end this is a tragedy, and most centrally her tragedy. Stanwyck’s performance anchors the film, and Jessica is the most human character in it. It was the actress’ last major role.

    There is a certain glib reading of all of these films, according to which their decision to portray women in positions of power speaks to a very 1950s anxiety about male weakness. This phenomenon had a number of causes: World War II and the rise of women in the workforce, the Kinsey Report, the fear of being outed as either gay or a communist or both. There is definitely a crisis of masculinity brewing in Johnny Guitar (Ray had issues), but overall I tend to think that it’s beside the point. Gender is not a zero-sum game. Even in Johnny Guitar, male weakness is not a result of female strength. In these films Dietrich, Crawford, and Stanwyck are in their late forties or early fifties, they mostly wear men’s clothes, and they are as unapologetically sexy as they have ever been in their lives. It is a joy to behold. No one should be so silly as to suggest that there is something emasculating about being attracted to them.

    Ironically, the blend of masculinity and femininity that looks so transgressive in the 1950s was par for the course in the 1930s. Dietrich and Crawford and Stanwyck are doing here what they have always done. On-screen couples back then were more fluid. Think of Crawford and Clark Gable, of Stanwyck and Henry Fonda or Gary Cooper, of Dietrich and anyone, of Katharine Hepburn and Cary Grant — there is a constant exchange of hardness and softness, masculinity and femininity. And the sea spirit is playful. The closing of American society in the 1950s meant a loss of that playfulness, especially in big-budget Hollywood productions, which are veritable documents of sexual anxiety. When it survived, it was on the margins of popular genres — mainly westerns and noirs, which encompassed the decades’ most innovative film-making.

    In the end, westerns provided the best canvas for mid-century American filmmakers who wanted to play with, and explore, gender and genre. (Noir, by contrast, tends towards a more Manichean view of women specifically and society generally). The 1950s also saw the height of psychoanalytic influence on American film, and the West represented the country’s collective unconscious. It was the place to identify and work through unacknowledged impulses, to reimagine the archetypes that define the social contract and the customs of ordinary life. And it was gradually being fenced in.

    Art Against Stereotype

    England

    with its baby rivers and little towns, each with its abbey
    or its cathedral,
    with voices—one voice perhaps, echoing through
    the transept—the
    criterion of suitability and convenience: and Italy with
    its equal
    shores—contriving an epicureanism from which the
    grossness has been

    extracted: and Greece with its goats and its gourds, the
    nest of modified illusions:
    and France, the “chrysalis of the nocturnal butterfly,” in
    whose products, mystery of construction diverts one
    from what was originally one’s
    object—substance at the core: and the East with its snails,
    its emotional

    shorthand and jade cockroaches, its rock crystal and
    its imperturbability,
    all of museum quality: and America where there
    is the little old ramshackle victoria in the south,
    where cigars are smoked on the
    street in the north; where there are no proofreaders,
    no silkworms, no digressions;

    the wild man’s land; grass-less, links-less, language-less
    country in which letters are written
    not in Spanish not in Greek, not in Latin, not in shorthand
    but in plain American which cats and dogs can read!
    the letter “a” in psalm and calm when
    pronounced with the sound of “a” in candle, is very
    noticeable but

    why should continents of misapprehension have to
    be accounted for by the
    fact? Does it follow that because there are poisonous
    toadstools
    which resemble mushrooms, both are dangerous? In the
    case of mettlesomeness which may be
    mistaken for appetite, of heat which may appear to
    be haste, no con-

    clusions may be drawn. To have misapprehended the matter,
    is to have confessed
    that one has not looked far enough. The sublimated wisdom
    of China, Egyptian discernment, the cataclysmic torrent
    of emotion compressed
    in the verbs of the Hebrew language, the books of
    the man who is able

    to say, “I envy nobody but him and him only, who catches
    more fish than
    I do,”—the flower and fruit of all that noted superi-
    ority—should one not have stumbled upon it in America,
    must one imagine
    that it is not there? It has never been confined to
    one locality.

    by Marianne Moore

    Poems responding to prejudice, ordinarily uttered by the oppressed, are variously angry, depressed, or revolutionary in sentiment. Only rarely are they humorous or ironic. Yet examples of poems resisting prejudice through wit and comedy turn up in such twentieth-century poets as Marianne Moore, D.H. Lawrence, and Allen Ginsberg. Comedy, for obvious reasons, is more available to writers not themselves among the most heavily oppressed; although they may belong to oppressed populations (women, the Welsh, homosexuals), they have usually become — through innate genius, childhood wealth, or admission to elite education — socially equal (or superior) to their earlier oppressors.

    Marianne Moore, for example, was born to the daughter of a well-off Presbyterian minister, but also to a psychotic father confined in an asylum. She and her mother were relatively impoverished after her grandfather’s death when she was seven. Yet she was educated at Bryn Mawr, and became after college a teacher “of English and business subjects” (at one of the now-infamous boarding schools for “Indians”), a librarian, and the editor of an avant-garde journal. She also had the luck of having her poems brought to the attention of T.S. Eliot in England through the influence of her poet-friend Hilda Doolittle (whose wealthy lover, Winifred Ellerman, paid for the original publication of Moore’s poems in England without Moore’s knowledge or consent). 

    Although Moore was trained in college to recognize social prejudice — she enthusiastically attended lectures by visiting feminists at Bryn Mawr and took an interest in the Suffragist movement — she was also, I think, brought up by her mother (who eventually took a lesbian lover) to feel indignant at the common private prejudice against those who, like herself later, resisted the usual social program of female life. (Emily Dickinson, even more eccentric than Moore, had implicitly described herself to Thomas Wentworth Higginson as of a different species from conventional women: “the only kangaroo among the beauty.”) When Moore visited England in 1911 with her mother, she was nettled by the persistent prejudice there against all things American; and in 1920, in a poem mischievously titled “England,” she could afford (because of her maternal family and her upper-class education) to choose satire rather than resentment as her initial weapon against hostile English judgments of things American. In between a scanty overture on England and a coda on America, Moore recites common stereotypes of Italy, Greece, France, and “the East” before coming to a defiant conclusion which not only counters English prejudice against America, but also confesses to her own previously unconscious use of superficial stereotypes.

    Moore’s chief precursors in asserting America’s right to contest the Old World’s supposed excellence were Whitman and Dickinson. In 1871, by invitation, Whitman recited “Song of the Exposition” at the fortieth National Industrial Exposition in New York City, sponsored to display the newest products of agriculture and machinery. In the poem, he blithely disdained the assumed superiority of the European classics, flippantly declaring to the Muse that she has exhausted the literary materials of the past. Urging her to join him in the New World, he is irresistibly persuasive:

    Come Muse migrate from Greece and Ionia,
    Cross out please those immensely overpaid accounts,
    That matter of Troy and Achilles’ wrath, and Aeneas’,
    Odysseus’ wanderings,
    Placard “Removed” and “To Let” on the rocks of your
    snowy Parnassus, . . .
    For know a better, fresher, busier sphere, a wide, untried
    domain awaits, demands you.

    Predicting the Muse’s smiling response to his call, he announces to his fellow citizens her choice of location for her new American shrine:

    Bluff’d not a bit by drain-pipe, gasometers, artificial
    fertilizers,
    Smiling and pleas’d with palpable intent to stay,
    She’s here, install’d amid the kitchen ware!

    Dickinson, for her part, mocked the adoption by New England women of English manners and complacent class-consciousness, reproaching her contemporaries’ supposed “Convictions” as ones composed of “dimity” (a light summer cotton dress-fabric) and their Christianity as one that would haughtily recoil from St. Peter himself as a mere “Fisherman”: 

    Such Dimity Convictions –
    A Horror so refined
    Of freckled Human Nature –
    Of Deity – Ashamed –

    It’s such a common – Glory –
    A Fisherman’s – Degree –

    Most nineteenth-century American poets — contemporaries of the scandalous Whitman and the unknown Dickinson — had tended to imitate beloved English models (while substituting American heroes or locales for English ones). Longfellow, Bryant, Whittier, and Lowell wrote in all the conventional genres: accomplished ballads, seasonal observations, philosophical reflections, elegies, love lyrics, satires, hymns. But Whitman and Dickinson — already social exiles but superbly self-educated — broke the Anglophone molds of subject and form, and so did the subsequent American modernists, Moore among them.

    Conscious of herself as a misfit, Moore deliberately wrote poems about misfits, sometimes exotic untamed animals (an ostrich, a giraffe) and sometimes handicapped vegetables (a carrot thwarted of its genetic shape by natural obstructions, a strawberry distorted in shape by a struggle in growth). The most piercing — because the most personal — of her misfits is a tree. “The Monkey Puzzler,” which appeared in 1924 in her first American publication, the vividly original Observations, describes a bizarre species of Chilean pine putting forth spiky branches which, instead of spreading out, curl back on themselves. Perhaps owing to her own Irish forebears — “I’m troubled, I’m dissatisfied, I’m Irish” — Moore was drawn to the half-Irish, half-Greek [Patrick] Lafcadio Hearn, another misfit in both Dublin and the United States, who eventually took Japan as his country. Moore quotes his praise of the monkey-puzzle tree’s peculiar aesthetic appeal:

    This porcupine-quilled, infinitely complicated starkness —
    this is beauty — “a certain proportion in the skeleton which gives the best results.”

    But praise does not solve the questions that a naturalist would ask of the monkey-puzzle tree: How did it come to originate in Chile? And how was it genetically compelled into its strange distortions? One cannot answer such questions, any more than one can account for nature’s casting an idiosyncratic human child of linguistic genius into a strained Missouri ecclesiastical environment. Moore, knowing her own eccentricity, closes her impersonal third-person portrait of the monkey-puzzle tree with a human first person “we” — a strikingly pained but accurate self-recognition. At the last moment she discovers a new verb (“prove”) of self-justification:

    One is at a loss, however, to know why it should be here
    in this morose part of the earth—
    to account for its origin at all;
    but we prove, we do not explain our birth.

    How did a Missouri girl born of a domineering mother and a psychotic engineer-father (whom she never knew) become a poet? Why in her adult life did she remain unmarried, living (except for her four years at Bryn Mawr) in rented apartments with her mother, sharing her bed until she was fifty-nine, and later buried with her under a joint tombstone? Her sole testimony to her individual existence was the poetry that she generated: “we prove, we do not explain, our birth.” The climactic “prove” (from the Latin probare, “to test”) shines out in all its plural meanings: we prove our life has a purpose; we test the value of our birth; we dare to exhibit to others our strangeness-from-birth; we claim a right to our birth-identity by the proof of its creations.

    Many of Moore’s poems are about such oddities as the monkey-puzzle tree. For her, such strange things derive their intrinsic value from their creation by God. Brought up through her seventh year in the house of her Presbyterian minister-grandfather, daughter to her religious mother, and sister to her Presbyterian minister-brother, Moore (with and like her mother) remained a church-going Christian. Myth and nature appear in her poetry as rich sources of the eccentric: unicorns, dragons, pangolins, the plumet basilisk, the jerboa, the octopus, the porcupine — these caught her eye, all of them animals never domesticated. In “Black Earth,” a glorious self-portrait where she speaks in the first person as an elephant in the wild, she is represented as entirely free. She remained psychologically undomesticated herself, in spite of her never-terminated maternal connection and the strong family ties generating countless interwoven letters among her mother, her brother, and herself, in which each went by the name of an ungendered and undomesticated animal: “Rat” was Marianne, “Mole” was her mother Mary (sometimes called by other animal names such as “Fawn” or “Cub”), and “Badger” was her elder brother John. The family group seemed to others essentially impenetrable. Mary, who had become an English teacher, set the linguistic standard which her daughter — though always deferring to the example of her mother — far surpassed. 

    A restless reader both in conventional subjects (literature, history, mythology, art) and in odd corners of exotica (the outliers of the animal kingdom, anthropology, couturier fashions, geography), Moore dared to envisage an audience as extravagantly informed as herself. Her stanzas elaborate themselves by inlaid bits and pieces, relics of the intellectual accumulation of a lifelong collector of the remote and the strange. In almost every poem, ecological and historical and aesthetic details crowd together in what seems a forbidding hedge between her pages and any ill-read reader. She understands, from her new acquaintance with England, that the English regard America as a misfit among countries, a savage land alien to Anglo-European “civilization,” with “inferior” mores and manners. In “England,” she will comically teach our transatlantic relatives otherwise.

    “England” — its title spilling over into its descriptions — seems to begin innocently enough, with touristic stereotypes of England’s geography and its Christianity:

        England

    with its baby rivers and little towns, each with its abbey
    or its cathedral,
    with voices — one voice perhaps, echoing through
    the transept — the
    criterion of suitability and convenience:

    This description seems initially bland enough to be included in a travel brochure, but Moore’s first insidious gesture — voiced by a critical sensibility foreign to England — is to slip in the tiny adjective “baby.” Who would call English streams — the Thames, the Wye — “baby” rivers, except someone who knew the broad Mississippi or another “giant” river of the Americas? Who, except one who had taken the measure of New York or Chicago, would see all English towns as “little” and tediously identical in their monocultural Christianity except that one has an abbey, another a cathedral? Who — knowing choral possibilities — would limit a cathedral transept to “one voice perhaps,” the most minimal musical requirement? And who, familiar with the mighty ambitions of European Christian music, would regard the anorexic English criterion of “suitability and convenience” as sufficient for a whole country? It is an American voice, with its own contempt for a declining England of limited ambition, that utters these opening lines, but it has concealed itself within an apparent banality. Moore’s opening strategy is to muffle her own indictment of English prejudice in apparently inoffensive language, but her satire will eventually mount into a climactic parody of England’s shallow judgments.

    Having disposed of its titular subject — England — in three lines, the commenting voice of the poem, without a stanza break, proceeds to instance — still in travelogue-form, but becoming more and more ignorant — aspects of other cultures of Europe and the far East. Italy is disparagingly said to have “contrived” an over-aesthetic epicureanism by “extracting” the “grossness” from its original recipes, timidly denaturing the typical offerings of its own indigenous cuisine. (Does this indictment for “grossness” bear examination?) Greece — the site, after all, of the Parthenon — displays visually to this voice, which is hostile to grand artifice, nothing but its alliterating rural “goats and gourds.” These are quickly enough swept out of sight, but the philosophy of Greece is less easily ignored: the voice knows that Greece has recognized the vexing problem of illusions (Plato), but it has modified those illusions into a stunted realism (Aristotle) that so diminishes them in size that they fit into a single containing nest.

    With France, a distrusted sophistication is said (in a conventional stereotype) to obscure practical function. One goes to a couturier in search of substance — a warm coat, perhaps — only to find that the cunning systems of French tailoring are more intriguing than the garment itself. The Paris couturier Erté has devised an evening gown so artfully cocooning the wearer (and here the poem quotes his hyperbolic French metaphor) that it becomes a chrysalis from which the buyer’s body will emerge as a butterfly. Yes, the voice grants, fashion’s inventions are “mysteries of construction,” but the ingenuity of the craft diverts one from something surely more worthy: “substance at the core.” Just as Moore does not bring the first four-line stanza to a close in England (suggesting that the country does not merit a whole stanza) but extends it into Italy’s originally “gross” cuisine, so she does not close her second stanza within Europe, intimating that like England and Italy, Greece and France are rapidly shrinking in significance.

