“Dead Flowers”

    If you hurt yourself before
    someone else hurts you, is that
    homeopathic? Watch me prick

    poison into my skin, sign
    my name in pain. Watch me miss
    the appointment, cancel the call. Watch me

    gulp smoke and receive a certificate
    of enlightenment between
    the smeared egg-yolk horizon to the west

    and the bone-white eastern sky:
    the emperor appoints
    me to the Poetry Bureau and I

    declare myself Queen of the Underground.
    On the back road, the turkey vulture
    plucked the guts from the squashed squirrel,

    then flapped up to the dead
    branch of the shagbark hickory
    to examine us examining

    the carcass. O sacerdotal bird
    with your crimson scalp and glossy vestments, teach
    us to translate the spasm, the cry, the dis-

    integrating flesh, the regret.
    What can be made of all this
    grief. Over the butter-

    yellow, humming, feather-grassed midday meadow
    skim the shadows of vultures: ghostly, six-foot
    wingspan, V, swiftest signature, turning death into speed.

    Burning the Bed

    Carefully you balanced the old mattress
    against the box spring to create a teepee on that frozen December patch
    behind the house, carefully

    you stacked cardboard in the hollow and touched the match
    to corners till flame crawled along the edges
    in a rosy smudge before shooting

    twenty-five feet into darkening air. Fire gilded each
    looming, shadowed tree, gilded our faces as we stood with shovel and broom
    to smack down sparks.  So much

    love going up in smoke. It stung
    our eyes, our lungs. Pagodas, terraces, domes, boudoirs
    flared, shivered, and crumpled

    as the light caved in, privacies curled to ash-wisp, towers
    toppled, where once we’d warmed each limb,
    fired each nerve, ignited

    each surprise. And now at dusk, our faces reddened in heat
    so artfully lit, we needed all that past, I thought,
    to face the night. 

    Balanchine’s Plot

    The great choreographers have all been more than dancemakers, none more so than George Balanchine. He was in truth one of the supreme dramatists of the theater, but he specialized in plotless ballets with no named characters or written scenarios, and so this aspect of his genius has gone largely unexamined. Instead, everyone accepts the notion — it has become the greatest platitude about him — that he was the most musical of choreographers — a notion that, for all his musical virtues, should be qualified in several respects. Even at this late date, there is much about Balanchine that we still need to under-stand. He belongs in the small august company of modern artists who shattered the distinction between abstraction and representation. His work renders such categories useless.

    Balanchine’s dance creations often eliminate ingredients that others regarded as the quintessence of theater. The performers of his works are verbally and vocally silent. Facial expressions and other surface aspects of acting are played down. In many of his works, costumes are reduced to an elegant minimum: leotards and tights, “practice clothes,” often only in black and white; or simple monochrome dresses or skirts. In particular, he pared away layers of the social persona of his dancers, so that on his stage they become corporeal emblems of spirit. Liebeslieder Walzer, for example, his ballet from 1960, has two parts. In the first part, the four women wear ballgowns and heeled shoes; in the second, they dance on point and in Romantic tutus. “In the first act, it’s the real people that are dancing,” Balanchine told Bernard Taper. “In the second act, it’s their souls.”

    Serenade, one of his supreme creations, made in 1934 to Tchaikovsky’s Serenade for Strings, is a masterpiece for many reasons. No ballet is more rewatchable. (If you don’t know it, there are at least two complete versions on YouTube.) Several of its configurations and sequences are among the most brilliantly constructed in all choreography. Pure dance is threaded through with threads of narrative, suggesting fate and chance, love and loss, death and transcendence. It consists almost as much of rapturous running as it does of formal ballet steps. Classicism meets romanticism meets modernism: it is all here. The opening image is justly celebrated, a latticed tableau of seventeen women who, in unison, enact a nine-point ritual like a religious ceremony. At its start, they are extending arms as if shielding their eyes from the light; at its end, their feet, legs, torsos and arms are turned out, open to the light like flowers in full bloom. This has often been interpreted as transforming them from women into dancers. Taking Balanchine’s point about Liebeslieder, we might go further and say that the opening ritual of Serenade transforms them into souls.

    Serenade also has an important place in history as the first work that Balanchine conceived and completed after moving to the United States of America. A serial reviser of his own work, he kept adjusting it for more than forty years. Only around 1950 did it begin to settle into the form we know now, with its women in dresses ending just above the ankle. (The nineteenth-century Romantic look of those dresses is now definitively a part of Serenade: it remains a shock to see photographs and film fragments from the ballet’s first sixteen years, with the women’s attire revealing knees and even whole thighs. Still, if you see the silent film clips of performances by Ballet Russes de Monte Carlo in 1940 and 1944, you can immediately and affectionately recognize most of their material as Serenade.) For more than fifty years, Serenade has been danced by non-Balanchine companies around the world; in the last decade alone, beloved by dancers and audiences, it has been performed from Hong Kong to Seattle, from Auckland to Salt Lake City.

    Even so, for musical purists it is unsatisfactory. Tchaikovsky’s Serenade for Strings, composed in 1880, was a score in which this notoriously self-critical composer took immediate and lasting pride: he conducted it many times, not only in Russia but in many other countries too. He made it in cyclical form: his opening movement, called Piece in the Form of a Sonatina, opens and closes with powerful series of descending marcato scales, while the final movement returns to descending scales with a jaunty Russian theme. Throughout the work, the composer plays with musical effects as if he had the alchemist’s stone — taking the weight off those descending scales by changes of orchestration in the first movement; reversing them in the climbing legato scales of the third movement, the Elegy; and returning at the end of the fourth movement to the work’s opening scales, only to accelerate and show how closely they are related to the Russian theme. Tchaikovsky was deeply proud of his status as the most internationally successful Russian composer of all: by naming the final movement Tema Russo he reminds us that, if he had any extra-musical agenda in his Serenade for Strings, it was to win renown for the music of his nation.

    Yet Balanchine made Serenade only to Tchaikovsky’s first three movements. He was following the precedent of Eros, a ballet by Michel Fokine in 1916 which Balanchine had known in Russia, and which likewise omitted the final “Russian Theme.” (Although Balanchine remarked at the end of his life that he had not much liked Fokine’s ballet, he took several other ideas from it for Serenade.) A devotee of Tchaikovsky’s music, he may have omitted the concluding Russian Theme in 1934 merely because his new American students did not yet have the speed and the brilliance that in his view the Russian Theme would require; later in the decade he sketched the Russian Theme with Annabelle Lyon, one of his original 1934 group, but was unable to stage it. He added the Russian Theme in 1940, by which time the youngest of his original students, Marie-Jeanne, had acquired the virtuosity he wanted to create its leading role. But not as a finale, as in the musical score: instead Balanchine inserted it between the second and third movements, thus erasing one of Tchaikovsky’s most magical transitions, beginning the fourth movement with the same quiet high notes that ended the third.

    How curious: Tchaikovsky ended his Serenade with a high-energy and dance-friendly finale, but Balanchine preferred to close his Serenade with the Elegy, which seldom sounds like dance music. His reason, I think, was dramatic: by ending his ballet with Tchaikovsky’s elegiac penultimate movement, he found a way to conclude the work with a passage into the sublime. A number of Balanchine’s ballets end with the leading character departing for a new world. This is one of them.