    Instead the embodied voice runs on to the baffling culture of the East, reciting Western stereotypes of “the mysterious East” as superficial as those that England holds with respect to America. Some source must have informed Moore that “Chinese mystery snails” are so called because unlike snails from other countries, they give birth to live young. No less mysterious is the multi-stroke ideogram of classical Chinese, which Moore — allowing her own voice to intervene — excitedly names “emotional shorthand,” remarkable for its visual compression of semantic meaning. (The word “shorthand” brings the poem into Moore’s own modernity, revealing the contemporary writer ‘s envy of such condensed, if inimitable, poetic means.) Conventional stereotypes return, as the East is said to offer repellent non-Western notions of what a precious jade artwork might represent — a cockroach — and its equally strange calm, its “imperturbability.” (Moore imagines that her reader knows this stereotype of the Chinese character: the Oxford English Dictionary illustrates “imperturbability” with a quotation remarking on “the amazing stolidity and imperturbability of the Chinese in the face of all changes and disasters.”) The voice becomes intellectually abstract as it summarizes its preceding inventory of Asian artworks: they are “all of museum quality,” that is, removed in time and therefore only partly intelligible to foreign speculation on what fundamental aesthetic could prompt an object such as the jade cockroach. 

    So far, the poem — after beginning with Moore’s satire on “baby” rivers, has continued with a list of common stereotypes for even the most ancient and revered cultures — the Greek, the Chinese. But suddenly (and before we quite realize it) the voice reverts to one Moore might have heard during her visit to England: that of a critical English observer being as dismissive of American phenomena as she (and other Americans) have been of trivially noted foreign peculiarities. As Moore “channels” the voice of this supercilious critic, citing a throng of English stereotypes of America’s ignorant barbarity, she glances from particular regions to the deplorable whole to offer indisputable evidence of British prejudice. Both the American South and the American North, says the English aesthete, display untended objects and objectionable customs: the South exhibits a ramshackle version of a normally attractive English light carriage (named after Queen Victoria), and the North discloses, shockingly, men actually smoking cigars on the streets. But those are only the beginning of the expanding English list of American deficiencies (petrifying into generalized stereotypes). Horror of horrors, in America, with its error-spotted newspapers, there are no proofreaders! Aware of the aristocratic silks of the Far East, the “English” voice reproaches America for having no silkworms, and — recalling the leisurely prose of English essayists — the voice finds the curt practical discourse of America lacking in elegance. It has no digressions! 

    Other American defects are marked by implicit comparison with England: this is “a wild man’s land” because it doesn’t turn its prairies into beautiful English lawns; and still less is it conceivable that a culture should not have installed golf-courses. America in 1920 is “links-less.” And in synchrony with its uncultivated wildness of landscape, barren America is “language-less.” Its inhabitants know no foreign tongues: its letters are written not in Spanish (even with the country’s Mexican border), and certainly not in Greek or in Latin, because its population has not had the advantage of aristocratic English schooling. In fact, its letters do not rise even to the scribal vocabulary of shorthand, but — and here the English voice reaches its disbelieving climax — Americans write letters “in plain American that cats and dogs can read!” This is very funny, but in its reporting of English snobbery all too convincing in its taxonomic categorizing of subliterate Americans into “inferior” animal species — language-less cats and dogs. And not only do the English deem our written language elementary, they also reject our pronunciation as incorrect, denigrating the American flat “a” in “psalm” and “calm” in implicit praise of the open British “ah” which they (irrationally) find more suitable.

    There ends Moore’s sardonic parody of the way in which the English tourist isolates, misapprehends, and scorns various observed American features. Very well, says Moore, now not in the disguised voice of her subversive opening, nor in the imitative-of-stereotypes voice ranging through foreign territories, nor in the parodic voice of her British mockery, but in a didactic postcolonial voice we recognize as her own — very well, but upon such slender individual phenomena is it legitimate for the English to establish “continents of misapprehension”? She poses rapid questions of rebuttal: Why should a single difference of pronunciation justify the condemnation of a whole nation? Is there any logic to finding harmless mushrooms dangerous just because there exist poisonous toadstools? Is it reasonable to conclude that Americans possess a crass business appetite just because they are mettlesome, or to argue that they are hasty (say, in drawing conclusions) just because they are heated (say, in argument)?

    There the questions break off. Moore knows how embarrassing it is, if you have been proud of your own precision, to discover that you have misapprehended something; it shames you to realize that you have not studied the object of your curiosity with sufficient attention. In contrast with the entertaining sequence of her travelogue-of-stereotypes, her parody of the British tourist-in-America, and her rapid questions, Moore couches in a single dry and damning sentence her own redeeming confession of past prejudice:

    To have misapprehended the matter, is to have confessed

    that one has not looked far enough.

    Indicting general prejudice (found world-wide and not least in herself) and admitting general fallibility, the poet asks by implication whether we Americans have tried to see an England larger than the one displaying only unimpressive rivers and thin threads of liturgical sound? Have the English tried to see us beyond our different pronunciation, our absence of enthusiasm for golf, our frequency of typographical errors, and our lack of acquaintance with foreign languages?      

    Another list follows, the very opposite of the initial intemperate list of superficial remarks from English observers and the ignorant stereotypes we ourselves might use in describing foreign countries in Europe or Asia. Moore’s last list is a heterogeneous one, offering examples of what she calls “notable superiority.” These — based on her own study and the learning of scholars — range from the wisdom of China (a contrast to citing its jade cockroaches) to the “discernment” of Egypt (harbinger of Western literacy), to the unsurpassed torrent of emotion in Hebrew verbs (more valuable than shorthand), to the nonchalance of the Compleat Angler (in Moore’s excerpt from Walton beginning “I envy no man”). Such “notable superiority,” Moore claims, bears flowers which will generate the eventual fruit of a country’s cultural cornucopia. Addressing those who dismiss her cherished America, Moore asks a single logical question: If one hasn’t yet “stumbled across” examples of such superiority in America, does it follow that it does not exist here? (The absurdity of generalizing from absence of evidence to evidence of absence is self-evident.) She appends an uninsistent truth: that such notable superiority “has never been confined to one locality.” This irrefutable rebuke — superbly understated — disposes not only of the contemptuous English observer who prompted the poem, but also of Americans invoking petrified stereotypes of other cultures.

    If, having followed Moore’s argument and filled in all that is implied within it, we ask what kind of a poem “England” is, from what notion of poetry it must issue, we see that for Moore poetry must be heterogeneous to be interesting: it must admit learning, argument, allusion, inference, and conclusions, but it also must permit fantasy, comedy, satire, mockery, and uncircumscribed linguistic possibility. Jokes about literate cats and dogs are allowed to occupy the same art-space as Chinese snails and Chinese wisdom. The Compleat Angler’s unworldly admiration for a fellow-fisherman can coexist with scholarly admiration of the “torrent of emotion” in the verbs of a non-English, non-European, non-Chinese language — Hebrew; the intellectual wit of calling individual ideograms “emotional shorthand” may be harbored next to a down-to-earth example of the trivial sonic phenomenon of the flat American “a” in “psalm.” Moore’s readers — warned by her deceptive touristic subterfuge that what seems a tender picture of rural England can evolve into a freewheeling farce on English snobbery, and develop in turn into an indictment of all human prejudice — discover at the same moment, on another plane, that a succession of equal four-line stanzas — even if they do not scan, even if they do not rhyme — can formally identify the object on the page as a poem. Unlike the primary aim of prose, which is logical exposition, the object of verse — defined as such by its formal patterning — is chiefly a display of the imagination delighting in its own activity. 

    In any writer, the drive to create dazzling play in the chosen medium is often accompanied, often somewhat later in the process of creation, by an equal need to fill a lack in the surrounding historical, ethical, or cognitive context. What, in the artist’s view, does the contemporary world need to hear or to see? Along with aesthetic joy, a poem must offer, said Horace, something of use to the reader. At their best, Moore’s crisp intuitions of fallible human nature, as they discover a moving analogy from her zoo of undomesticated animals, arrive at precisely such a seamless junction of wisdom and delight. Just as Moore was drawn to translate the fables of La Fontaine in which a beast-fable is followed by a moral, so she could rarely resist, within her exhibits of rarity or oddity, a kernel of philosophical epigram: “It has never been confined to one locality”; “we prove, we do not explain our birth.” 

    Unmarried — and jesting, in her long poem “Marriage,” that marriage takes “all one’s criminal ingenuity to avoid” — Moore was, after her mother died, for the first time alone. Missing her mother and her deceased contemporaries, Moore made friends with the larger American world, writing poems about sports figures, including Muhammed Ali, jockeys, and baseball players. She wore, when she left her Brooklyn apartment for the city, an eccentric ensemble of a black tricorn hat and black cape. (Her first cape, in youth, was sewn by her mother, and wearing one as her distinguishing garment must have kept her mother’s presence nearby.) She became something of a public pet, genially throwing out the first pitch to open the baseball season. In those later years, the conspicuous old woman photographed by the newspapers seems far from the young poet praised by Eliot or the dauntless editor of The Dial, which gave her, with its office, a five-year daily base among New York writers. Wallace Stevens and William Carlos Williams found her an enchanting companion. “All great men,” said Yeats, “are owls, scarecrows, by the time their fame has come.” That may be true of great women, too. 

    Moore created a powerful and influential style, an inimitable one — although Auden and others imitated her use of syllables, instead of accents, to determine line-lengths; and Elizabeth Bishop, James Merrill, and Amy Clampitt were indebted to her rendition of the visual world and her unpredictable montages and collages of surface terrain. Later poets have both softened and sweetened her bristly or spiny poetic, smoothed her ungainly ostrich-gait. It still takes work to internalize a Moore poem — to look up its unfamiliar allusions to Erté or Chinese snails, to comb through its intricate syntax, to deduce which philosophical or psychological problem has generated its tight-knit emblem-illustrations. But after gaining a footing in Moore’s irregular territory, one can arrive at a relish for the very oddities that originally seemed obstacles. The maze once entered and its center attained, one luxuriates in the sound-world of an apparently effortless chamber music.

    And precisely because most protest-poems are by their content alone made unrelievedly earnest, a reader can be charmed by a poet’s decision to choose the weapon of wit. The American Moore was not the only writer to feel the lash of British dismissal: the Irish, the Australian, the Welsh, the Caribbean writer felt it, too. The best parody of the maliciously patronizing English manner is D. H. Lawrence’s corrosive poem on English hypocrisy, “The English are So Nice!” (Lawrence was Welsh, and his father was a miner: he was well acquainted with English condescension.) I quote his poem here only as an example of a protest-poem which, although resembling Moore’s in intensity and comic bitterness, abandons the allusive for the apparently artless. After its deceptive opening lines with their third-person description of the English as “awfully nice,” Lawrence’s poem quickly devolves into a rendition of the truly awful sentiments of prejudice as they appear in bourgeois conversation. What that “niceness” conveys, its scorpion-sting — as experienced by the hapless human object of its aggression — appears as early as the sixth line and stings its object fatally in its lethal xenophobic conclusion: 

    The English are so nice
    so awfully nice
    they are the nicest people in the world.

    And what’s more, they’re very nice about being nice about your being nice as well!
    If you’re not nice they soon make you feel it.

    Americans and French and Germans and so on
    they’re all very well
    but they’re not really nice, you know.
    They’re not nice in our sense of the word, are they now?

    That’s why one doesn’t have to take them seriously.
    We must be nice to them, of course,
    of course, naturally —
    but it doesn’t really matter what you say to them,
    they don’t really understand — you can just say anythingto them:
    be nice you know, just be nice
    but you must never take them seriously, they wouldn’t
    understand.

    Just be nice, you know! oh, fairly nice,
    not too nice of course, they take advantage —
    but nice enough, just nice enough
    to let them feel they’re not quite as nice as they might be.

    The social convention of covering all possible situations with the “unobjectionable” word nice wears so thin, even to the ears of its English utterer, that the poem eventually slips into the openly prejudiced “not really nice,” the disdainful “they wouldn’t understand,” and finally into the spiteful and fearful “they take advantage —.”

    Lawrence, the master of eloquence, exposes by apparently artless mimicry the appalling verbal poverty of the English middle class as they scorn and fear all foreigners, even English-speaking ones. Masquerading as one of the insular English, he betters them at their own game, while Moore, exhibiting foreign stereotypes of other cultures, shames American provinciality as well as English snobbery. Both poets, with their wit, hit their mark. 

    Any young woman scholar of my era encountered prejudiced male teachers and colleagues, but along with the prejudiced I encountered the kind and the just. Lyric poets writing protest poems risk simplifying the world into a melodrama of the good and the evil, thereby rendering their representations unreal. (It is of course an equally coarse assertion that claims that there were “very fine people on both sides.”) Pure parody such as Lawrence’s “The English Are So Nice” is by its very genre not obligated to justice of representation: justice is immediately perceived as the opposite of the parodic. But lyric poets of protest are obliged to incriminate themselves if their remarks about others’ faults are to be believed. Moore redeems “England,” in the end, by including in it a genuine — if impersonally put — confession of her own past stereotyping of the foreign. Unlike the believable poets, the prejudiced ones never include themselves among the sinners.

    A Gift from Heaven

    What makes you think
    I can live in a room
    from which you have removed
    – admittedly with considerable tact –
    one of the four walls?
    I agree, the view has really improved
    (not that you can see the Arno and the Ponte Vecchio
    in the distance)
    but is the (let’s call it) “radical renovation”
    sufficient for us to return,
    in better spirits,
    to the first act of the play?
    And the four-syllable word on the wine label
    and the meat in plum sauce
    and the candles that (supposedly) repel mosquitos,
    what exactly do they mean?
    And the young waiter
    with the thick accent,
    out of which Russian novel
    did he leap?
    And the fact that Adorno,
    as you tell me knowingly,
    dined in Los Angeles
    with Greta Garbo in 1944
    and his dog Ali Baba (what a name!)
    pissed on her book,
    how does that alter the facts?
    Can you hear the rustling of the leaves
    and the voices of the children
    going down our street
    on their skateboards?
    Do you realize that the message they are bringing
    belongs to a future
    you never imagined?

    Close your eyes for a while.
    It is often better
    to look reality in the face
    without trying to calculate
    the number of minutes until the sun sets.
    Besides, at this moment
    the question is not
    the specific sunset
    but the gift we have been given.

    “Lost years,” did you say?
    Don’t be melodramatic.
    Is there any paradise
    that at the end of the dream
    is not lost?

    Translated by Peter Mackridge

    Blake in Paradise

    Biographers and scholars agree:
    he was mad.
    But does it matter
    whether he really used to see
    angels dancing
    in the trees in his garden,
    or would spend long evening hours conversing
    with Isaiah and Ezekiel?
    Isn’t it enough that that he left us
    “Proverbs of Hell” and “Jerusalem”?

    Shortly before closing his eyes
    he asked for a piece of paper and a pencil
    so that he could sketch for the last time
    the face of his beloved Catherine.
    Beneath her portrait
    he noted with a trembling hand:
    “I am certain He exists,
    since You exist.”

    Delirious Passion

    Each morning when you go out on the balcony
    to enjoy your first coffee of the day
    you face the same intolerable backdrop:
    Delos reposing nonchalantly
    in precisely the same place you left it yesterday.

    How much you wish that nature,
    just for once, would cast off for a while
    its earnest attire
    and, like a mischievous girl,
    astonish you with her coquetry
    by sending the sacred island
    to the bottom of the sea –
    so that your gaze would at last
    reach the horizon
    without tripping over some barren piece of land.

    But she would disapprove
    of such a dramatische development.
    At night she reads Hölderlin in German,
    memorizing all those Olympian verses
    and believing that she wanders arm-in-arm
    with Apollo himself
    through the ruins of his temple.

    How can you pick a quarrel with a god,
    a hunk of a lover
    who knows what secrets
    a woman hides in her heart,
    what she desires when she lies down naked in bed
    and – let me not forget! –
    who permanently holds a lyre in his hand?

    If I were you
    I would change islands,
    or houses,
    or at least balconies.

    Still, Hölderlin is the last person to blame.
    He went mad long before you,
    and at least he signed his works
    as Scardanelli
    and not as Héloïse and Abelard.

    Poetic License

    For Anne Carson

    In the second book of the Iliad, he calls him a mighty king:
    λάσιον κῆρ – in Rieu’s prose:
    “Pylaemenes of the shaggy breast led the Paphlagonians”.
    In the Fifth Book, he decides to have him killed –
    without too much fuss, in just two lines:
    “the great spearman Menelaus son of Atreus struck him
           with a javelin,
    which landed on his collar bone”.
    In the Thirteenth Book, however, he changes his mind,
    and describes in a moving scene the death of Pylaemenes’ son:
    “Meriones shot at him with a bronze-headed arrow
    and hit him on the right buttock. The arrow went clean
    through his bladder and came out under the bone.
    Harpalion collapsed forthwith, gasped out his life in the
           arms of his friends,
    and lay stretched on the ground like a worm,
    while the dark blood poured out of him and soaked the earth,”
    and then has his weeping father
    drive him on a chariot,
    together with the other Paphlagonians, back to Troy,
    “leaving his son’s death unavenged”.
    In this episode he skips the usual phrase:
    “Then night descended on his eyes”.

    It’s his work after all.
    It’s not like he’s accountable to anyone else.
    He’s the one that decides who lives, who dies.

    Who should be resurrected.

           *

    When later he heard about Lazarus
    he permitted himself a smile of satisfaction
    at being some centuries ahead
    in the art of funerary management.

    Cycladic Idyll

    Lower your eyes.
    When beauty
    invades your life with such force,
    it can destroy you.
    The two ants hurrying along
    next to the soles of your feet
    are burying their summer dreams
    deep in the ground.
    The load they are carrying
    will not crush them.
    They have measured their strength accurately.

    Your shadow melts into the shade of the tree.
    Black on black.
    Guilt that must remain in the dark,
    so as to go on defining you.
    But the glare of those fragments
    may still hold you.
    You have no need of adjectives,
    of devious subterfuge.
    Every question is a desire.
    Every answer (you know by now) is a loss.
    Stay where you are standing.
    In a while it will overtake you.
    The clouds do not ask where,
    they just continue on their way.

    The Beehive

    The ambition that burned in the breasts and the brushes of the immigrant artists at La Ruche was not enough to warm them on winter nights. Hunger is what lured them to Paris and hunger is what kept them there, a zealous hunger that fortified them against the physical hunger which incessantly rumbled in the bellies of the painters, the poets, and the musicians, many of them Jews, who clawed their way from their respective shtetls to the City of Light. La Ruche, which means The Beehive, was — and still is — a colony of humble artists’ studios in the fifteenth arrondissement in Paris, near Montparnasse. La Ruche was among the many artist complexes in Montparnasse that together sheltered the École de Paris, which is what the French art critics christened the swarms of immigrants suddenly overflowing their academies and their galleries in the early decades of the twentieth century. The title distinguished the foreign contaminants from the École Française, which, according to street gossip as well as literary magazines, the emigres were polluting.

    In a monograph on the painter André Dunoyer de Segonzac which appeared in La Carnet de la semaine in 1925, the art critic Louis Vauxcelles (himself a French Jew as well as a textbook arriviste, who was petrified that his unsavory Semitic brethren would upset his position in the art establishment) proclaimed that “a barbarian horde has rushed upon Montparnasse, descending [on the art galleries of] rue La Boétie from the cafes of the fourteenth arrondissement… these are people from ‘elsewhere’ who ignore and at their hearts look down on what Renoir has called the gentleness of the École Française — that is, our race’s virtue of tact.” (Note that anxious our.) The art critic Fritz Vanderpyl was a good deal nastier. In an article in 1924 entitled “Is There Such a Thing as Jewish Painting?” which appeared in the Mercure de France, he gnashed his teeth:

    In the absence of any trace of Jewish art in the Louvre, we are nevertheless witnessing a swarming of Jewish painters in the past-war salons. The Lévys are legion, Maxime Lévy, Irene and Flore Lévy, Simon Lévy, Alkan Lévy, Isidore Lévy, Claude Lévy, etc… not to mention the Lévys who prefer to exhibit under pseudonyms, a move that would be quite in line with the ways of modern Jews, and without mentioning the Weills, the Zadoks, whose names one comes across on every page of the salon catalogues.

    A year later the magazine L’Art vivant asked significant members of the Parisian art-sphere which ten living artists should be included in the permanent collection of a new museum of French modern art. The prominent Polish Jewish painter Moïse Kisling replied with commendable venom: “Simone Lévy, Leopold Lévy, Rudolph Lévy, Maxime Lévy, Irène Lévy, Flore Lévy, Isidore Lévy, Claude Lévy, Benoit Lévy, et Moise Kisling.” The Jewish painters of Paris had pride.

    Scandalous and indecorous and unconventional as they emphatically were, the School of Paris was still another of the many limbs of the French art world, and it shared vital organs with its more traditional counterparts. Like all artists in France at the time, these young rebels’ careers were dependent on showing in salons. Academic pompiers such as William-Adolphe Bouguereau, the distinguished but kitschy painter who was president of the École des Beaux-Arts de Paris, maintained a tyrannical power over the standards of French art, imposing them most publicly by rejecting works that did not conform to the accepted canons from the official annual Salon of the Académie des Beaux-Arts. This stranglehold was momentously loosened in 1883. After having been rejected by the Salon three years earlier, the Impressionists and Post-Impressionists organized a Salon des Refusés (the second in twenty years), after which the Société des Artists Indépendants was founded. Cezanne and van Gogh were among the participants in the first Salon des Independants. Since this new salon had no jury, it lacked a wider prestige. As an alternative, the competitive Salon d’Automne was held for the first time in 1903, in the newly built Petit-Palais, which had been constructed for the World’s Fair of 1900. Two years later Matisse, Derain, and their cohort famously exhibited paintings in hot violent colors, which prompted Vauxcelles, consistently averse to disruption, to call these artists Fauves or “wild beasts.”

    The painters at the Beehive, and more generally the School of Paris, plotted their progress into the establishment through their acceptance into the new salons. They were not really a “school,” at least insofar as they shared no artistic theories or crusades. All the styles of their time, all the modernisms and all the traditionalisms, were represented under that octagonal roof. But they had other traits in common. While a certain degree of assimilation was inevitable for these newcomers from distant lands, their otherness never left them. Otherness was among the stimulating discomforts that all the members of the “school” shared. Many thousands of hours in Parisian cafes never drowned the aftertaste of their origins. This did not defeat them, though the history books do not honor their tenacity.

    A handful from the School of Paris would carve their initials into the annals of art, but most of their names were uttered for the last time many decades ago. They made up a large part of the throng of Montparnasse in its golden years, of its tremendous artistic commotion, but they were erased and forgotten. Say a prayer for these minor artists, who consecrated themselves to art against circumstance; these men and women whose genius sputtered more often than it glowed, and did their best, which was often very good but rarely good enough; and say a prayer, too, for the open hands and hearts that welcomed and nurtured them, and could always spare a loaf or a smile for these destitute stewards of beauty.

    “You left either famous or dead,” Chagall said about La Ruche, into which he moved the fall of 1911. An overstatement, but barely. At the hive Chagall met Archipenko, Modigliani (a proud Sephardic Jew whose mother perpetuated the improbable origin story that her family was directly descended from Spinoza), Soutine, Kikoine, Kremegne, and Lipschitz, among the few whose names are familiar. The bohemian romance did not end well, and not only because success eluded so many. In the early 1940s history found its cruel way to the Beehive, and many of its artists were carted off to the notorious deportation center at Drancy in a northeast suburb of Paris and from there to their extinction in concentration camps in the east, mainly Auschwitz. (Chagall was long gone by then: when you could afford to get out, you got out.) The Yiddish literature about these people refers to them as “our martyred artists.” But their destruction must not obscure the thrilling lives that they lived. This mélange of visionaries and dreamers made it to the nucleus of modern art in the early 1900s. They were more than extras in the high drama of the twentieth century; for a few decades they created a scrappy, infinitely exciting universe.

    It is often said that La Ruche was designed by Gustave Eiffel himself. Like much of what is whispered about the School of Paris, this is a half-truth. The full tale begins with the World’s Fair of 1900, held in Paris from April to October of that year, just over a decade after the international exhibition of 1889, for which Eiffel built his grand tower. (Dumas, Maupassant, Bouguereau, and Meissonier were among the many writers and artists who signed the protest against Eiffel’s steel monstrosity, the “ridiculous tower dominating Paris like a gigantic black factory chimney… a dishonor to the city.”) General Commissioner Alfred Picard, dubbed by the press the most important man in France, was determined that his exhibition in 1900 would exceed in brilliance and magnitude all its predecessors, and it did. Construction began eight years in advance, and included the Grand Palais, the Petit Palais, the Métro, the Gare d’Orsay, and the Pont d’Alexandre. The fairground spanned 543 acres and included pavilions representing forty-seven countries, all battling to demonstrate their technological and cultural preeminence. It was visited by fifty-one million people over the course of six months.

    The world’s first moving sidewalk, the first regular passenger trolleybus line, and an electrotrain ran through the exhibits. The Grande Roue de Paris ferris wheel, 96 meters high, was the tallest ferris wheel in the world at its opening. The fair also saw the first escalator which won first prize at the exposition, diesel engines, electric cars, dry cell batteries, electric fire engines, a telegraphone, and also the world’s first matryoshka dolls. Thus France ushered in the new century by insisting again upon its status as the epicenter of the globe.

    Reveling in the gargantuan brouhaha of the fin de siècle, the organizers and the attendees were of course blind to the radical political and social and cultural convulsions into which the world was about to be thrown. The boys whose blood would soon soak the Continent were mere toddlers. Einstein’s theory of relativity, and its ramifications for the perception and understanding of the world, was sixteen years away. Philosophers and psychologists such as Henri Bergson and William James would soon describe human experience as essentially fractured and confused and improvisatory. Freud was poised to unleash the unconscious on European culture. The transformations that resulted from these upheavals helped to unsettle the stultifying art world as well. It created the conditions in which the creative tumult at La Ruche was possible.

    When the fair was over, the city auctioned off many of the structures that had sprouted up around Paris since 1892. Most of the others were demolished. In a remarkable stroke of magnanimity, however, the renowned (and hugely successful) sculptor Alfred Boucher, a friend of Rodin’s and Camille Claudel’s mentor, did the city, and the world, a favor: he bought several items from the municipal auction, including a building-sized octagonal wine rotunda that Eiffel had designed for the exposition, statues of costumed women from the Indochina pavilion, and a grand iron gate from the palace of women, all of which were dismantled and then reassembled on the Passage Dantzig in the fifteenth arrondissement. Boucher turned the hodgepodge of structures into La Ruche, which he called the Villa de Medici.

    In fact there was little about the place reminiscent of the Medici. It consisted of bunks, studios, a gallery space, and large rooms into which artists could troop for weekly free life-drawing classes. The eight-sided building did indeed resemble a beehive. (Most of the people inside it certainly worked like bees.) Rent was cheap, and Boucher never made a fuss when it was late. Some of the tenants took unfair advantage — one artist managed to live on credit for twelve years, without producing a single painting or sculpture. A forty-minute walk to the storied cafes La Rotonde and Le Dôme, and an hour by foot from the École des Beaux Arts, La Ruche was well situated in the burgeoning bohemia of Montparnasse, which soon replaced Montmartre as the hotbed of the avant-garde. (The neighborhood sealed its new status when Picasso moved from Montmartre to Montparnasse in 1912.) The Beehive opened officially in 1902, and the Secretary of State for Fine Arts (a French position if ever there was one) attended the dedication ceremony, at which an orchestra played La Marseillaise.

    The inside of La Ruche was circular, with a dim skylight so weak it brightened only the top floor, which was therefore the most expensive. All the rest were cast in gloomy shadow unrelieved by the grimy windows that made up a wall of each studio. The sweaty stink of unwashed bodies — nobody mentions indoor bathrooms and the filth was infamous — mixed with the pungent scent of oils paints that filled the whole building. The misery was heaviest on the ground floor, where rats, roaches, screeching cats, and mangy dogs took shelter with the poorest tenants. The mattresses atop the iron beds were infested with bedbugs, the corridors and the staircases were dusty and stained. All were in a constant state of disorder, so much so that the whole place resembled the backstage of an abandoned theater; dirty busts, statues, vases, moldy fruit, and dead flowers cluttered the hallways, the detritus of innumerable still-life paintings. Every surface was splattered with paint. In the garden surrounding the building there were lime trees, chestnut trees, lilac bushes, and an enormous cherry tree that kept guard over the building like a potbellied gargoyle. From the neighboring slaughterhouses, where Chagall and others painted the condemned cows, bellowing cattle and grunting pigs were audible in the dorms.

    In other words, if you were a penurious but determined painter, it was home. During the day sculptors and painters who did not live there would use the studio space. They had very little to do with the inhabitants who made up its ecosystem. Next to the main building, down a flight of dank mud-encrusted steps, there was a double cottage where Boucher kept his own studio and workshop. When he was not wandering the halls and peeking into the studios of the little colony that he had founded, checking on his bees, it was where he worked. Boucher liked to brag that he had influenced Rodin, but his grateful if slightly condescending tenants wondered aloud whether the influence did not run in the opposite direction.