    Balanchine’s Serenade is quite as marvelous a work as Tchaikovsky’s score. No, it is even more marvelous. Yet it is not a faithful rendition of Tchaikovsky’s original. Instead the choreographer gave it its own enthralling musical existence. Balanchine took the liberty of revising this score — as he did with scores by several composers, but with none so much as Tchaikovsky — because he was impelled by a dramatic vision. If, as I say, Serenade is the most rewatchable ballet ever made, it is because, from first to last, the work is an exercise in theatrical drama. Its narrative is mysterious but undeniable. The work is an abundant kaleidoscope of changing patterns, images, encounters, communities; a tapestry of stories that movingly suggest fate, love, loss, death, transcendence, and the group’s support for the individual. It is also an object-lesson in ambiguity and metamorphosis.

    When Balanchine arrived in the United States in late 1933, at the invitation of Lincoln Kirstein, he was not particularly associated with pure-dance works. In Western Europe, between 1925 and 1933, he had staged Ravel’s L’Enfant et les Sortiléges, Stravin-sky’s Apollo, Prokofiev’s Prodigal Son, the Brecht-Weill Seven Deadly Sins, and other highly singular narratives. Once in New York, he abounded in ideas for new ballets, many of which Kirstein reported in his diary. The projects of which he told Kirstein — sometimes he developed them for days or months — include versions of the myths of Diana and Actaeon, Medea, and Orpheus, an idea of his own named The Kingdom Without a King, a new production of The Sleeping Beauty, Uncle Tom’s Cabin (Virgil Thomson was to compose the score), Brahms’ Variations and Fugue on a Theme by Handel, Schumann’s Andante and Variations, a ballet of waltzes starting with those of Joseph Lanner, and The Master Dancers, a Balanchine idea based upon the story of a dance competition. (Most of these ideas were never fulfilled, though some were probably inklings of dances that Balanchine choreographed much later.)

    Kirstein’s entry for May 6, 1935 gives us a vivid glimpse of the dramatically imaginative workings of Balanchine’s mind in this note about a Medea ballet that never saw the light of day:

    Bal. thought of a new ending for Medea: Her dead body is executed by the troops: told me a story or idea for another pantomime : a court-room where the condemned is faced by a three headed judge. She is two in one like AnnaAnna: As evidence, objects like Haupt-mann’s ladder are brought in — The whole crime is reconstructed. She is declared guilty, though innocent… Bal said it shd be like Dostoevski. 

    Anna-Anna had been the London title of The Seven Deadly Sins, in which the dancing Anna and the singing Anna express different aspects of the same person. Balanchine never lost this flair for radically reconceiving old radical stories. In that work and others, he was addressing different layers of being, in much the same way that D.H. Lawrence, when writing The Rainbow, described to Edward Garnett about how it differed from his earlier Sons and Lovers:

    You mustn’t look in my novel for the old stable ego — of the character. There is another ego, according to whose action the individual is unrecognizable, and passes through, as it were, allotropic states which it needs a deeper sense than any we’ve been used to exercise, to discover are states of the same single radically unchanged element. (Like as diamond and coal are the same pure single element of carbon. The ordinary novel would trace the history of the diamond — but I say ‘Diamond, what! This is carbon.’ And my diamond might be coal or soot, and my theme is carbon.) 

    The Balanchine ballets that seem to be reflections solely of their music — the specialty of the long American phase of his career, especially from 1940 onward — do not dispense with narrative. Not at all. They supply multiple narratives or fragmented versions of a single narrative. In one of his last masterpieces, Robert Schumann’s “Davidsbündlertänze,” in 1980, four male-female couples express diverse aspects of Schumann and his relationship with Clara, his wife and muse. As in Liebeslieder Walzer, Balanchine introduced the women in heeled shoes but then brought them back onstage on point, as if setting their spirits free. The complication of having four Roberts and four Claras suggests the tragic splintering of the composer’s tormented and echoing mind: not Anna-Anna but Robert-Robert-Robert-Robert alone with Clara-Clara-Clara-Clara. This is multiple personality syndrome at its most poetic.  

    There are ballets in which Balanchine moves from showing his dancers’ bodies to showing their souls without employing any change of costume or footwear. The outer movements of Stravinsky Violin Concerto, from 1972, the Toccata and the Capriccio, are festive, with four leading dancers (two women, two men) each joined by a team of four supporting dancers. The mood is largely ebullient. But then Balanchine brings the concerto’s two-part centerpiece, Aria I and Aria II, indoors, as it were, as if he were taking us into a marital bedroom for scenes of painfully raw, almost Strindbergian, intimacy. Different male-female couples dance each Aria, though Balanchine may have seen them as different facets of the same marriage.

    The woman of Aria I is amazingly and assertively unorthodox, constantly changing shape, using the man’s support to be even less conventional. In the most memorable image, she does bizarre acrobatics, bending back to place her hands on the floor and then turning herself inside-out and outside-in, fluently flipping through convex/concave/convex shapes in alternation. The duet is an unresolved struggle, not so far from the marital strife of Who’s Afraid of Virginia Woolf? The woman of Aria II, much needier, is more subtly demanding. Stravinsky’s music has a repeated chord that sounds like a sudden shriek. Here the woman strikes an X pose, balanced precariously on the points of both feet with legs and arms outstretched. She is both confrontational and insecure: it may be the most passive-aggressive moment in all Balanchine, as if the wife is demanding his support. As he goes to her, her knees buckle inwards; when he catches them before she crumbles further, it seems as if she has mastered the way to pull him back to her assistance. It works. He plays the protective husband that she needs him to be; she is the grateful wife. There are moments of touching harmony between them — one when he shows her a panorama view with his arm over her shoulder, another when he covers her eyes and gently pulls her head back. The tension between his control and her passivity is part of the scene’s poignancy.

    Serenade, too, tells multiple stories, or gives us dramatic situations that we are free to interpret in many ways. Balanchine’s narrative skill is such that few observers follow this ballet without tracing some element of plot in it somewhere. This is a ballet about the many and the one: about how a series of individual women emerge from the larger ensemble, sometimes in smaller groups and occasionally with men, but recurrently supported by the corps. Over the years — as with no other ballet — Balanchine amused himself with the redistribution of roles: there may have been as many as nine soloists in the 1930s performances, but in the 1940s he gave most of the largest sequences to a single ballerina. (Perhaps he privately thought of it as one woman; in his late years he told Karin von Aroldingen that the work could be called Ballerina.) Yet there are moments when we see more women than one: there are tiny solo roles of great brevity, and in most productions all the women have been dressed identically. Again and again Balanchine makes us ask, Who is this? What is happening to her? At times the answer scarcely matters; at others it matters greatly.

    After a string of quasi-narrative situations, the final Elegy has always seemed the most suggestive of plot. It is profoundly moving because of the story it seems to tell. At its start, one woman is lying on the floor as if abandoned, bereft, or even dead. A man is led to her by another, fate-like, woman, who keeps his eyes and chest covered with her hands until he reaches his destination. The woman on the floor is the first person he sees; he is the first person she sees. Balanchine presented the charged moment of their eyes meeting, with the man and woman framing each other’s faces with their arms, as a quotation from Canova’s extraordinary sculpture Psyche Awakened by Cupid’s Kiss, to which he drew the attention of some dancers. Although this Canova quotation was itself derived from Fokine’s Eros, it must have gratified Balanchine that the three chief versions of the statue are to be found in the main museums of the three chief cities of his career: St Peters-burg’s Hermitage, Paris’ Louvre, New York’s Metropolitan Museum of Art.

    What follows between the figures — we might also call them the principal characters — seems like love. But just as Diana of Wales once observed that “there were three of us in this marriage,” so this love is shadowed by the constant presence of the female fate figure known in Balanchine circles as the Dark Angel. Other women pass through, one of them lingering for a while. (The dancer Colleen Neary told me that Balanchine once jokingly likened these three women to the man’s wife, his mistress, and his lover. And added, “Story of my life!”) An unhappy ending ensues. With startlingly swift force, the man lowers his “wife” to the floor. The Dark Angel stands aloof, averting her eyes from this tragic parting. She then returns as the agent of fate, beating her arms like mighty wings; once again she covers his eyes and chest with her hands; and she leads him offstage as if continuing the same diagonal paths by which they entered.

    All this is a powerful re-telling of the myth of Orpheus and Eurydice — a myth to which Balanchine returned between 1930 and 1980, using music by Gluck, Offenbach, and Stravinsky, and to which he made many autobiographical connections. In the ancient myth, Orpheus, artist and husband, loses Eurydice when she is bitten by a snake. He is permitted to enter the realm of the dead — the Elysian Fields, the realm of the blessed — and to lead her back to life on condition he does not look at her until they both have reached the ground above. At the last moment, however, he looks back, and loses her forever. The Elegy in Serenade prolongs and suspends the bittersweet moment of their eyes’ climactic meeting.

    Unlike Balanchine’s other treatments of the Orpheus story, this one leaves us with Eurydice, the dead Eurydice whom Orpheus has lost a second time. She is left by him on the floor exactly where she had been when he found her. When she rises, she parts her hands before her eyes, as if to ask if it were all a dream. Just at this point, in the confusion of her awakening, she is joined by a sisterhood: a small cortège of the women who have characterized the whole ballet. In grief, she embraces one of them — known as “the Mother” — before kneeling and opening her arms and head to the sky, in a gesture of utmost resignation and acceptance. As the ballet ends, she is carried off like a human icon, by three men, while her sisters and her “mother” flank her. She opens her arms and face to the skies in a backbend as the curtain falls, entering a new plane of existence. It takes several viewings before you realize that when she opens her arms and her head this way to the heavens, she is repeating what all seventeen women did in the ballet’s opening sequence. One reading of Serenade, therefore, is that all of its dramatic narrative is set in the Elysian Fields. Those dancers we see at the beginning are ghosts consecrating themselves, as if saying their vows.

    It is revealing that the eyewitness accounts of the first day’s rehearsal of Serenade differ: not contradicting one another, but concentrating on different facets. Kirstein wrote in his diary:

    Work started on our first ballet at an evening ‘rehearsal class.’ Balanchine said his brain was blank and bid me pray for him. He lined up all the girls and slowly commenced to compose, as he said — ‘a hymn to ward off the sun.’ He tried two dancers, first in bare feet, then in toe shoes. Gestures of arms and hands already seemed to indicate his special quality.

    For Balanchine, looking back in the 1950s and 1960s, the compositional issue had been the fortuitous presence of seventeen women. Probably he knew anyway from the music that he wanted them to start with a slow arm ritual — but how do you take this unwieldy prime number, seventeen, and arrange it in space? His brilliantly geometric solution of this arithmetical problem was the diagonally latticed formation, a pair of two diamond shapes conjoined. These obviate the usual vertical lines of ballet corps patterns. Each woman commands space like a soloist, with genuine parity. Never mind the Elysian Fields of the dead: this pattern has often seemed like an image of American democracy (which may have seemed Elysian to Balanchine after his experience in Russia and Europe between 1918 and 1933).

    And we have a third source for that rehearsal. Ruthanna Boris — one of those seventeen young women, who stayed in Balanchine’s orbit for many years, dancing the foremost roles in Serenade for the Ballet Russe de Monte Carlo in 1944, and choreographing for New York City Ballet in 1951 — wrote an undated memoir in which she recalled that Balanchine — announcing that “we will make some steps!” — then spoke to the seventeen young women about his life in Russia (“it was revolution, bullets in street”) and his move to Europe.

    Little by little his talking became more and more like a report — less conversational, more charged with feelings of anger and distress: “In Germany there is an awful man – terrible, awful man! He looks like me only he has moustache – he is very bad man— he has moustache — I do not have moustache — I am not bad man — I am not awful man!”… It seemed to me he was tasting his words and trying to get past them. To the best of my memory no one knew what he was talking about. We were adolescent and young ballet dancers, mostly American, mostly aware of the dance world, unaware of governmental affairs in the world beyond it….

    Look again at that opening tableau: Balanchine choreographed here as if he too had the alchemist’s stone, transmogrifying the Nazi salute in space until it became a quasi-religious vow.  

    The ritual that follows is similarly an exercise in metamorphosis, every staccato pause on the way taking the dancers further away from politics and danger toward a great openness to experience. In 1927, Paul Valéry had written, in The Soul and the Dance, that dance was “the pure act of metamorphosis,” and no ballet by Balanchine better illustrates the idea than Serenade. The opening upper-body ritual has no logic in terms of moment-by-moment meaning, but it shows us change in action (and then leads to ballet’s logic of turning out the limbs and torso from the body’s center). Balanchine was a practicing Christian, and I like to think the start of Serenade comes close to Paul’s famous words in the first letter to the Corinthians:

    Behold, I shew you a mystery. We shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality, then shall be brought to pass the saying that is written, Death is swallowed up in victory.

    Balanchine has started his ballet with what could easily be an ending. But this dance prolegomenon abounds in thematic material. Even after hundreds of viewings, we keep noticing how myriad details of what follows — the bringing of a wrist towards the forehead, the sideways pointing of foot and leg, the arching back of the neck — were all introduced here, in the beginning, as a prophesy of the ending.

    He took pride in relating how he incorporated rehearsal accidents into this ballet. One day, a girl fell over; he put that into the ballet. Another day, another girl arrived late; he put that in, too. The incidents began to look like a story. Balanchine never worked quite that way again. What was it about Serenade that made him so receptive to chance moments of non-dance? Perhaps he could do so because he could see how those two girls were images of Eurydice. He adjusted the “girl who falls” so that she spins on the spot as if losing control before collapsing to the floor, like Eurydice at the moment of death; and in early performances (particularly in a film of a Ballets Russes performance in 1940) he then presented her supine body as if it was a corpse in its coffin. Likewise the latecomer may simply be Eurydice taking her place among the heavenly dance choir in Elysium. Who can tell now whether these Orphic fancies are truly what Balanchine had in mind?