    Word spread quickly amongst the immigrants with vivid imaginations and empty pockets, and La Ruche expanded considerably in the 1910s. Marc Chagall, Chaim Soutine, Michel Kikoine, Paul Kremegne, Fernand Léger, Alexander Archipenko, Henri Laurens, Paul-Albert Girard, and René Thomsen were among the tenants who benefited from Boucher’s sanctuary. They were followed by many others of various nationalities, ideals, and dispositions, and Boucher assiduously bought up little huts, shacks, and hovels around the main edifice, into which his colony overflowed. There were nearly a hundred and forty workshops by the end. Writers such as the poet Blaise Cendrars (who wrote a poem about the place) and the art critic Maximilien Gauthier often visited. Rumors circulated that the socialist Adolph Joffé and even Lenin himself dropped by at one time. (It is certain that he and Trotsky frequented Le Dôme, one of the cafés in Montparnasse that would become a haunt for the circle of German artists from La Ruche, during his brief exile in Paris from 1909 to 1911.)

    In the eternal battle between commerce and art, the shopkeepers and the restaurant owners surrounding the hive chose the losing side. Boucher knew that, more often than not, his artists ate and drank on credit. To repay this generous folly he converted a nearby house into a makeshift, dilapidated, and exceedingly romantic theater. Between two hundred and three hundred people could squeeze inside for the performances, and the entry fee was optional: everyone paid what they could. With the help of the city he organized productions, until he had the brilliant idea to invite undiscovered actors and directors to try their hand at running the show. The gambit was a wild success: renowned stars of the stage and early film such as Charles Le Bargy, Maurice de Féraudy (the father of Jacques de Féraudy), and Édouard Alexandre de Max had their start there. Marguerite Morena, Jacques Hébertot, and the heart-throb theater actor and movie star Louis Jouvet also appeared at La Ruche. Jouvet (who at that time spelled his name Jouvey) stuck around for several years. It was at La Ruche that he met Jacques Copeau, the theater director and founder of Théâtre du Vieux-Colombier, where Jouvet would go on to earn early celebrity. The next time you see Quai des Orfèvres, remember the Beehive.

    The artists were dependent on one another for introductions to agents and buyers, and for charity (often reciprocal, since good and bad luck share a half life), and for hot tips about which restaurant owners got to work after the early morning bread had been delivered (thievery was a professional hazard). In 1914 the war deepened the mutual dependence. The art market slowed to a glacial pace, salons were postponed, art collectors’ fists squeezed shut, and those who had received an allowance from relatives were suddenly on their own. The artists’ stipends provided by the French government dwindled rapidly.

    Yet creative solutions abounded. The Russian artist Marie Vassilieff, born in 1884, was responsible for one of them. Vassilieff was a revered figure in Montparnasse. She came to Paris in 1907, at which time, as she would tell you herself, she was unbearably beautiful. Legend has it that days after her arrival Henri Rousseau spotted her on a park bench and fell immediately in love. He proposed marriage, she declined — bad breath, she explained.  In 1908, when Matisse found an abandoned convent to use for a studio, he was stalked by a crowd of implacable groupies, most of whom were foreigners, including Vassilieff, and for two years the young master gave them grudging instruction. (This became known as “Matisse Academy.”) From 1910 on, she exhibited her brightly colored cubist paintings regularly at the Salon d’Automne and the Salon des Independants. Vassilief co-founded and served as director of the Académie russe, where many of the artists of Montparnasse would go for free life-drawing classes. After she resigned owing to tensions with coworkers, she founded the Vassilieff Academy on Avenue du Maine. During the war she transformed her academy into a canteen where hungry artists could always find something to eat. A Swedish painter remembered that:

    The canteen was furnished with odds and ends from the flea market, chairs, and stools of different heights and sizes, including wicker plantation chairs with high backs, and a sofa against one wall where Vassilieff slept. On the walls were paintings by Chagall and Modigliani, drawings by Picasso and Léger, and a wooden sculpture by Zadkine in the corner. Vassilieff would put different colored papers around the lights to change the mood of the place. In one corner, behind a curtain, was the kitchen where the cook Aurelie made food for forty-five people with only a two-burner gas range and one alcohol burner. For sixty-five centimes, one got soup, meat, vegetable, and salad or dessert, everything of good quality and well-prepared, coffee or tea; wine was ten centimes extra.

    Literary events, music shows, and legendary parties distracted the indigent artists from the bleak historical moment. These bashes, which bombinated with the chatter of many languages, would last until the early morning, since the police considered Vassilieff’s canteen a private club and so did not impose a curfew. Matisse, Picasso, Modigliani, Soutine, Zadkine, Cendrars, Léger, the Swedish sculptor Ninnan Santesson, the Russian Marevna, and the Chilean Manuel Ortiz de Zárate were all regulars. Vassilieff, like everyone else, had a soft spot for Modigliani, which he tested regularly by wreaking havoc while grotesquely drunk. Marevna, who wrote a lively but not always reliable memoir of life at La Ruche, recalls one evening at the canteen when Modi (which is what everyone called him) stripped naked while reciting Dante to the frantic delight of giggling American girls.

    When the war was finally over, and rationing ended and unemployment ebbed, the French capital reclaimed its glamorous cultural status. Woodrow Wilson became the first American president to visit Paris when he came for a six-month stay to assist in negotiating a new map of Europe. Ernest Hemingway, James Joyce, Josephine Baker, Ho Chi Minh, Leopold Senghor, and many other luminaries and eventual luminaries surged into the city. In Montparnasse especially, the revival was blinding. The streets buzzed and the wine flowed. Food was easier to come by. When Lucy, Aïcha, and KiKi — the famous artists’ models of Montparnasse — stripped in studios and nightclubs across the city, they were fleshy and carefree. The great cafes had come back to life.

    La Rotonde was acquired and expanded in 1911 by a man named Victor Libion, who ran it for the next nine years and was like a father to the artists of La Ruche, whom he would allow to sit all afternoon nursing the same small coffee. When they first arrived in Paris, Krémègne, Soutine, and Kikoïne, who had all studied together in Vilnius, or Vilna, as they would have called it, always sat at the same table. In fine weather, the celebrity model Aïcha would lounge on the chairs out front, and her boyfriend, the La Ruche resident Sam Granowsky, a Jewish painter known as “the cowboy” for his tall Stetson, along with the artists Mikhal Larionov, Natalia Concharova, and Adolphe Féder (another denizen of the hive), would clean the cafe to earn extra cash.

    Even when the bombs stopped, the memory of horror tinctured the merriment and the swaying hips in and around La Ruche. The School of Paris was in some sense essentially melancholy. These artists from elsewhere had intimate knowledge of hardship. They remembered it from their childhoods, and at La Ruche the hard times persisted for almost all of them. At their most lighthearted they were never silly, even the ones who dabbled in Surrealism. The Soviet novelist and journalist Ilya Ehrenburg recalled that “we stayed at La Rotonde because we were attracted by each other. The scandals were not what appealed to us, and we were not even inspired by new and bold aesthetic theories. Quite simply… the feeling of our common distress united us.” He was speaking specifically of the Jewish artists who had come to Paris to escape the pogroms ravaging the villages from which their families sent them anguished letters. Yiddish writers such as Sholem Asch, Oyzer Varshavksi, and Joseph Milbauer used to drop by La Rotonde, perhaps on their way from or to the Triangle Bookshop, a Yiddish bookstore and small publisher just a short walk away.

    A mathematician named Kiveliovitch ran The Triangle Press and Bookstore at number 6 Rue Stanislas. In a former life he had been a student of the legendary French mathematician Jacques Hadamard. To attract the La Ruche crowd, the Triangle published a series of booklets about famous Jewish artists, short monographs with black and white reproductions. Jacques Loutchansky, Adolf Féder, Leopold Gottlieb, Moïse Kisling, Pinchus Krémègne, Jacques Lipschitz, Marc Chagall, and Abraham Mintchine came regularly to leaf through the stacks in the single narrow room. Some of the artists of the Beehive and its surroundings became subjects for the monographs, which are now bibliophilic rarities.

    One day the Marxist-Zionist activist Y. Nayman sprinted into the store and breathlessly announced that the previous Sunday he had seen the Jewish sculptor Marek Szwarc kneeling in prayer at the Sacre-Coeur in Montmartre. A scandal! Szwarc had fallen “off the path,” which came as a surprise to his coreligionists. Jewishness, for most of the Jews in Montparnasse, was mainly an identity imposed upon them by anti-Semitic prejudice, but Szwarc’s Jewishness had been fuller. He practiced Judaism, and was an active member of the small observant cohort at La Ruche. For a few years in the early 1910s, he, Henri Epstein, Moissey Kogan, and other yarmulke-clad residents of the hive founded and ran Makhmadim (which means “delicacies” or “precious things” in Yiddish and Hebrew), a publication dedicated to defining Jewish art, which was funded by the influential Russian art critic Vladimir Stassov. The series had no text and featured only reproductions of drawings by Jewish artists. The issues were thematically devoted to occasions on the Jewish calendar, such as the Sabbath and the holidays. This was an attempt to give some substance to the appellation “Jewish School,” so often used by the critics of the period.  This series is now even more rare than the Triangle’s publications.

    The question of Jewish identity at the Beehive is complicated. Most of the Jews at La Ruche were not interested in developing a uniquely Jewish style of art, whatever that might mean. National identity united them, just as national identity united the Russians and the Italians and the Americans, who all moved together like schools of fish. (In the Jewish case, of course, the national identity was a sense of peoplehood, not a derivation from a nation-state.) On the landings of the staircases at the hive arguments would break out in all languages — Yiddish, Spanish, Russian, Japanese, Polish, German — about the merits of fauvism, about the trajectory and the limitations of cubism or surrealism, about Chardin, Corot, Cezanne, Rembrandt, and so on. It has been reported that often no one bothered to listen to what anyone else was saying, but every once in a while someone committed that fatal mistake and fist fights would follow. An artist needed a group with which to argue.

    One such group, a circle of German Jews, claimed the cafe Le Dôme as their perch in 1903. Le Dôme, just across the street from La Rotonde, was founded in 1898, and was in its many years haunted by artists and writers such as Kandinsky, Henry Miller (who at one point lived in the apartment below Chaim Soutine), Cartier-Bresson, Beckett, de Beauvoir, Sartre, and many others. It was there, such a long way from “the old country,” that the young Jewish painters sat and did their business. Art dealers such as Henri Bing and Alfred Flechtheim would meet them at Le Dôme for office hours. They were there so often that Apollinaire dubbed them Les Dômiers, despite the fact that bands of Scandinavian and Dutch painters also had their own corners in the same cafe. Les Dômiers were more successful in Germany than in France: in 1911 Paul Cassirer showed the group’s work in Berlin and in 1914 Flechtheim held an exhibition in Dusseldorf called Der Dome. He described the group as “foreign artists living in Paris who met in the same cafe and who loved Paris.” Pluralize “cafe” and one has as good a definition of the School of Paris as ever there was.

    They also all worshiped the same women, and regurgitated the same bits of gossip, and they stumbled into and out of the same parties, delirious and semi-conscious hours later. One of the most notorious of these bacchanals began on August 12, 1917 and wound down in the wee hours of the morning four days later. It was the marriage celebration of two artists — Renée Gros and notorious Polish-Jewish wild man Moïse Kisling. Gros had spotted Kisling on the street the previous year, found out where he lived, and knocked on his studio door. The nuptial bash began at the restaurant Leduc, moved to La Rotonde, reverberated off the walls of several nearby brothels, and culminated in the Kislings’ tiny apartment, into which swarms of guests poured into the ensuing debauchery. Max Jacob recited poetry, mimicking esteemed poets of the day, and Modigliani wrenched the bedsheet off the bridal bed, wrapped himself in it, and recited lines from Julius Caesar as Caesar’s ghost. Renée shrieked and chased him from the room when she recognized his costume. Three days later Kisling reported that Modigliani had been discovered entirely naked sprawled on the Boulevard Montparnasse.

    His wedding ranks among the most outrageous of Kisling’s exploits, but it does not top the list. A few years earlier, on June 12, 1914, inflamed with rage regarding a mysterious “question of honor,” Kisling challenged the artist Leopold Gottlieb to a duel. The Mexican cubist Diego Rivera (who years later would abandon the artist Marevna and their love child, move back to Mexico, and marry Frida Kahlo) served as Gottlieb’s second. Early in the morning the small group gathered by the bicycle racetrack at the Parcs des Princes. The two men fired one shot each and then switched to swords. Tempers flared and the duel lasted an hour, ending only when the large crowd that had by then accumulated forced the two men apart. Gottlieb escaped with no more than a cut on the chin, and Kisling with one on the nose, which he called “the fourth partition of Poland.” Magazines and newspapers printed the story complete with pictures that very evening.

    Nearly two decades later, when the clouds darkened and the black curtain fell, Kisling was one of the lucky ones. He volunteered for French army service, then fled to America when the French surrendered and the Nazis occupied France. Until 1946 the Kislings lived next door to Aldous Huxley in southern California. When peace was declared Kisling and his family moved back to France, where he died in his home in 1956. The Nazis failed to destroy his paintings, as they did those of so many of his friends. His works now hang in museums in France, America, Japan, Switzerland, and Israel.

    Many of his peers, however, were murdered. These are some of their stories.

    Moissey Kogan was born in Bessarabia on March 12, 1879. A precocious childhood interest in chemistry gave way to a passion for drawing and sculpture, which led him to the Academy of Fine Arts in Munich in 1903. The great art critic Julius Meier-Greafe, who was instrumental in introducing the achievements of Manet, Cézanne, van Gogh, and other painters of their time, encouraged Kogan to make a pilgrimage to Paris and visit Rodin, which he did in 1905. Rodin advised the young artist to dedicate his life to sculpture. Three years later Kogan returned to Paris and settled down at La Ruche, where he joined Les Dômiers. Kogan’s work evinces the influence of Rodin and Maillol, both of whom admired him. Like Rodin and Maillol, Kogan’s bodies are full, fleshy, sensuous, and simultaneously austere and formally pure. Most of his works depict nude female figures. In every form — drawing, woodcuts, textile and, primarily, sculpture — his line is consistently delicate without sacrificing force. Terra-cotta, bronze, plaster, and wood were his preferred mediums. Kogan eventually became one of the greatest French neoclassical sculptors. His work was admitted into the illustrious Salon d’Automne for the first time in 1907, after which he served regularly on its jury. In 1909 he exhibited at all three exhibitions of the Neue Künstlervereinigung München (NKVM) in Munich, where he became close with Jawlensky and Kandinsky. In 1925 he was elected vice president of the sculpture committee of the Salon d’Automne, a great honor for an emigre artist. He kept a studio near La Ruche at the Cité Falguière (where Modigliani and Soutine both once lived) from 1926 until his death in 1943. In 2002, art historians in Germany discovered Kogan’s name on a list of deportees to Auschwitz. The official documents that would have detailed the circumstances of his death were destroyed by the Nazis during their evacuation and liquidation of the camp. It is a matter of record, however, that Kogan was on Convoy 47 from Drancy to Auschwitz. He, along with 801 others, were likely taken to the gas chambers upon arrival on February 13, 1943. Many of his works were destroyed by the Nazis in their “Degenerate Art” campaign.