    Certainly Balanchine had hidden imagery that he seldom disclosed. His protégé John Clifford was surprised when Balanchine, during a fierce argument about the fit of movement to music, said that his choreography of the second movement in Symphony in C, the high-classical pure-dance that he created in 1947 to Bizet’s score of that name, was “the dance of the moon… The grands jetés where she gets carried back and forth at one point are supposed to be the moon crossing the sky.” This was not an image that Balanchine had ever given his dancers; but many readers of I Remember Balanchine, which contains the interview in which Clifford recounts this anecdote, have dutifully written of the moon crossing in the sky in that sequence. (I still don’t see a moon in those lifts, though I enjoy watching both the moon and Symphony in C.) 

    Similarly, in 1979, Balanchine coached the dancer Jean-Pierre Frohlich in the first pas de trois of Agon, his master-piece of 1957. Performed in black and white leotards, tights, and T-shirts to a commissioned Stravinsky score, this work has often seemed a peak of pure-dance radical invention, infusing classicism with a new high-density and “plotless” modernity that moved dance far away from drama and role-playing. Yet Frohlich has recalled that Balanchine explained his role as “the court jester.” For me, this made immediate sense: it did not change my understanding of the work as a whole, but it helped me to define one aspect of its character.

    It matters to notice just how Balanchine tells his stories. The interesting thing about the young woman who falls to the floor in Serenade is not the way she falls but the entrance of the corps. Fifteen young women march in on point in five different rows, like radii towards her focal point. Yet they do not rush to console or to help her. In one of the strangest images in all dance theater, they coalesce around her in the shape of a Greek theater, whereupon they simply do staccato arm exercises. Has one dancer fallen? Then the dance will continue with the corps.

    We can also interpret them as another facet of the Elysian sorority around Eurydice. Such a view, however, does not quite explain their formality and their impersonal behavior. Serenade may contain fragments of myths, but it is about a larger process than any myth: the constant subordination of the dancer to the dance. So what happens next? The fallen woman, the dead Eurydice, promptly picks herself up and dances the most difficult jumps in the ballet so far. She explodes in the air only to pounce precisely back down onto the music’s beat.

    As for the episode with the latecomer, what’s dazzling is that her colleagues have all just resumed the ballet’s opening tableau. Sixteen of them stand again just as they did in the beginning, yet they look quite different now: their statuesque immobility is in total contrast to the quietly informal way in which she, the missing seventeenth, traces her way through their ranks. (“Drama is contrast,” said Merce Cunningham.) Just as she takes her place to join them in the ballet’s opening ritual, Balanchine hurls two other masterstrokes. The other sixteen dancers softly turn into profile, beginning slowly to depart, as if leaving her to her destiny. And a man enters, walking toward her with the same inevitability with which they are walking away. Again Balanchine is the master of geometry: the man’s path is a straight diagonal, the corps’ path is a straight horizontal, but both his advent and their exit are focused on her, this innocent latecomer who sees none of them. Even if you do not imagine Orpheus coming to rescue Eurydice from the realm of the dead, you cannot miss how mysteriously fateful this strange scene is. Balanchine fits it perfectly to the final bars of the Sonatina, so that we reach the music’s end in complete suspense.

    Another of the strangest features of Serenade is that it abounds in echoes. The “mother” at the end of the Elegy enters from the same corner and along the same diagonal as another woman did in the Sonatina. Five women in the Sonatina dance in a chain that prepares us for five different women who form a chain at the start of the Russian Theme. The man who enters along the long diagonal at the end of the Sonatina prepares us for the other man who enters at the start of the Elegy (Orpheus I and II). The woman who falls in the Sonatina is echoed by one — added in 1940 — who tumbles more spectacularly at the end of the Russian Theme. The mysterious kingdom of Serenade is a land of second chances. And so too, for Balanchine, was America. A serious case of tuberculosis in 1932-1933 had rendered him unable to work for a year. Lincoln Kirstein, after inviting him to America in 1933, kept hearing from Balanchine’s ballet friends that he had a poor life expectancy. Balanchine, left with only one functioning lung, later told a friend, “You now, I am really dead man.” But he lived in his new-found-land for almost fifty years, prodigiously prolific until a few months before his death.

    Balanchine liked to envisage himself meeting his composers in the next life. When he died, I wrote an elegiac essay in which I gleefully imagined the scene with all of them waiting by the elevator door to greet him as he arrived and gushing appreciatively about the fabulous things that he had made from their scores. Yet prolonged acquaintance with his ballets now makes me imagine a different scenario. Gluck: “Okay, that’s a beautiful pas de deux he made to the Blessed Spirit music in my Orphée et Eurydice, but surely he could have seen that I meant it as the middle section of a da capo structure! It has to be A-B-A, but he cuts the return to A.” Tchaikovsky, who has quite a list of complaints, begins: “When I wrote my Third Symphony, I took a deliberate risk by giving it five movements. But he cut out the first movement in his Diamonds and made it just another four-movement symphony! Also I never wanted the Siloti edition of my second piano concerto — it tidies up all the irregularities in which I was changing concerto form! His Serenade I will forgive; it’s not my Serenade, but, yes, it is just as beautiful, 

    I can see that now. But why re-order my Mozartiana? And why all that tinkering to my Nutcracker? A genius, yes, but an impossible one.” And so on.

    Among all the dead composers impatiently awaiting Balanchine in paradise, I long most to overhear Stravinsky. “George and I were good friends for over forty years – and yet, the very year after my death, he makes all those ballets to my concert music as if I were writing plays about men and women! He uses my music for plots! And my blood boils about what he did to the Divertimento from Le Baiser de la fée. He cuts some of it, he interpolates another bit from elsewhere in Baiser, it’s really quite fraudulent. All right, what he created was quite beautiful — and it is so amazingly dramatic — no way is this a divertimento!” The composer’s aggrieved ghost would be right. Balanchine’s “Baiser” Divertimento is a misnomer. It is too profound for that name.

    Stravinsky composed the complete ballet La Baiser de la fée in 1928. It is his re-telling of Hans Christian Andersen’s story The Ice Maiden as if the protagonist were Tchaikovsky, whose music is employed throughout in a modernist and neo-Romantic collage. The story chillingly illustrates Graham Greene’s point that “there is a splinter of ice in the heart of a writer.” The ballet’s hero is singled out in infancy by the Fairy, who distinguishes him from other mortals by planting a kiss on his brow: a vision of the muse at her most heartless. He becomes engaged to a girl, but the Fairy, often disguised but sometimes revealing herself with terrifying clarity, keeps parting them. The ballet ends with him helplessly following the Fairy into her icy realm while his fiancée is left alone in desolation. 

    Balanchine first staged this complete Baiser in New York in 1937, at the Metropolitan Opera. For some fifteen years, he kept it in repertory of the successive companies to which he was attached (the American Ballet, Ballets Russes de Monte Carlo, New York City Ballet) until, in the early 1950s, he finally dropped it. But Stravinsky had arranged a concert suite of the ballet’s music, Divertimento from Le Baiser de la fée, in 1934, and Balanchine turned to it in 1972, as he created a flood of new ballets in celebration of Stravinsky (who had died the year before). Oddly for a Stravinsky Festival, Balanchine made major structural changes to this score. (Just to call it Suite from “Le baiser de la fée would have been more accurate.)