    George Kars was born in Kralupy, Germany in 1882. When he was eighteen years old, he left home to study art with Heinrich Knirr and Franz von Stuck in Munich. He traveled to Madrid in 1905, where he met Juan Gris and was deeply influenced by the works of Goya and Velasquez. In 1908 he settled in Montmartre. He spent the First World War on the Galician front and in Russian captivity. At the end of the war he returned to Paris, where he renewed friendships with many residents of La Ruche, including Chagall. Kars had the refined dexterity of an academic painter, but his works are spiced with the styles that dominated Paris in his day — styles which he managed to synthesize seamlessly. Goya’s and Velasquez’s rich blacks darken still-lifes and portraits that also bear the influence of Cézanne. He was enriched by cubism but not overwhelmed by it. His portraits especially display his skills as a colorist. His most exciting works are his drawings; some look so energetic it is as if he just put down his pen. When the Nazis occupied Paris, Kars fled first to Lyon and then to Switzerland. In 1945 he killed himself by jumping out of the fifth-floor window of his hotel, likely after hearing that many of his relatives had been murdered by the Nazis. When his widow died in 1966, his atelier was sold at auction. Many of his paintings were acquired by the French collector Pierre Levy and the Swiss collector Oscar Ghez. When Ghez died in 1978 he bequeathed 137 works in his collection, Kars’ among them, to the University of Haifa.

    Rudolf Lévy was born in Germany in 1875. He enrolled in carpentry school but left to study painting with the artist Heinrich von Zügel at the School of Fine Arts in Munich in 1899. Lévy moved to Paris in 1903, where he joined Les Dômiers. He studied at Matisse’s academy from 1908 to 1910, and then took over as head of the academy when Matisse left. Lévy would often return to Germany, where he befriended Alfred Flechtheim, who exhibited the Dômiers many times in his gallery. During the First World War he happened to be in Germany and was conscripted into the German army. When the war was over he returned to Paris, but traveled often to North Africa where he befriended Max Ernst and Oskar Kokochka. In addition to painting, Lévy was a gifted writer, and wrote novels and poetry in German and French. When the Nazis came to power Lévy found himself in Germany, but moved swiftly to Majorca, and then to the United States. In 1937 he visited Naples with other German artists and remained in Italy for the next two years. He was in Florence in 1939, attempting to escape to America, when SS officers arrested him and transferred him to Milan. On April 5, 1944 he was deported to Auschwitz in Convoy 9. He was murdered five days later. Most of his paintings and writings were destroyed by the Nazis.

    Roman Kramsztyk was born in Warsaw in 1885. He studied painting in Cracow for a year in 1903, where he befriended several artists including Henryk Kuna and Leopold Gottlieb. Several years later these men would together form the Society of Polish Artists, known as Rytm. Kramsztyk studied at the School of Fine Arts in Munich before moving to Paris where, in 1911, his work was accepted at the Salon d’Automne. He lived in Paris for four years at the start of the first war, after which he would spend the rest of his life traveling between Paris and Poland, where he became quite famous. His work was entered in the painting event at the art competition in the Summer Olympics in 1929. Kramsztyk was visiting family in Warsaw when the Germans invaded Poland in 1939. His fate was sealed. In October of the following year, when the Warsaw Ghetto was established, Kramsztyk, along with all other Jewish residents of the city, was imprisoned within its walls. There he assiduously documented the ugliness in a sketchbook. These sketches of the ghetto are the most haunting and lasting of all his works. In one drawing, gasping children with hollow cheeks cling to a father with dead eyes; they are delicately, achingly rendered. In another the skeletal head of a young boy staring hopelessly into space is conveyed with Durer-like grace. In that hell, while doing his grim duty to document the extermination of his own people, frenzied colors and contorted perspectives, all the Parisian innovations, were of no use to Kramsztyk. He drew what he saw. Sometime between August 6, 1942 and August 10, 1942, during the liquidation of the ghetto, he was shot and killed by a Ukrainian SS officer.

    Adolphe Feder was born on July 16, 1886 in Berlin. He became involved in the Bund Labor Movement in 1905, as a result of which he was forced to flee Berlin for Geneva, where he remained briefly before moving to Paris in 1908. There Feder became one of the most active members of La Ruche. He studied at Académie Julian and then with Matisse at his academy. In the 1920s he did illustrations for Le Monde and La Presse, and for books by Rimbaud and Joseph Kessel. When the Second World War broke out, he remained in France, and joined the underground in Paris. He and his wife Sima were betrayed, and they were arrested on June 10, 1942. The two of them were interned for four months in a military prison on the rue du Cherche-Midi in Paris. Four months later Féder was transferred to Drancy. There he managed to produce many oil-pastel drawings and watercolors of life in the internment camp. Féder’s landscapes and still-lifes that predate his internment at Drancy show Cezanne’s influence, though Féder preferred hotter and more luscious colors. But the heat disappears in his works from the internment camp. Perhaps this was due to a lack of supplies, though there was in fact a place to buy paints inside Drancy.  Féder was not an exceptional draftsman, he was an illustrator, but his rudimentary skill somehow makes his drawings from 1942 and 1943 impossibly moving. His Drancy works differ in medium, color, subject, and location, but each person depicted has the same crushed expression. There is no light in their eyes, nor is there hope, or anger, or even sadness. These are, without exception, portraits of despair. Feder was deported to Auschwitz, where he was killed on December 13, 1943. Sima Féder survived the war and donated a number of his drawings to Beit Lohamei Hagetaot, or the Ghetto Fighters Museum, in Israel.

    There are many more such biographies from La Ruche. In 1942 and 1943, the École de Paris was decimated. At the Beehive, life, like art, went on, as it did in the rest of the cold world.

    Christianism

    Under new management, Your Majesty:
    Thine.

    John Berryman

    I

    “And the king went up to the house of the Lord, and all the men of Judah and all the inhabitants of Jerusalem with him, and the priests, and the prophets, and all the people, both small and great; and he read in their ears all the words of the book of the covenant which was found in the house of the Lord. And the king stood by a pillar, and made a covenant before the Lord, to walk after the Lord, and to keep his commandments and his testimonies and his statutes with all their heart and all their soul, to perform the words of this covenant that were written in this book. And all the people stood to the covenant.” A great awakening took place in the kingdom of Judah in the seventh century BCE, or so the king intended it to be. Josiah was the sixteenth king of the kingdom of Judah, which included Jerusalem, the rump state that remained in the wake of the secession of the ten tribes after the death of Solomon. He ruled for thirty-one years, from 640 to 609. Three centuries earlier, not long after the disintegration of the Davidic kingdom, his birth had been foretold by a strange unnamed prophet, who predicted (“O altar! O altar!”) that Josiah would be a great reformer. The Bible records — there are two accounts, in 2Kings and 2Chronicles — that he came to the throne at the tender age of eight, and eight years later, “when he was still a lad,” the young monarch began to “seek after the God of his forefather David.” It appears that there followed four years of intense spiritual work, because it is reported that Josiah began the religious reform of his kingdom in the twelfth year of his reign.

    The Josian reformation, his rappel a l’ordre, proceeded in stages. It is a dramatic tale. It began with a ferocious campaign against idolatry, which involved the physical destruction of pagan statues and altars not only in his realm but also beyond — a “purification” of the entire land of Israel. (The recent weakening of the Assyrian power to the north emboldened the Judean king to extend his campaign beyond his borders.) He also uprooted Israelite places of worship, with the objective of what historians like to call the centralization of the cult — the re-establishment of Jerusalem, and more specifically the Temple, as the only legitimate site of Jewish priestly rites and Jewish sacrifice. In his twenty-eighth year on the throne, in accordance with his plan, Josiah began a massive renovation of the Temple. It was during this project that lightning struck. As often happens on construction sites, an antiquity was found — in this instance, an old scroll. It was the book of Deuteronomy, which was Moses’ valedictory summation of the Biblical commandments and his ethical testament to his people. When the scroll was read to the king, he rent his garments and cried out in anguish at how much had been forgotten. He then summoned the population of Judah, high and low, to the Temple and read the ancient scroll to them, and announced a new covenant, a grand restoration, which was then marked by a spectacular Passover celebration at the Temple. Judging by the scriptural accounts, which is all the evidence that we have for these events, it was an electrifying moment. Zeal was in the air.

    The shocking element of this tale is that Deuteronomy, fully a fifth of the divine revelation at Sinai, the climax of the Torah, was unknown in Israel. How much more of the tradition had been lost — or more accurately, shunned and neglected and indifferently consigned to oblivion? Idolatry, and the cruelty of some of its practices, was widespread. Josiah was himself preceded and succeeded by idolatrous kings. When one reads the Hebrew verses carefully, it becomes clear that the emotion that overwhelmed Josiah when he heard Moses’ farewell address for the first time was not so much guilt as panic. For if Deuteronomy was unknown to the Jews of the time, then so were many of the fundamentals of the religion, which meant that a colossal delinquency, a terrible fall, a vast collective iniquity, had taken place. The king’s first feeling was fear. “Great is the wrath of the Lord that is poured out upon us, because our fathers have not kept the word of the Lord, to do after all that is written in this book.” This explains the vigor, and the violence, of his correction. When Josiah reflected that God is just, he trembled for his country.

    The interpretation of idolatry is one of the largest themes in the history of religion. At stake in its proper definition is the distinction between true and false faith — assuming, of course, that the veracity of belief is still a matter of consequence to believers, which is increasingly no longer the case. The term itself is pejorative: an idol, however it is construed, is ipso facto false. I was raised to recoil from the term, and to admire the many smashings of the many idols that recur throughout the ancient history of my religion. The smashers were my childhood heroes, Josiah included. It was not until I studied the history of art that I began to grasp the ugliness of iconoclasm, the brutality of it, its cost to culture. I remember the dissonance that I experienced two decades ago on the day that the Taliban blew up the monumental Buddhas of Bamyan, because the government had declared the statues to be idols. But this was what our righteous Jewish kings did, and the Lord was pleased! (I had a similarly disquieting experience when I first watched a video on Youtube of a public stoning by the Taliban and thought back to the punishment of seqilah, or stoning, mandated by Jewish law in capital crimes.) Regarded politically, the definition of an idol is: another person’s object of worship. Idolatry is your religion, not mine.

    There is nothing, of course, that could mitigate the practice of child sacrifice, but its moral offense is obviously bigger and more universal than the sin of following strange gods. So let us — anachronistically, to be sure, but we often interpret Scripture in the light of ideas that were developed long after it — pause to think kindly for a moment about ancient idolaters. They were not all savage killers. They were ordinary men and women, living vulnerably in the world, in families and communities, with needs and fears and sufferings, and they took their troubles — erroneously but sincerely — to sacralized carvings of wood and stone, and to religious authorities whom — erroneously but sincerely — they believed had the power to help them. Folk religion (which the monotheisms have certainly not been spared) is one of the primary human expressions. Its coarseness represents the best that the theological imaginations of many people can accomplish: religion is not solely, or mainly, the province of intellectuals, much as it sometimes pains me to say so. I am the unlikely owner of an ancient Hittite idol from Canaan in the third millennium BCE, about three inches tall, finely made of clay — a domestic idol consisting of a single flat body with two heads, one male, one female, presumably designed as an amulet of happy conjugality. On the same shelf, to its right, as a challenge to this icon of domesticity, sits a small clay mask of Dionysus, from Paestum in the second century C.E. When I look at them, I see illusion, beauty, difference, and humanity. Pity the faith that cannot withstand the sight of them.

    All this, as I say, is an anachronistic way of looking — but not completely. As Hume observed, the multiplicity of the gods in polytheistic religions inculcated a climate of tolerance, whereas the exclusiveness of the monotheisms had precisely the opposite social and political effect. The ancient world was violent, but not owing to holy wars. State power availed itself of many divinities and many cults. By contrast, the human costs of the mono in monotheism have been incalculable. (It was not until modernity that we learned of atheism’s equally hideous costs. Evil has a home everywhere.) If it is appropriate to speak of religious pluralism in the ancient world, then it is also appropriate to describe Josiah’s (and Asa’s and Hezekiah’s) extirpation of the idols as a war against pluralism. Or more pointedly, as a war against what democrats and liberals believe. Our models are not to be found in Kings and Chronicles.

    Yet the post-liberals of our day find them there. A few years ago a group of Catholic post-liberals founded a website, which has expanded into books and podcasts, called The Josias. Josias is Latin for Josiah. (The Hebrew original, Yoshiyahu, most likely means “healed by God.”) The first editor of The Josias, Edmund Waldstein, is a Cistercian monk in Austria who — judging by his own contributions to his journal — is a sophisticated theologian, as are some of the other contributors. I have now read a good deal of The Josias and I can report that, except when it surrenders to a genuinely foul invective about what it abhors — abhorrence is one of its main activities — its writings have all the rigor, and all the charm, of dogmatics. In its way it reminds me of orthodox Marxist discourse, in which fine points of doctrine are scrupulously examined without any interest in the scrupulous examination of their philosophical foundations. The difference between theology and philosophy is that philosophy inspects the foundations, whereas theology merely builds on them. How serious can thinking be when its own premises are protected from it?

    As in all doctrinaire writing, the writings of these post-liberals, of all post-liberals, has a settled and self-congratulatory tone, and expresses the mutual admiration of a quasi-conspiratorial fraternity. (Are there are any women among them?) They are the club of the just. The motto of The Josias is non declinavit ad dextram sive ad sinistram, “to incline neither right nor left.” This may sound like an invigorating assertion of intellectual independence, until one recalls that it is also the title of the definitive historical study of the rise of fascist ideology in France. “Neither right nor left” was the motto of a crack-up, of a philosophical desperation. The purpose of The Josias, its founding editor has written, is “to become a ‘working manual’ of Catholic political thought.” But not all Catholic political thought. It is the organ of a particular school, known as integralism. Here is Father Waldstein’s explication of the concept: “Catholic Integralism is a tradition of thought that, rejecting the liberal separation of politics from concern with the end of human life, holds that political rule must order man to his final goal. Since, however, man has both a temporal and an eternal end, integralism holds that there are two powers that rule him: a temporal power and a spiritual power. And since man’s temporal end is subordinated to his eternal end, the temporal power must be subordinated to the spiritual power.” Or in the less reflective words of an American integralist, “the state should recognize Catholicism as true and unite with the Church as body to her soul.”

    Premises, premises. The Catholic post-liberals are animated by a crushing sense that we, America and the West, have fallen. The feeling of fallenness is not theirs alone: it is one of the few things that unites this disunited country, though we differ in our preferred heights. For the integralists, whose very name suggests that the rest of us are disintegrated, what we have lost is the magnificent unity of church and state. That is the fissure that infuriates them, that they wish ruthlessly to repair. They are wounded holists; yet another bunch of moderns with a burning hunger for the whole. They detest “the personalization of religion,” as if there are no religious collectivities and religious institutions and religious movements in our liberal polity, as if social domination and political control are necessary conditions of spiritual fulfillment. It is important to understand who were the authors of the abomination that the American integralists wish to repeal. Whereas some of them can live with aspects of Karl Marx — neither right nor left, remember — it is finally James Madison whom they cannot abide. He, after all, was the diabolical author of the separation, and Jefferson, and Mason, and the other founding fathers of the American dispensation. (And Roger Williams, the founding grandfather, whose banishment from the highly integrated Massachusetts Bay Colony marked the inauguration of the separation.) Integralism as an ideology originated in late nineteenth-century Europe, particularly in France, in the Action Francaise of Charles Maurras (the American integralists remind even the editor of First Things of Maurras, and also of the Catholic phalangists of Franco’s Spain); but now Maurras has been pitted against Madison. What a villain Madison was!