    In particular, as the dance scholar Stephanie Jordan first noted in 2003, he introduced, from elsewhere in the complete ballet, a dance for which he created the most poetically dramatic male solo of his career. The music depicts how the Fairy’s irresistible spell begins to infect the hero. The 1972 solo, beginning with great elegance and formal charm, is an accumulating soliloquy, in which the hero’s conflicting energies and self-contradictory aspirations pour forth with uncanny seamlessness. With no histrionics, he seems both inspired and tormented, changing speed and direction in one dance paradox after another. He pivots on his own axis as if keeling over; he jumps forward while arching back; he punctuates a briskly advancing diagonal with sudden slow turns that gesture upwards and away; he softly circuits the stage with jumps that arrive in slowly searching gestures. It is a completely classical statement within a classical pas de deux, and yet it turns the drama around: it tells us that this hero is no longer the fiancé he was.

    In 1974, Balanchine tinkered some more with this already remarkable non-divertimento Divertimento. He now added music from the ballet’s finale, in which Stravinsky makes a heartbreaking arrangement of Tchaikovsky’s famous song “None But the Lonely Heart.” Now, however, Balanchine omitted the Fairy that Stravinsky had signified in this music. The only two leading characters in his drama are the hero and his fiancée, who, though trying to embrace, are repeatedly interrupted by an impersonal line of women corps dancers. Yet this cruel interruption makes less impact than the way the man and the woman now part, evidently forever, as if accepting separation as destiny. They retreat on separate paths that depict them both as figures of tragic isolation. Both walk with their torsos backward, unable to see where they are going. Slowly they zigzag their ways into ever greater distance from each other, without resistance. Man and woman are sundered, the ballet suggests, not by an external figure of fate but by their own internal impulses, which are just as inexorable. It’s as if, in A Doll’s House, Nora and Helmer had agreed to end their marriage without anyone slamming the door at the end. This ballet begins as a divertimento but ends as a tragic psycho-drama; and the progression from plotlessness to plot, from the delight of form to the heartbreak of alienation, proceeds in an unbroken sequence.

    To praise Balanchine as the most musical of dancemakers is to persist in a cliché that misunderstands the full magnitude of his achievement. There are technical aspects of music — melody and harmony, in particular — of which his contemporary Frederick Ashton sometimes found more in the same scores than Balanchine did. Yet this does not make Ashton, an artist dear to me, the greater artist. It is better to see Balanchine as an incomparable exponent of Director’s Theater. His musicality was of a far more interventionist kind than has generally been admitted. He was not just the grateful servant of his scores; he imposed his own vision on his music, which was often an intensely dramatic vision, a vision of humans in the fullness of their relations, and where necessary he tweaked his scores to fulfill it. In the vast majority of his ballets, music and dance work in brilliant counterpoint, different voices that combine to dig deep into our imaginations and our nervous systems. Ear and eye collaborate closely and uncannily in a genre of dance theater that, even now, takes us where we had not been before.

    Naming Names

    Fiorello La Guardia was a great mayor of New York — he even has an airport named after him — but he made some boneheaded errors. Some years after the Sixth Avenue El in Manhattan was razed, La Guardia and the city council decided to rehabilitate the neighborhoods around the thorough-fare, which had become run down from hosting the elevated train. And so, in October 1945, they officially rebranded Sixth Avenue as Avenue of the Americas.

    City planners must have found the cosmopolitan-sounding name exciting. New York City was emerging as the global capital, on the cusp of the American Century: home to the new United Nations and soaring International Style skyscrapers, a hub of commerce, a dynamo of artistic creativity. But this act of renaming by fiat, against the grain of public opinion, failed spectacularly. A survey ten years later found that, by a margin of 8 to 1, New Yorkers still called the street Sixth Avenue. “You tell someone anything but ‘Sixth Avenue,’” a salesman explained to the New York Times, “and he’ll get lost.” Generations of visitors have noticed signs that still say “Avenue of the Americas” and wondered fleetingly about its genesis and meaning, but for anyone to say it out loud today would clearly mark him as a rube.

    Names change for many reasons. While designing Washington, DC in the late eighteenth century, Pierre L’Enfant renamed the local Goose Creek after Rome’s Tiber River. It was a bid for grandeur that earned him mainly ridicule. After Franklin Roosevelt was elected president, Interior Secretary Harold Ickes saw fit to cleanse federal public works of association with the most unpopular man in America, making the Hoover Dam into the Boulder Dam. With independence in 1965, Rhodesia ditched its hated eponym to become Zimbabwe, and its capital, Salisbury, became Harare. When it was conquered by the Viet Cong in 1975, Saigon was reintroduced as Ho Chi Minh City, however propagandistic the appellation still sounds. On Christmas Eve, 1963, Idlewild Airport became JFK. In 2000, Beaver College, tired of the jokes, chose to call itself Arcadia. (Et in Beaver ego.) Even old New York was once New Amsterdam.

    Like the misbegotten Avenue of the Americas moniker, though, new names do not always stick. Who but a travel agent calls National Airport “Reagan”? Where besides its website is the New York Public Library known as “the Schwartzman Building”? In 2017, the Tappan Zee Bridge formally became the Mario M. Cuomo Bridge, thanks to its namesake’s son, but everyone still calls it the Tappan Zee. (Few knew that for the thirteen years prior it had been named for former New York governor Malcolm Wilson; in fact, few knew that someone called Malcolm Wilson had been governor.) Everyone also still calls the Robert F. Kennedy Bridge the Triborough and the Ed Koch Bridge the Queensborough.

    Political events prompt changes, too. When in 1917 German aggression forced the United States into World War I, atlases were summarily revised. Potsdam, Missouri became Pershing. Brandenburg, Texas, became Old Glory. Berlin, Georgia became Lens — but after the war, with the rush to rehabilitate Germany, it reverted to Berlin. (During the next world war this Berlin declined to change its name again, though 250 miles to the northwest Berlin, Alabama rechristened itself Sardis.) In 1924, the Bolsheviks saddled splendid St. Petersburg with the chilling sobriquet Leningrad — “after the man who brought us seventy years of misery,” as tour-bus guides tell their passengers. Only with Communism’s demise could city residents reclaim their old appellation.

    The revision — and re-revision — of place names is thus a common enterprise. But how and why those in control choose to re-label streets, cities, schools, parks, bridges, airports, dams, and other institutions has always been a strange, unsystematic process — subject to changing social norms, political fashions, historical revisionism, interest-group pressure, the prerogatives of power, consistent inconsistency, and human folly. The current craze for a new public nomenclature, in other words, is far from the straight-forward morality play it is often made out to be. How we think about it and how we go about it deserve more deliberation than those questions have received.