    I call these Christians Christianists, in the way that we call certain Muslims Islamists. Christianism is not the same as Christianity, just as Islamism is not the same as Islam. (There are Jewish parallels in Israel.) Christianism is a current of contemporary Christianity, of the political Christianity of our time, a time in which religions everywhere have been debased by their rampant politicization. The Christianists, who swan around with the somewhat comical heir of an avant-garde, are in one respect completely typical of their day: they are another group in our society that judges governments and regimes and political orders by how good they are for them. This selfishness, which is a common feature of identity, is as tiresome in its religious versions as it is in its secular ones; it is an early form of contempt, and extremely deleterious to the social unity that the Christianists fervently profess to desire.

    I am not a Catholic. I am an ardently Pelagian Jew. I would prefer not to intervene in the disputations of a church that is not my own. The problem is that these are also the disputations of a country, and a civilization, that is my own. The ideas and the programs and the fantasies of the Christianists bear upon the lives of citizens who are not Christians, who answer to other principles. I will give an example. In an ambiguous essay on immigration that treads warily between liberalism and populism, Father Waldstein remarks: “After the horrors of the World Wars of the twentieth century, a new ideal of global solidarity founded in a secular, liberal conception of human rights came to the fore. This aridly rationalistic liberalism, however, cannot provide true universal solidarity, which can only be found in the Social Kingship of Christ.” Never mind, for now, that the “arid” secular liberal conception of human rights, going all the way back to Kant’s sublime idea of a universal right to hospitality, has been infinitely more effective in aiding and sheltering immigrants, in taking in the poor and the weak, than the ethno-nationalist regimes that the post-liberals celebrate, which scorn them outright. The fact that the vast majority of the refugees in Europe are not Christians has dissuaded these governments from acting on the Social Kingship of Christ. Would they help me off the dinghy and on to dry land? When I read Waldstein’s words, I think: those words are not for me. They are, by implication, against me. They cast me outside the circle of universal solidarity, an insulting ban, because for me the notion of the Social Kingship of Christ is nonsense. He is not my king. Such a ground cannot compel my assent. They must give me a better reason to repudiate liberal immigration policy, especially as I hold that we must give sanctuary to more of the miserable. The Christianists can do anything they wish with their church, but they cannot do anything they wish with their country. They must respond to the objections and the anxieties of their non-Christian and non-integralist brothers and sisters. When I see them palling around with Viktor Orban and extolling Nigel Farage as “the defining mind of our era,” their business becomes my business.

    II

    In these times it is common to hear that everything is broken. As an expression of anxiety, the slogan must be accepted. As an analysis of what ails us, it is plainly wrong. Everything is not broken. Some things are, some things are not. The last thing we need in this crisis is to surrender our sense of the particulars and the possibilities. The belief in brokenness, however, has enjoyed a long career in the history of religious and political thought. In those worldviews in which brokenness is the most salient characteristic of the cosmos and the person, the existence of the many elements, the multiplicity of the parts, the clutter of the pieces, is regarded as a problem, a catastrophe, a punishment for transgression, a fate from which we must be redeemed. There is an overwhelming presumption in favor of the one over the many. Every separation is a wound, a crack, an exile, a tear in the fabric, a setback to be overcome. Once there was unity; now it is no more; may it come again soon, amen. Among the adherents of such totalistic views of life, it never occurs to anyone that perhaps multiplicity is the natural condition of the world — that it is not the problem but the solution. They do not acknowledge that the primary fact about anything is individuation: it is this and not that, it is itself and not another thing. In religious language: my soul is mine alone. Individuation is not a writ of loneliness, though loneliness may be one of its results; it is a writ of specificity, of potential. It is how we begin and how we end; what we are before we belong, while we belong, and after we belong. In a life of joinings and partings, it remains constant and irreducible. Attempts to deny it or to flee it are usually disastrous. The scanting of individuation, the attempts to amalgamate the individual soul out of its distinctiveness and to dissolve it into an imaginary whole, all the communitarian ideologies of integration, have often brought misery into the world. Surely there are recesses of the soul that public affairs ought not to reach — or is that the “privatization of religion”? So many innocent people have been hurt by other peoples’ feelings, and theories, of loneliness.

    Integralism is not a post-liberal innovation, of course. Its modern origins, as noted, were in the Action Francaise of the hateful Charles Maurras, whose motto was “politique d’abord!” But there were also non-reactionary versions of the integralist enterprise, most notably the “integral humanism” of Jacques Maritain, who began as a supporter of Maurras but in 1926 revised his views and advocated a Christian democracy that promoted the creative forces of the person — “the holy freedom of the creature” — acting in history. Maritain’s integralism called for a Christendom that would “correspond to the period into which we are entering,” and in a calm tone of constructive realism he renounced the dream of a new unification of altar and throne, of the sacred and the secular. He was explicit about the pluralistic nature of his integralism: “Civil society is made up not only of individuals, but also of particular societies formed by them, and a pluralist polity allows these particular societies the greatest autonomy possible.” Reading Maritain’s large-hearted pages, one is struck by the meanness, the stridency, the resentment, that disfigures the pronouncements of many post-liberal integralists. Our Christianists are sometimes so unChristian.

    I was first introduced to the rich and troubling intellectual universe of twentieth-century French Catholicism, to its epic struggle with the relations of the sacred and the secular, by a small and beautiful book by Jean Danielou called Prayer as a Political Problem, which appeared in 1965. Danielou was a Jesuit and a cardinal, and a member of the Académie Française; a towering scholar who was one of the fathers of modern Patristic studies; the interlocutor of Bataille and Hyppolite and Sartre on the subject of sin; an “expert” invited by Pope John XXIII to participate in the deliberations of Vatican II. Some of the post-liberal Catholics refer occasionally to Danielou’s book. Prayer as a Political Problem is one of the primary documents of the collision of religion with modernity. It is a deep and deliberate book: “for me, the sphere of the spiritual is as rigorous a discipline as that of any of the profane sciences.” I have given Danielou’s book, as a cautionary gift, to Jewish friends wrestling with similar perplexities. This little volume is a precious statement of what I do not believe, and it is an honor to argue with it.

    Danielou begins by noting the “incongruity in the juxtaposition of a private religion and an irreligious society,” which he regards as the lamentable norm in modern Western societies. The obvious course of action is to relieve religion’s confinement to the private realm and find a way to release it into the public realm — “the extension of Christianity to an immense multitude, which is of its very essence.” But Danielou, at least at first, does not seem to harbor holistic aspirations. “How are society and religion to be joined,” he asks, “without either making religion a tool of the secular power or the secular power a tool of religion?” A splendid question! The frontiers are not trespassed. It has an air of patience and friendship. There is no program for transforming the sacred and the secular into one thing. The objective seems to be co-existence, with boundaries and a generous understanding of the realms.

    But soon there follows a less splendid question. “What will make the existence of a Christian people possible in the civilization of tomorrow?” And he continues: “Our task is to discover what those conditions are which make a Christian people.” What does Danielou mean by “a Christian people”? A people composed entirely of Christians? But there is no such people, at least none that conforms to any national borders. Though he has some skeptical things to say about the separationist arrangement, Danielou makes a resounding defense of religious liberty. Yet slowly his argument creeps disappointingly towards holism, and on strangely practical grounds. “Experience shows that it is practically impossible for any but the militant Christian to persevere in a milieu which offers him no support…Christians have need of an environment that will help them. There can be no mass Christianity outside Christendom.” And more generally: “Only a few would be able to find God in a world organized without reference to him.” In other words, to be a Christian somewhere there must be Christianity everywhere. Otherwise heroism would be required for faith.

    Danielou makes the issue more concrete with the case of prayer. “Prayer is a personal relationship with God,” he writes. “Does it not belong strictly to personal life? It is true that it does, but it is also true that the full development of this personal life is impossible unless certain conditions obtain.” He concludes that “the civilization in which we find ourselves makes prayer difficult.” I do not understand this complaint. Prayer is difficult. It is an attempted communication with occult metaphysical entities, a regular approach on transcendence. It requires that one collect oneself from one’s own dispersal. Is there anything harder to do? To want prayer to be easy, to make it banal and frictionless, is to invite decadence into your faith. And if prayer is difficult, it is not because there are people of other faiths, or of no faith at all, in the society in which you live. Communal prayer is one of the pillars of traditional Judaism, and in its strict construction it requires a quorum of ten men; and I can testify that not once in my many attempts to pray in my synagogue was the presence of the church down the street an obstacle to my concentration. There were obstacles, to be sure, and sometimes they included the other nine Jews in the room, but mostly they were inside myself. I would not have the audacity to blame my spiritual infirmities on others, and certainly not on my Christian neighbors.

    Many years ago I got into a spat with William F. Buckley on this very point: he remarked that the social and cultural diversity of New York was making the formation of Catholic identity more difficult, and I replied that my difference from him was not the reason that he might be having trouble keeping his children in church. Anyway, all communities of faith in an open society are confronted by this challenge. (As Danielou sagely observes, “engagement in temporal affairs is at one and the same time a duty and a temptation.”) Are we to conclude, then, with Danielou, that the transmission of religion is impossible in a multi-religious society? This would be perverse: it is precisely the philosophical and political framework of pluralism, of liberal indifference (“neutrality”) to the fortunes of particular confessions, that makes such transmission possible, by leaving it in the hands of the believers themselves. If they fail, however, it is largely their own fault. Of course we could offer them some assistance by constricting and even closing down our society and thereby make their dream of conformity a reality. But close it down to whom, and for whom? Which faith will dominate, and why should other faiths trust it? Should the church or the mosque or the synagogue seize the government for the sake of their children? My children, or yours? These jeremiads against the separation of church and state can only have been composed by people who are confident that they would be the winners.

    Religious traditions with historical memories of persecution should carefully ponder the moral consequences of undoing the separation. They might also consider whether Danielou’s vision of the identification of religion with its environment does not betray one of the central tasks, and privileges, of religion, which is to be counter-cultural. When the church and the state are unified, the state will no longer hear the truth from the church. Social and political criticism will be heresy. The standpoint from which power may be criticized independently and disinterestedly, in the name of values that are supported only by their own validity, or by their supernaturalism, will have vanished. The efficacy of Martin Luther King, Jr.’s agitation was owed in large measure to the force of the religious language that he hurled against the policies of government; a stranger to the state, he came to chastise and to castigate. If there must be no established religion, it is in part because religion’s role in society must be adversarial. There is an embarrassing passage in Danielou’s book in which he notes that “Christianity works alongside those [institutions] which exist, purifying them of their excesses and bringing them into conformity with the demands of the spirit” — and so “it was in this way that it acted on slavery, not condemning it as such but creating a spirit which rendered its continuance impossible.” But over here, in America, where no such alignment of religion with the institutions is required, there were Christians who denounced slavery directly and bitterly, and on Christian grounds. The abolitionists could say it straight; the critics were separated and free.

    Here is Danielou’s sentence again, except that I have altered one word: “Experience shows that it is practically impossible for any but the militant Jew to persevere in a milieu which offers him no support.” I have heard that sentiment my entire life from people who were sincerely frightened by change, by their children’s physical and spiritual mobility. For this reason, traditionalists like to stick together. The Christianists, too, can stick together. They can also secede, in the manner of “the Benedict option,” except of course that they are enjoined by the Gospels to do good in the world. Our society can become a collection of bubbles, a bubble of bubbles — not the best deployment of a multicultural society’s resources, and certainly not any sort of tribute to the various traditions that are terrified of being tested by the world, but we are headed in that direction anyway. As a historical matter, the Jews in the West did persevere in a milieu which, to put it mildly, offered them no support. That milieu was Christianity. There were no sympathetic surroundings to buck them up and ratify their exertions. And ironically enough, it was not owing mainly to social isolation that they survived, and without possessing political power created a civilization. Even though the Jews lived in walled quarters of the city, they had many kinds of relationships with their Christian neighbors, and they were exposed, sometimes by compulsion, to Christianity regularly. (Some of them could not withstand the pressure of their otherness and converted.) But it was not a bubble that protected them and their tradition. A hostile environment permits no bubbles. What protected the Jews was their faith and their will, and perhaps also the steadfastness that is one of the rewards of minority experience. There is indeed a measure of heroism, or at least an extra measure of inner resources, required of all minority faiths, of Jews in Christian surroundings and of Christians in secular surroundings.

    But here are the Christianists, whining that they do not run everything. How much compassion should we muster for the pain of the post-liberals? How hard is it, really, to be a Christian in America? I appreciate the constant dissonance that a religious individual experiences in our secular culture, not least because of its lunatic sexuality. Raising children in a digital society is a traditionalist’s nightmare; the wayward influences get in like water under the door. So resistance must be offered, certainly, and not only by devout Christians. Resisting the world is one of the signature activities of the spiritually serious. “The greatest danger for the Christian,” Danielou says, “does not come from persecution but from worldliness.” But is the burden of resistance not worth the prize of freedom? The Christianists like to mock religious freedom, or as they prefer to call it, “religious freedom,” as a counterfeit corollary of the separation. The First Amendment does not suffice for the apotheosis of their particular Christian ideal. There is something especially obnoxious about people who enjoy freedom and disparage it. Do they have no idea of what the world is like?

    Where in America is a Christian prevented from practicing Christianity? Of course there are occasional tensions between certain interpretations of Christian fidelity and the law, such as selling a wedding cake to a gay couple, and the courts may not always rule in favor of the Christian party in a dispute, but this is not exactly being thrown to the lions. The frustration of a Christian in a non-Christian world is inevitable, but it is ahistorical and self-pitying to mistake frustration for persecution. (The American Jews who insist upon the erosion of their “religious freedom” in America are just as bratty.) There are ghastly wars against Christians taking place in many countries around the world now, but the United States is not one of them. As for the infamously naked public square, I see religious words and symbols, Christian words and symbols, wherever I wander. God is plastered all over America, and so is Jesus. I can live comfortably with the ubiquity of Christianity in my country, because my belief is not damaged by the evidence of a different belief, and because the evidence of their own belief delights many of my fellow citizens, and because other streets display other messages. The public square should illustrate the public.

    And yet, all the glittering Christian iconography notwithstanding, America is not, in Danielou’s phrase, “a Christendom,” even if most of its inhabitants are Christian; and it is not the duty of Americans, even of Christian Americans, to make it one. This was the American innovation: to interpose rights and freedoms between the religious definition of the country and the religious persuasion of its majority. Insofar as Americans are a people, we are not a Christian people, because we have chosen to alienate no gods and no godless, to embark upon a kind of post-Humean experiment in securing a polytheistic tolerance for a monotheistic society. Perhaps, from the standpoint of justice, pluralism is a restoration of polytheism. No wonder it rubs certain true believers the wrong way. “Thou shalt have no other gods before Me”: the One (or the Three-in-One, but never mind) must be the only one — this is the status anxiety of God. There is no room in the cosmos for many gods; but there is room in America.

    The Christianists teach that it is the responsibility of Christians to influence the institutions of government in ways that will be favorable to the realization of their churchly goals. As Danielou writes, “Christianity ought for the sake of its own final end to influence the institutions of the earthly city.” Enter the bizarre Adrian Vermeule, the man of the integralist hour. (It was he who issued that encomium about Nigel Farage.) He has a plan of influence, which he calls “integration from within.” It is his retaliation against the separation. His plan is to infiltrate the government with post-liberals of his persuasion: “non-liberal actors strategically locate themselves within liberal institutions and work to undo the liberalism of the state from within. These actors possess a substantive comprehensive theory of the good, and seize opportunities to bring about its fulfillment through and by means of the very institutional machinery that the liberal state has providentially created.” Politique d’abord! This is a program for a long march, even for a crusade; and even for the kind of organized hostile penetration, stealthy or otherwise, that provoked Sidney Hook in 1953 to lay down a splendid rule: heresy, yes; conspiracy, no.

    “The state will have to be re-integrated from within, by the efforts of agents who occupy strategic positions in the shell of the liberal order,” Vermeule explains. “Less Benedict, more Esther, Mordecai, Joseph, and Daniel.” Those “agents,” you see, “in various ways exploit their providential ties to political incumbents with very different views in order to protect their views and the community who shares them.” Political incumbents: plainly he does not have only Nebuchadnezzar in mind. In the cases of Joseph and Esther, it is worth noting, their alleged efforts at reintegration involved deception: they were under deep cover, and we don’t take kindly to that sort of thing in America. But Vermeule should read his Scripture more closely. Esther, Mordecai, Joseph, and Daniel may have performed certain services for the Egyptian, Babylonian, and Persian states, but they were not placed in their positions by the God of the Hebrew Bible for the purpose of reforming those states, or of making them over so as to achieve a Jewish purpose. They were there to protect their family and their people from eventual hardships, from famine and discrimination and slaughter. That is all. Egypt remained Egyptian and Babylon remained Babylonian and Persia remained Persian. In any event Vermeule is not satisfied with the successes of the Jewish agents. “It is permissible to dream,” he writes, “however fitfully, that other models may one day become relevant” — Saint Cecilia, whose “martyrdom helped to spark the explosive growth of the early church,” and Saint Paul, who “preached the advent of a new order from within the very urban heart of the imperium.” Vermeule is talking about the American government. Who does he expect to persuade with this sectarian rapture? Madison never looked better.

    Vermeule has other bright ideas for his sacred subversion. By the grace of God, for example, the manipulative techniques of behavioral economics have been invented. “We have learned from behavioral economics that agents and administrative control over default rules may nudge whole populations in desirable directions.” Are you nudging with me, Jesus? Like all revolutionaries, even reactionary ones, Vermeule is opportunistic about his methods and teleological about his history: “The vast bureaucracy created by liberalism in pursuit of a mirage of depoliticized governance may, by the invisible hand of Providence, be turned to new ends, becoming the great instrument with which to restore a substantive politics of the good.” In this way, he and his gang will “find a strategic position from which to sear the liberal faith with hot irons.” An American Christian, a professor at Harvard Law School, wrote those words. I seem to recall from the history of Christian painting that hot irons were what Romans did to Christians, not what Christians did to Romans. It is not, in any event, what Americans do to Americans.

    Am I taking Vermeule’s grisly metaphor too seriously? I don’t think so. It is of a piece with the rhetorical violence of his other remarks about liberalism. For Vermeule, and for the other post-liberals, liberalism is not wrong, it is evil. It teaches depravity and tyranny. I confess that I find such an evaluation baffling, it defies what I know about history and what I perceive around me, though I have myself, from within the liberal camp, done my bit over the decades to challenge and to refute certain liberal dogmas. But here is Vermeule, warning that non-liberal or anti-liberal communities in America are in mortal danger, because they “must tremble indefinitely under the axe.” At least the axe sometimes comes with a tax exemption. And here he is, in an even greater panic: “even if the liberal state lacks the time, resources, or attention span to eliminate all competing subcommunities collectively and simultaneously, it may still be able to eliminate any competitor at will, taken individually and one by one.” This is, well, nuts. Vermeule has no reason to fear the jackboot of Nancy Pelosi in the middle of the night. But his extreme view of his position in contemporary America enables him to cast himself grandiosely. He is the lonely knight of the faith who has taken up the Cross to do battle with the Jeffersonian infidels.

    For Vermeule, liberalism is not merely a political ideology, or a political party with which he disagrees — it is nothing less than a religion, “a fighting evangelistic faith,” “a world religion” with “a soteriology, an eschatology, a clergy (or ‘clerisy’), and sacraments.” If he says so. Calling liberalism a religion no doubt makes the war against it feel more holy. Yet liberalism differs strikingly from religion, and even more strikingly from Catholic religion, in at least one fundamental way: it has a different principle of authority, intellectually and institutionally. This difference was established, prejudicially, by Cardinal Newman in an appendix to his autobiography — a text with which every honest liberal must make himself familiar. Liberalism, he propounded, is “the exercise of thought upon matters, in which, from the constitution of the mind, thought cannot be brought to any successful issue, and therefore is out of place… Liberalism is the mistake of subjecting to human judgment those revealed doctrines which are in their nature beyond and independent of it, and of claiming to determine on intrinsic grounds the truth and value of propositions which rest for their reception simply on the external authority of the Divine Word.” Simply!

    Premises, premises. I have always envied people who find too much reason in the world. My view of what hobbles the world is different. Whatever the limits of reason, we are a long way from reaching them. When rationalists seem to be acting imperialistically, they can be challenged rationally, on their own grounds, and a rational argument for humility or restraint can be made; but no argument can be made with anybody who dissociates reason from truth, who repudiates “intrinsic grounds,” who demands of authority that it be “external.” The integralist enemies of reason are Rortyans with chalices. I recall gratefully how I came by my own enthusiasm for reason: when I was a boy in yeshiva, we wondered, as we studied Genesis 1:26-27, which aspect of the human being was the one that demonstrated the divine image in which he and she were said to have been created — what attribute could we possibly have in common with God? We pored over commentators and discovered an answer: the mind. I have been grateful ever since for having a religious sanction for my critical thinking about religion. But He knew what He was doing, right?
    III

    The most ambitious, and the most ludicrous, attempt by the Catholic integralists to discredit the separation of church and state is a work of history. It is called Before Church and State: A Study of the Social Order in the Sacramental Kingdom of St. Louis IX, which appeared in 2017, and its author is Andrew Willard Jones, a theologian and historian at Franciscan University in Steubenville, Ohio. Jones is a learned man, at least about the Latin sources that are useful to his purpose, which is to paint a portrait of a time before the separation, a period in history when wholeness existed and everything went lustrously together, a “differentiated” but fundamentally seamless society that was unified, top to bottom, in its social and political order, by a pervasive belief in Christianity and in the unity of altar and throne. A “sacramental kingdom,” a golden age, a world we have lost. Jones has written five hundred pages about thirteenth-century France “to establish a vision of a social order very different from the liberal,” in which “integrated players” operated in “one field of action upon which both the spiritual and temporal functioned.”

    Jones contends that one of the consequences of the separation of church and state has been the widespread conviction that we live in two discrete realms, the sacred and the secular, and that too much medieval history has been written with this dualist error in mind. His adopts his theology as his methodology:
    I argue that thirteenth-century France was built as a ‘most Christian kingdom,’ a term that the papacy frequently used in reference to it. I do not mean that the kingdom of France was a State with a Christian ideology. I mean that it was Christian, fundamentally. There was no State lurking beneath the kingdom’s religious trappings. There was no State at all, but a Christian kingdom. In this kingdom, neither the ‘secular’ nor the ‘religious’ existed. I do not mean that the religious was everywhere and that the secular had not yet emerged from under it. I mean they did not exist at all.
    The objectives of this pre-separated and numinously integrated kingdom were utterly unlike “the assumptions of modern politics”: they were the “negotium pacis et fidei — the business of the peace and the faith.” In Jones’ account, those are the motives and the intentions of the medieval figures that he describes; they act not for the sake of interests or passions, but for the peace and the faith. “Society was organized around the notion of peace, a peace that was real, and not simply another name for submission.” Jones further asserts that this is how the people of thirteenth-century France understood themselves, and that we must therefore understand them “on their own terms,” because “their language is better at capturing who they were than ours is.” This Christian idyll was exemplified in the figure of the king, Louis IX, the perfect Christian monarch, who reigned from 1226 to 1270, and was canonized in 1297.

    These methodological cautions should not be mistaken for another warning against “presentism” in the writing of history or another exercise in the history of mentalities. Jones is writing triumphalist history, sacred history, in which the hand of God is revealed in the power of His representatives on earth. There is a tradition of such “historiography” in all the faiths. (In the Jewish case, sacred history had to be dissociated from triumphalist history, for reasons I will get to in a moment.) While this may be the way Christians do history, it is not the way historians do history. That is not because historians are the blinkered products of a secular age. Look again at Jones’ claim that the distinction between sacred and secular did not exist in thirteenth century France. What can this possibly mean? It is true that Louis’ France was officially and significantly a religious society, in which earth was universally believed to be subordinated to heaven. But anybody who has studied a religious society knows that the totality is never total. There are precincts of religiously untreated reality, unhallowed spots, everywhere. Consider only the culture of thirteenth-century France, its literature and its music. (Jones has no interest in such things.) It is full of — do you not like the word “secular”? — profane humane experience lived by mentally free men and women who carry desire and alienation and humor through a world in which everything is not clear. The religious polyphony of the medieval church, for example, the stupendous literature of the masses, found regular inspiration in the irreligious songs of ordinary folk. For secularity is not primarily a social or political category. It is a description of a constitutive trait of human existence: its creatureliness. We are dust and clay, even if not only dust and clay; we are animals, even if not like other animals; we live in time, even with visions of eternity; we decay. No “sacramental” interpretation or arrangement of our lives can nullify our intrinsic earthiness. It will never be fully incorporated or completely dissipated. “The secular” was not born on July 14, 1789, and neither was “the individual.” The magical kingdom for which Jones yearns never existed.

    For many of Louis’ subjects, moreover, there was nothing magical about it. For them, it was a realm of oppression and massacre. Jones’ treatment of the political history of Louis’ France is outrageous. He extenuates the Inquisition, which was established during Louis’ reign by Pope Gregory IX, and pokes fun at its “black legend,” which he dismisses as merely another instance of “the mental furniture of the enlightened mind.” He seeks to show that there was no significant difference between the inquisitors and the enquêteurs, or the itinerant magistrates whom the king dispatched throughout the land to settle local disputes, and that both the religious inquisitors and the civil judges were “dimensions of the same project,” which was “the business of the peace and the faith.” Jones’ apologetics continue: “The ecclesiastical and the secular [oops!] ‘inquisitions’ [were they not inquisitions?] were integral [abracadabra!] institutions within a complex social order that was rooted in a sacramental understanding of the cosmos that did not allow for the divorce of the spiritual from the temporal.” Similarly, in the Albigensian Crusade, another glory of thirteenth-century France, a genocidal campaign that exterminated Cathar belief by exterminating Cathar believers, “the business was directed against what was understood as a heretical and violent society in the south.” After all, “a heretic shattered the peace.” Well, yes. That is his or her role. Is it presentism — or worse, liberalism — to suggest that such an acquiescent and exculpatory tone will not do? There is not a trace of horror in Jones’ accounts of the crimes of his church. He is so busy making church and state disappear into each other that he is dead to the consequences of Constantinism for non-Christians. One way of describing a liberal democracy is as an order in which heresy is just another opinion. If this is what writing Christian history from the inside looks like, I invite the Christian historian to step outside.

    The Jews are mentioned six times in Jones’ history of the illiberal paradise in medieval France. They are all glancing references in which anti-Jewish ordinances are cited in passing. The subaltern status of Jews in the kingdom, and the atrocious ways in which it was enforced, is not a theme over which Jones cares to linger. Here is what you will not learn from Before Church and State. The reign of Louis IX was a series of monarchically supervised catastrophes for the Jewish community of France. “The Jews, odious to God and men,” wrote one of the king’s biographers, “he detested so much that he was unable to look upon them.” It was Louis, according to his seneschal Jean de Joinville, the author of the most renowned biography, who declared that “no one who is not a very learned clerk should argue with [a Jew]. A layman, as soon as he hears the Christian faith maligned, should defend it only by the sword, with a good thrust in the belly as far as the sword will go.” Tant comme elle y peut entrer: the king was monstrous.

    Louis organized a devastating attack on the economic basis of Jewish life in his kingdom, which was moneylending. The throne announced that it would no longer enforce the collection of Jewish debts, and it reduced and even cancelled debts that Christians owed to Jews. Jews were forced to re-pay loans from Christians. New controls were imposed on Jewish loans and Jewish goods were confiscated. This was not only a campaign against usury, an economic policy, it was also a campaign against Jews, an ethnic policy — as, for example, in this royal edict: “The Jews must desist from usury, blasphemy, magic, and necromancy.” And alongside this royal campaign the baronial classes were permitted all manner of excess in the economic oppression of the Jews on their lands. Finally Rome was offended by this despoliation, and in a papal letter in 1233 Pope Gregory noted with disapproval that “some of the Jews, unable to pay what security was considered sufficient in their case, perished miserably, it is said, through hunger, thirst, and privation of prisons, and to the moment some are still held in chains.”

    After the sustained royal assault on the economic sustenance of the Jews came the sustained royal assault on their religious sustenance. In 1239, under the poisonous influence of a converted Jew, one in a long line of such apostates who turned virulently against the people that they left, Pope Gregory launched a campaign against the Talmud, which was (and still is) the legal and spiritual foundation of rabbinical Judaism. He asked the vengeful convert to collect the Talmudic materials that offended Christianity and sent them out, with an accompanying invitation to take action against them, to “our dear sons the Kings of France, England, Aragon, Navarre, Castille, Leon, and Portugal.” The only king who accepted his invitation was Louis IX of France. The books of the Jews were ordered to be expropriated by the beginning of Lent in 1240. They were seized as the Jews were in their synagogues. The prosecuting convert drew up a list of thirty-five charges, an inventory of Talmudic passages that allegedly slandered the Christian faith, and between June 25 and June 27, 1240 there occurred in Paris a public disputation, in which the Talmud was put on trial. There are two unofficial Latin protocols of the proceedings and one longer Hebrew account. The defenders of the Talmud included some of the giants of medieval Jewish learning. They lost, of course, and two years later, in June 1242, twenty-four wagonloads with thousands of Jewish books were publicly burned in Paris. It was a cultural disaster for French Jewry. Wrenching Hebrew poems of lamentation were composed about the holocaust of the books. And the king did not relent. In 1247 and 1248 Louis ordered further confiscations of Jewish books and then gave the campaign against the Talmud another royal endorsement in 1253. It continued until the end of his reign. In the year before he died, Louis sponsored the rabid conversionist efforts of Paul Christian, or Pablo Christiani, the converted Jew who had debated Nahmanides in the extraordinary disputation in Barcelona in 1263. He was given royal authority to “preach to the Jews the word of light and to compel the Jews to respond fully.” An anonymous Jew left this testimony of his efforts: “Know that each day we were over a thousand souls in the royal court or in the Dominican court, pelted with stones. Praise to our Creator, not one of us turned to the religion of vanity and lies.”