    Today’s nomenclature battles mostly turn on a specific set of questions: about race and the historical treatment of non-white peoples. Every day, in the United States and abroad, new demands arise to scrub places, institutions, and events of the designations of men and women who were once considered heroes but whose complicity (real or alleged) in racist thoughts or deeds is now said to make them unworthy of civic recognition. Not only confederate generals, upholders of slavery, and European imperialists are having their time in the barrel. So too are figures with complex and even admirable legacies, as diverse as Christopher Columbus and George Washington, Andrew Jackson and Woodrow Wilson, Junipero Serra and Charles Darwin, David Hume and Margaret Sanger — even, although it sounds like parody, Mohandas K. Gandhi.

    What has led us to set so many august and estimable figures, along with the more flagrantly reprehensible ones, on the chopping block? It helps to look at the criteria being invoked for effacement. To be sure, advocates of renaming seldom set forth clear, careful, and consistent sets of principles at all. Typically, the arguments are ad hoc, each one anchored in some statement, belief, political stance, or action of the indicted individual, the wrongness of which is presumed to be self-evident. But occasionally over the years, governmental committees, university panels, or other bodies have gamely tried to articulate some criteria. Their language is telling.

    One body that recently made plain its standards for naming was a Washington, D.C. mayoral “working group” with the ungainly label “DCFACES.” (An ungainly name is an inauspicious quality in a body seeking to retitle streets and buildings.) That acronym stands for the equally ungainly “District of Columbia Facilities and Commemorative Expressions.” In the summer of 2020, DCFACES released a report declaring that any historical figure would be “disqualified” from adorning a public building or space in Washington, DC if he or she had participated in “slavery, systemic racism, mistreatment of, or actions that suppressed equality for, persons of color, women and LGBTQ communities.” These rules resulted, among other absurdities, in a call to re-label Washington’s Franklin School (which now serves as a museum) because Benjamin Franklin, though a magnificent patriot, politician, democrat, diplomat, writer, thinker, inventor, publisher, and abolitionist, also owned two slaves, whom he eventually freed.

    Here is how the report’s executive summary presents the rules:

    IMPERATIVES

    Commemoration on a District of Columbia asset is a high honor reserved for esteemed persons with a legacy that merits recognition. The DCFACES Working Group assessed the legacy of District namesakes, with consideration to the following factors: 

    Participation in slavery — did research and evidence find a history of enslaving other humans or otherwise supporting the institution of slavery.

    2. Involvement in systemic racism — did research and evidence find the namesake serving as an author of policy, legislation or actions that suppressed persons color and women.

    3. Support for oppression — did research and evidence find the namesake endorsed and participated in the oppression of persons of color and/or women.

    4. Involvement in supremacist agenda — did research and evidence suggest that the namesake was a member of any supremacist organization. 

    Violation of District human rights laws — did research and evidence find the namesake committed a violation of the DC Human Right Act, in whole or part, including discrimination against protected traits such as age, religion, sexual orientation, gender identity, and natural origin.

    Several difficulties with this formulation are immediately apparent. For starters, the list is at once too broad and too narrow. It is too broad because phrases such as “support for oppression” are so vague and subjective that they could implicate any number of actions that might be defensible or explicable. It is also too broad because it implies that a single violation is altogether disqualifying, so that someone like Hugo Black or Robert Byrd (both of whom joined the Ku Klux Klan as young men, only to repudiate their actions and go on to distinguished careers) can never be honored.

    At the same time, the lens is also too narrow. Its single-minded focus on sins relating to race and sex (and, in one instance, other “protected traits”) in no way begins to capture the rich assortment of human depravity. A robber baron who was untainted by racist bias but subjected his workers to harsh labor would seem to pass muster in the capital. So would a Supreme Court justice with a clean record on race who curtailed freedom of speech and due process. Dishonesty, duplicity, and cowardice are nowhere mentioned as disqualifying. Neither are lawlessness, corruption, cruelty, greed, contempt for democracy, any of the seven deadly sins, or, indeed, scores of other disreputable traits any of us might easily list.

    The Washington mayoral working group was not the first body to set down naming rules focused on racism and other forms of identity-based discrimination. In fact, commit-tees have propounded such frameworks for a long time. In 2016, the University of Oregon, in considering the fate of two buildings, adopted seven criteria that largely dealt with offenses “against an individual or group based on race, gender, religion, immigration status, sexual identity, or political affiliation.” (The Oregon list, to its drafters’ credit, also contained some nuance, adding the phrase “taking into consideration the mores of the era in which he or she lived” and making room for “redemptive action” that the individual might have engaged in.) In 1997, the New Orleans school board proscribed naming schools after “former slave owners or others who did not respect equal opportunity for all.” Few objected when this policy was invoked to exchange the name of P.T. Beauregard on a junior high school for that of Thurgood Marshall. More controversial, though, was the elimination of George Washington’s name from an elementary school, no matter how worthy his replacement appeared to be. (He was Charles Richard Drew, a black surgeon who helped end the army’s practice of segregating blood by race.) So the battles now being waged in city councils and university senates, though intensified by the recent racial ferment, long predate the latest protests or even the Black Lives Matter movement of 2014.

    Like so many skirmishes in our culture wars, these go back to the 1960s. That era’s historic campaigns for racial and sexual equality; the widespread criticisms of government policy, starting but not ending with the Vietnam War; the deepening skepticism toward political, military, and religious authority; the blurring of boundaries between public and private; the exposure of criminality in high places; the demise of artistic standards of excellence — all these elements conspired to render quaint, if not untenable, old forms of patriotism and hero worship. Debunking thrived. Not just in the counterculture, but also in the academy, there took hold what the historian Paul M. Kennedy called “anti-nationalistic” sentiment: arguments (or mere assumptions expressed via attitude and tone) that treated the nation’s past and previous generations’ values and beliefs with disapproval, disdain, or even a conviction, as Kennedy wrote, that they “should be discarded from … national life.” Growing up in the 1970s and after, Generations X, Y, and Z were never taught to passively revere the Founding Fathers or to celebrate uncritically the American experiment. On the contrary, we were steeped in dissidence, iconoclasm, suspicion, and wisecracks. At its best, this new adversarial sensibility instilled a healthy distrust of official propaganda and independence of mind. At its worst, it fostered cynicism and birthed a propaganda of its own.

    The thorniest questions of the 1960s stemmed from the challenge, thrown down by the civil rights movement, for America to live up to its rhetoric of equality. “Get in and stay in the streets of every city, every village, and hamlet of this nation,” the 23-year-old John Lewis said at the March on Washington in 1963, “until true freedom comes, until the revolution of 1776 is complete.” With uneven resolve, Americans devoted to human equality have striven to meet the challenge. And this effort has included, crucially, rethinking the past. To highlight and learn about our nation’s history of racial exclusion and discrimination is among the noblest goals we can have in our public discourse, because it is the intellectual and cultural condition of justice: we will not be able to achieve equality without understanding the deep roots of inequality in our society. 

    By the 1990s American society had become an irreversibly multicultural one. WASP values, assumptions, priorities, and interpretations of the past could no longer dominate. “We Are All Multiculturalists Now,” declared the title of a somewhat unexpected book by Nathan Glazer in 1996. But with that watershed, Glazer noted, it became necessary to pose a new set of queries (which Americans had indeed been asking for some time): “What monuments are we to raise (or raze), what holidays are we to celebrate, how are we to name our schools and our streets?”