    There was still another way in which Louis IX distinguished himself in the history of anti-Semitism. He was a Crusading king, and twice went to the holy land to make war on its Muslims (he spent four years there in his first attempt and died in his second attempt); and he was so tolerant of the anti-Jewish atrocities committed by French Crusaders on their way east that in 1236 he was reprimanded by the Pope himself, who had heard reports that the Jews in France were living “as under a new Egyptian enslavement.” “Force the Crusaders to restore to the Jews all that has been stolen,” the pontiff scolded the king, “that you may prove yourself to be an exhibition of good works.” But this papal reprimand is not the distinction to which I refer. Like many rulers in the history of Christendom, Louis sought to segregate the Jews of his realm — to this end, for example, he forbade Christians from serving as nurses to Jewish children and as servants in Jewish homes. But then he went further: he ordered the Jews to wear a badge. The royal ordinance reads: “Since we wish that the Jews be distinguishable from Christians and be recognizable, we order you that, at the order of our dear brother in Christ, Paul Christian, of the Order of Preaching Brethren, you impose signs upon each and every Jew of both sexes — a circle of felt or yellow cloth, stitched upon the outer garment in front and in back. The diameter of the circle must be four fingers wide; its area must be the size of a palm.” Saint Louis!

    None of this is to be found in Jones’ hundreds of dense pages. Instead he has the temerity to write that in the sacramental order of Louis IX, where there was no separation of church and state, “society was organized around the notion of peace, a peace that was real, and not simply another name for submission.” By giving his book the title that he gave it, he clearly implies that life was better and less sinful back then, and that this story of the Middle Ages is in some way of allegorical utility to our unsacramental country. I note in fairness that Jones’ nostalgia has provoked mixed feelings among the integralists. Vermeule plainly states that “there can be no return to the integrated regime of the thirteenth century, whatever its attractions.” But it is a pragmatic objection: Christians must face the sorrowful fact that those “attractions” can no longer be theirs. They were born too late for the Capetian utopia. Of course none of the integralists care to acknowledge all the people for whom the kingdom was dystopian, or that the thirteenth century was not integrated, except in theory. Father Waldstein is even more stubborn, and speaks up for the politics of nostalgia. “I am not going to let myself be bullied out of my nostalgia’” he protests. “I reject the whole notion that nostalgia is something bad.” So do I, especially these days. But surely nostalgia for something bad is something bad.

    I assume that the general picture of the anti-Jewish vehemence of Louis IX is known not only to Jones, but also to some of the admirers of his book — it is not exactly a secret, even if the repulsive details are mainly the possessions of scholars. And so, given their silence on this matter, I assume also that they can live with it. It is an acceptable price for the sacramental kingdom. That is how teleological history operates. In one of his more revealing passages, Vermeule expresses his impatience with too much ethical fussing about his eschaton. “Of course it’s true — it’s obvious! — that there are versions of non-liberalism that are worse than liberalism. At a certain point, however, people can no longer abide perpetually living in fear of the worst-case scenario.” Vermeule would have us assess fascism probabilistically. He is right that worst-case scenario thinking is irritating and easily exploited. But there are situations involving questions of justice in which worst-case scenario thinking is also moral thinking. The moral worth of a society is not quantitatively determined, nor should its commitments to principle await an analysis of risk. Vermeule’s peculiar mixture of spirituality and social science lands him in a morally dubious place. Perpetually living in fear of fascism is precisely how we should be living, now and forever, and especially in an era of fascism’s return.

    Vermeule relates an anecdote about a colleague’s anxiety. “In a fully Catholic polity,” his friend asked him, “the sort you would like to bring about, what would happen to me, a Jew?” He condescendingly admires the “passionate concreteness” of the question, its affecting concern with “the fate of an individual, a people, and the shape that a polity might take.” For him it was a dialogically romantic moment. But there was nothing romantic about the moment for his friend. He was demanding to know if the realization of Vermeule’s political program would require him to pack his bags. Vermeule answered him with more condescension, and recorded his answer in a coy parenthesis: “(Nothing bad, I assured him.)” His parenthetical assurance is not good enough. He might just as well have winked. The roots of his quasi-theocratic ideal are rotten with Jew-hatred, and so are some of his intellectual and political allies, as he might trouble himself to notice on his next visit to Budapest or Warsaw.
    IV

    The most prominent policy of Catholic integralism, its putative contribution to the resolution of our crisis, is “common good constitutionalism,” whose primary author is Adrian Vermeule. The polemical energy of his religious writing disappears into a thicket of legal and philosophical abstractions in his legal writing, even though he prides himself on his aversion to theory, which he regards as another vice of the liberal elite. The idea is pretty simple: that American constitutional practice “should take as its starting point substantive moral principles that conduce to the common good, principles that officials (including, but by no means limited to, judges) should read into the majestic generalities and ambiguities of the written Constitution.” This is the same “substantive comprehensive theory of the good” with which he equipped his post-liberal infiltrators of American institutions. Common good constitutionalism is presented as an exciting alternative to other doctrines of constitutional interpretation, and also as a revival of the classical tradition in law.

    First, the good news. The grip of originalism upon the conservative legal mind has been loosened. Vermeule and his colleagues no longer wish to be trapped in the eighteenth century. They have recognized that the founders were themselves not originalists, and that they differed significantly among themselves, so that there were many views that could be treated as canonical, which is not helpful to scholars and judges who seek to locate a definitive old authority. While it would be an exaggeration to say that these conservatives have discovered a living Constitution, they do seem to represent a new conservative respect for contemporaneity. I guess it is easier to admit contemporaneity into your understanding if you are operating under the aspect of eternity. “For Catholic scholars in particular,” Vermeule observes, “it is simply inadmissible — inconsistent with the whole tradition — to imply that law has no objective content beyond the text and original understanding of particular positive laws, or that [law] is nothing more than the interpreter’s subjective and arbitrary desires.” Law must refer back to an objective source of legitimacy, to some abiding principle that cannot be reduced to the wishes and the partialities of any individual or group. This belief in objectivity, an outcropping of rock in a sea of perspectives, is commendable. There remains the question of what abiding principle Vermeule has in mind.

    Common good constitutionalism is a restoration of moral values to the heart of the legal enterprise. Vermeule takes pains to show that his doctrine is not simply a substitution of morality for law, or that “it reduces legal questions to all-things-considered moral decision-making from first principles.” The relationship between legal rules and “a higher source of law” is more complicated, he shows; and I believe him. These complications, the serpentine methods of interpretation and argument in our schools and our courts, are presumably what rescue the common gooders from arrant “judicial activism” and all the other conservative prohibitions that conservatives anyway violate regularly. But I see no way to deny that in the end Vermeule seeks to establish a meta-historical standard of ethical value as the ground of law — a remoralization of law. (As an antidote, not least, for the demoralization of law professors.) In fact, Vermeule admits to “a candid willingness to ‘legislate morality’ — indeed, a recognition that all legislation is necessarily founded on some substantive conception of morality, and that the promotion of morality is a core and legitimate function of authority.” Well said. I admit that I am not completely horrified by this. I believe in the grandeur of meaningful living with others and I support intellectual ambition in the courts. As far as I can tell, liberal jurisprudence of the last thirty years tried very hard to squeeze first principles, moral principles, as far out of the law as it could; this was called “judicial minimalism,” and by my lights it represented a collapse in scale and an abdication of responsibility. The law was shrunk and intimidated. The liberals unilaterally disarmed, leaving the impression that they stand only for proceduralism and rule-regulated behavior. The higher dimension of law was usurped by a fetishization of text and a reading of statutes that was designed to be as unrepercussive as possible. Of course not all, or even most, of the cases that come before judges require exercises in moral reasoning, but many of them do, and more generally I do not see how you can work in the field of justice without an ever-present moral sensibility, an intense awareness of the pertinence of values. No society can function without empiricism and no society can live for empiricism.

    That liberal diffidence was conceived as a retort to the moral interpretation of law (“there is inevitably a moral dimension to an action at law”) promulgated influentially by Ronald Dworkin, and Vermeule’s breakthrough is Dworkinism for the right. I mean methodologically, and in his larger kind of justification; but Dworkin’s view of liberalism, by contrast, must be anathema to Vermeule, who is another one of those communitarian preachers for whom liberalism is nothing more than a maniacal pursuit of “individualism” and the rest be damned. (The Antichrist is Mill.) Who, really, can be against the common good? But also, what is it? The integralists throw the phrase around like a talisman with healing powers. Its level of generality may be emotionally edifying but it is intellectually crippling. Before it can be critically assessed, it needs to be specified. After all, there are many versions of the common good, and they do not all go together. (There are philosophical contradictions that are not amenable to integration.)

    According to Danielou, “politics exists to secure the common good. An essential element of the common good is that man should be able to fulfill himself at all levels. The religious level cannot be excluded.” An ecumenical religious humanism; fine. Father Waldstein’s characterization of the common good starts out with a lovely thought: “A common good is distinguished from a private good by not being diminished when it is shared” — rather like what the old mystics said about the bounty of light. “For this reason,” he continues, “common goods are better than private goods.” Moving sedulously toward politics, he stipulates that “the primary intrinsic common good is peace.” Still lovely, but still general. And then, the descent into specificity: “the temporal common good is subordinate to the eternal common good, and the temporal rulers are subject to the hierarchy of the Church.” Until the Second Coming, that is, when everything will be celestially transfigured. It makes you miss the generalities.

    And Vermeule? He is made of harsher stuff. His “substantive moral principles that conduce to the common good” include “respect for the authority of rule and rulers; respect for the hierarchies need for society to function; solidarity within and among families, social groups, workers’ unions, trade associations, and professions; appropriate subsidiarity, or respect for the legitimate roles of public bodies and associations at all levels of government; and a candid willingness to ‘legislate morality’….” It is only a list, and we all have our lists. Some of his list seems reasonable, but all of it awaits reasoning. Indeed, it has a catechismic quality. The problem is that it is impossible to read Vermeule’s constitutional proposals without recalling his religious certitudes. Is it revealing that he begins his list with a validation of political power? Even when he writes about America he refers to “the ruler”; but we do not have a ruler, we have a president. (Not surprisingly, Vermeule has espoused an almost authoritarian view of presidential power.) He endorses “soft paternalism” and remarks that “law is parental.” He asserts that the common good may be legislated by rulers “if necessary even against the subjects’ own perceptions of what is best for them” — an uncontroversial observation about political reality even in republics, but without a whiff of democratic deference and haunting in its evocation of Christian rulers of the past.

    Vermeule has no special place in his heart for democracy, which he views mainly as an instrument of liberalism: what matters for him is that the common good, whatever it is, be achieved, and this can be done in a variety of “forms of constitutional ordering centered around robust executive government” depending on “socio-economic conditions.” To attain his goals, “questions of institutional design are not settled a priori.” This may account for his acceptance of illiberal democracies and their authoritarian leaders. The road to heaven is paved with bad intentions. He writes chillingly that whereas the liberal virtues of “civility, tolerance, and their ilk are bad masters and tyrannous when made into idols,” they may be useful “when rightly placed within a larger ordering to good substantive ends” — to wit, “civility and tolerance may be cryptic terms with which to measure the substantive bounds of the views and conduct that will be permitted in a rightly ordered society, but such a society will also value charity, forbearance, and prudence.” Is it a liberal blindness to suggest that charity is not an adequate substitute for social policy, and that nobody who has ever experienced a violation of his rights and an abrogation of his freedoms should suffice with forbearance? Vermeule’s imagination of power is too happy to include its abuses. And so he cheerfully announces that “the claim [in Planned Parenthood v. Casey] that each individual may ‘define his own concept of existence, of meaning, of the universe and of the mystery of human life’ should be not only rejected but stamped as abominable” — stamped by whom? And also that “the state will enjoy authority to curb the social and economic pretensions of the urban-gentry liberals who so often place their own satisfactions (financial and sexual) and the good of their class or social milieu above the common good.” Why not shoot them?

    Enough. I would not trust this man with the Constitution of the United States. In Vermeule’s common good constitutionalism I do not see much common and I do not see much good. There is something pathetic about faith that seeks the validation of power, that needs to dominate a state to prove its truth. Such a faith is too easily rattled. It has forsaken the still small voice. Why is community not enough for the Christianists? Why must they have society? They will have to learn the art of absolutes without absolutisms. To my Christian friends, I say: neither Benedict nor Louis, please. I say also that America was not designed for integralism, because it was founded on the wisest intuition in modern political history — that conflict is an ineradicable characteristic of human existence, that a perfectly harmonious state of affairs is a sign of freedom’s waning, that unanimity is the program of despots, that social consensus is not the condition of social peace. This is even more sharply so in a religiously and ethnically heterogeneous society, in which commonality cannot be complete but only sufficient to the purposes of a fair and decent polity, and differences may overlap but never coincide. The overlap is where the common good, whatever it is, may be found. The overlap is where democracy flourishes. We will never rid ourselves of the tensions of our complexity, and we should be alarmed if we did. Studying the Catholic integralists, I looked back fondly to the days of John Courtney Murray, S.J. and the American integrity of his non-integralism, his profound wrestlings with the religious realities of an open society, his theology of the tensions.

    There is nothing that this country needs more than a common good. In the name of liberalism, and more often of progressivism that is mistaken for liberalism, the American commonality has likewise been severely damaged. The intolerance of the godless is fully the match for the intolerance of the godful. Progressives are attempting to regulate thought and speech and behavior as if they were integralists. What unites all the varieties of contemporary American integralism is that freedom is not what moves them the most. The Christianists have nothing of interest to say about it, and neither do the secular enforcers on the other side. Yet it is this, the inalienable freedom of the mind in matters of belief, its immunity to compulsion, that will eventually defeat them all, as it defeated Josiah. His reformation failed. The people deceived him. The midrash tells that the king sent out pairs of students to survey the success of his campaign against the idols. They could not find any idols in the houses that they inspected, and the king was satisfied with their report. What they did not know was that the dwellers had painted half an idolatrous image on each of the doors to their homes, so that when they closed them upon the departure of the thought police they beheld their forbidden images. The fools, we must learn to respect them.