    Probably no group of historical actors has been subject to as much contentious debate as the secessionists who founded the Confederate States of America. Yet by the third decade of the twenty-first century, there was not much of a debate left about their virtues. Arguments for their valor already seem hopelessly antiquated. Partial defenses of Robert E. Lee, of the sort that David Brooks earnestly mounted in the New York Times just five years ago, now induce cringes. (“As a family man, he was surprisingly relaxed and affectionate… He loved having his kids jump into bed with him and tickle his feet.”) Were the Times to publish a piece like Brooks’ in the current environment, the whole masthead would be frog-marched out of the building under armed guard.

    The public, or some of it, has now learned that Southerners imposed most of their Lost Cause nomenclature, iconography, and narratives not in innocent tribute to gallant soldiers, but as part of a rearguard racist project of forging and upholding Jim Crow. This new awareness — along with the political agitation of the last decade — has altered how many Americans think about a military base honoring Braxton Bragg or a park memorializing Nathan Bedford Forrest. The Lincoln scholar Harold Holzer confessed last year that statues and place names which “I long regarded as quaint were in fact installed to validate white supremacy, celebrate traitors to democracy, and remind black and brown people to stay ‘in their place.’” It became increasingly incongruous, if not bizarre, to see in  a redoubt of suburban liberalism such as Arlington, Virginia, a boulevard evoking the Confederacy’s leading general.

    Still, as the protests in Charlottesville in 2017 showed, Lee retains his champions. Plying his demagoguery that August, Donald Trump — at the same press conference at which he defended the Charlottesville firebrands — warned that if Lee were to be scrubbed from public commemoration, George Washington (“a slave owner”) and Thomas Jefferson (“a major slave owner”) would be next. “You have to ask yourself, where does it stop?” To this slippery-slope argument, many have given a sensible and convincing answer: Lee, Jefferson Davis, Stonewall Jackson, and the others were traitors to their country; Washington, Jefferson, and the founders were not. Removing the former from streets and schools while retaining the latter admits no contradiction. As far back as 1988, Wilbur Zelinsky, in his fascinating history Nation into State, remarked that “as the military commander of an anti-statist cause, there is no logical place for Lee in the national pantheon alongside Washington, Franklin, and others of their ilk,” explaining that Lee entered the pantheon (or stood just outside its gates) only “as an archetypal martyr — the steadfast, chivalrous, sorrowful, compassionate leader of a losing cause.”

    Yet the distinction between traitors and patriots, while perfectly valid so far as it goes, does not answer the big questions. It does not address, for example, whether every last venue commemorating a Confederate must be taken down. Yes, let us lose the Confederate flags and Confederate statuary, and change the place names that keep alive the Lost Cause. But would it be acceptable to keep a handful, for considered reasons? Doing so would show that we know that our history includes the bad along with the good, as all human history does; and it would remind us that our predecessors at times were not able to tell the bad from the good. It would remind us that our country was once riven to the core by a struggle over evil and inculcate sympathy for the difficulty, and the cost, of the struggle. It might also deflate a presentist arrogance that tempts us to think that our current-day appraisals of the past, fired off in the heat of a fight, are unerring and for the ages.

    The distinction between traitors and patriots also fails to address the larger and more humane question of whether there is a way, notwithstanding the hateful cause for which the Confederates fought, to extend some dignity to their descendants who renounce the ideology of the Old South but wish to honor forbears who died by gun or blade. In the right context, and without minimizing those forbears’ attachment to an evil institution, this goal should, I think, be achievable. At the Gettysburg battlefield, monuments to Southern regiments stand arrayed opposite those to Northern troops, but in no way does a walk through the austere, beautiful environs suggest an exculpation or a whitewash. To erase any possible doubt, a professionally designed and intelligently curated museum nearby spells out the war’s history, including the centrality of slavery, in cold detail.

    And the distinction between traitors and loyalists is insufficient for yet another reason, too: it speaks only to the period of the Civil War. Outright traitors are a small, discrete subset of those who have come under fire in the recent controversies; the nomenclature wars span much wider terrain. Identifying secession as grounds for censure is fine, but it provides no limiting principle to help us think through, in other circum-stances, whose names should and should not remain. It says nothing about Theodore Roosevelt, Winston Churchill, John Muir, Kit Carson, Louis Aggasiz, Henry Kissinger, Voltaire, or anyone else.

    Most regrettably, the distinction does not persuade everyone. In addition to the Lost Cause devotees, some on the left likewise deny the distinction. We saw New Orleans retitle George Washington Elementary School back in 1997. When Trump cited Washington in his press conference in 2017, he was unknowingly describing something that had already happened. Could it be that he recalled the campaign at the University of Missouri in 2015 to defenestrate Jefferson, whom students, apparently knowing little about his quasi-marriage to Sally Hemings, excoriated as a “rapist”? Even if Trump was ignorant of these precedents, as seems probable, he must have felt some vindication when protesters in 2020 targeted Abraham Lincoln, Ulysses S. Grant, Frederick Douglass (!), and other assorted foes of slavery. Trump and these leftwing activists agree that the current renaming rage should not “stop” with traitors to the Union. They share a fanatical logic.

    Few participants in the nomenclature wars have reckoned seriously with this slippery-slope problem. The Yale University officials who renamed Calhoun College because its eponym flew the banner of race slavery were well aware that Elihu Yale earned his fortune at a powerful British trading company that trafficked in African slaves. But Yale remains Yale, for now. Similar contradictions abound. Are we to make a hierarchy of hypocrisies? If Woodrow Wilson’s name is to be stripped from Princeton University’s policy school because he advanced segregation in the federal bureaucracy, by what logic should that of Franklin Roosevelt, who presided over the wartime Japanese internment, remain on American schools? If the geneticist James Watson’s name is scratched from his research institution’s graduate program because he believed that racial IQ differences are genetic, why should that of Henry Ford — America’s most influential anti-Semite, who published the Protocols of the Elders of Zion in his Dearborn Independent — remain on the Ford Motor Company or the Ford Foundation? In what moral universe is Andrew Jackson’s name erased from the Democratic Party’s “Jefferson-Jackson” dinners, but Donald Trump’s remains on a big blue sign near the 79th Street off-ramp on the West Side Highway? How can the District of Columbia go after Benjamin Franklin and Francis Scott Key but not Ronald Reagan, whose name adorns the “international trade center” downtown? It is not a close contest as to who made life worse for the city’s black residents.

    The problem with the contemporary raft of name alterations is not that historical or commemorative judgments, once made, cannot be revised. Change happens. It may have been silly for the Obama administration to rechristen Mt. McKinley “Denali,” but it was not Stalinist. The real problem (or one problem, at any rate) is that no rhyme or reason underwrites today’s renaming program. Like the social media campaigns to punish random innocents who haphazardly stumble into an unmarked political minefield, the campaign of renaming follows no considered set of principles. It simply targets whoever wanders into its sights.

    If we wish to impose some coherence on the Great Renaming Project, a good first step would be to create a process of education and deliberation. Our debates about history generally unfold in a climate of abysmal ignorance. How much is really known about the men and women whose historical standing is now being challenged? What matters most about their legacies? Were they creatures of their age or was their error perfectly evident even in their own time? What harm is perpetuated by the presence of their name on a street sign or archway? The answers are rarely straightforward.

    In many public debates, the participants know little about what the men and women under scrutiny did. In April 2016, a Princeton undergraduate and stringer for the New York Times wrote incorrectly in the paper of record that Woodrow Wilson “admired” the Ku Klux Klan. The next day the paper ran a letter correcting the error, noting, among other facts, that in his History of the American People Wilson called the Klan “lawless,” “reckless” and “malicious”; but just two weeks later another stringer, one year out of Yale, parroted the same mistake. That even Ivy-educated youngsters got things so wrong should not be surprising. The undergraduates I teach tend to know about Andrew Jackson’s role in Indian Removal, and that he owned slaves. But most know little of his role in expanding American democracy beyond the elite circles of its early days. Millions of young people read in Howard Zinn’s A People’s History of the United States about the horrors that Columbus inflicted on the Arawaks of the Caribbean. But Zinn was rebutting the heroic narratives of historians like Samuel Eliot Morison, whose Columbus biography won a Pulitzer Prize in 1943. How many students read Morison anymore? How many have a basis for understanding why so many places in North America bear Columbus’ imprint in the first place? Were all those places consecrated to genocidal conquest? Without efforts to educate the young — and the public in general — about the full nature of these contested figures, the good and the bad, the inexorable complexities of human thought and action, these debates will devolve into a simplistic crossfire of talking points.

    On occasion, mayors, university presidents, and other officials have recognized that a process of education and deliberation is necessary before arriving at a verdict on a controversial topic. In 2015, Princeton University came under renewed pressure to address the racism of Woodrow Wilson, who was not only America’s twenty-eighth president but a Princeton graduate, professor, and, eventually, a transformational president of the college. At issue was whether to take his name off the university’s policy school, a residential dorm, and other campus institutions (professorships, scholarships, book awards, etc.). Desiring a process that was democratic and deliberative, the president of the university, Christopher Eisgruber, convened a committee. Multiracial and multigenerational in composition, it included members of the board of trustees, Wilson experts, higher education leaders, and social-justice advocates. It solicited the views of students, faculty, staff, and alumni. Historians wrote long, thoughtful, well-researched letters weighing the merits of the case. Some 635 community members submitted comments through a dedicated website (only a minority of whom favored eliminating Wilson’s name).

    The committee weighed the evidence, which includes the record not just of Wilson’s deplorable racism but also his undeniable achievements. Although many students today know little about Wilson besides the racism — which, we must be clear, went beyond private prejudice and led him to support Cabinet secretaries Albert Burleson and William McAdoo in segregating their departments — he was for a century considered one of America’s very best presidents. Wilbur Zelinsky, in his meticulous study, called Wilson “one of four presidents since Lincoln whom some would consider national heroes” (the others being the Roosevelts and John F. Kennedy). Wilson could claim in his day to have enacted more significant progressive legislation than any president before him; since then, only Franklin Roosevelt and Lyndon Johnson have surpassed him. Wilson also built upon Theodore Roosevelt’s vision of a strong presidency to turn the White House into the seat of activism, the engine of social reform, that it has been ever since. Nor was Wilson successful just domestically. He was a historic foreign-policy president, too, and a winner of the Nobel Peace Prize. After exhausting all bids for peace with Germany, he reluctantly led America into World War I, which proved decisive in defeating Teutonic militarism, and he pointed the way toward a more democratic and peaceful international order — though, crippled by a stroke and his own arrogance, he tragically failed to persuade the Senate to join the League of Nations, leaving that body all too ineffectual in the critical decades ahead.

    The Princeton committee’s fair-minded report was adopted by the Board of Trustees in April 2016. It recommended keeping Wilson’s name on the buildings. But Eisgruber and the board of trustees simultaneously promised that campus plaques and markings would henceforth provide frank accounts of Wilson’s career and beliefs, including his racism. More important, the university would, it said, take bold steps in other aspects of campus life to address the underlying grievance: that many black Princetonians do not feel they are treated as equal members of the campus community. And there the matter rested, until 2020. Following the Memorial Day killing of George Floyd by a Minneapolis policeman, protests erupted nationwide calling for police reform and other forms of racial justice — including, once again, the reconsideration of names. This time Eisgruber launched no deliberative process, appointed no diverse committee, solicited no external input, convened no searching conversation. He simply declared that the Board of Trustees had “reconsidered” its verdict of a few years before. His high-handed decree, more than the ultimate decision, violated the principles on which a university ought to run. For Eisgruber, it also gave rise to some new headaches: in what can only be seen as an epic troll, Trump’s Department of Education opened an investigation into whether Princeton’s confession of rampant racism meant it had been lying in the past when it denied engaging in racial discrimination.

    Curiously, at the same time as Princeton banished Wilson, Yale University also performed a banishment — this one with regard to John C. Calhoun, whose name graced one of its residential colleges. But there were crucial differ-ences between the two cases. Although Calhoun has been recognized as a statesman, grouped with Henry Clay and Daniel Webster as the “Great Triumvirate” of senators who held the nation together in the fractious antebellum years, he is a far less admirable figure than Wilson. He made his reputation as a prominent defender of slavery and a theorist of the nullification doctrine that elevated states rights over federal authority — a doctrine that later provided a rationale for Southern secession. But beyond the huge political differences between Wilson and Calhoun are the differences in the processes that Princeton and Yale pursued. Princeton jettisoned a deliberative decision to implement an autocratic one. Yale did something like the reverse.

    Following the Charleston massacre of 2015, the president of Yale, Peter Salovey, told his campus that Yale would grapple with its own racist past, including its posture toward Calhoun. Then, the following spring, he declared that after much reflection on his part — but no formal, community-wide decision-making process — Calhoun would remain. Salovey contended, not implausibly, that it was valuable to retain “this salient reminder of the stain of slavery and our participation in it.” To get rid of Calhoun’s name would be to take the easy way out. At the same time, Salovey also announced (in a ham-handed effort to balance the decision with one he expected students and faculty would like) that one of Yale’s two new residential colleges would be named for Pauli Murray, a brilliant, influential, underappreciated midcentury civil rights lawyer who was black and, for good measure, a lesbian.

    Students and faculty rebelled. Salovey backtracked. He now organized a committee, chaired by law and history professor John Fabian Witt, to tackle the naming question systematically. Wisely, however, Salovey charged the committee only with developing principles for renaming; the specific verdict on Calhoun would come later, decided by still another committee, after the principles were set. To some, the whole business seemed like a sham: it was unlikely that after vowing to take up a question a second time he would affirm the same result. Still, the exercise of formulating principles—in the tradition of a storied Yale committee that the great historian C. Vann Woodward led in the 1970s to inscribe principles for free speech on campus — was worthy, and Salovey populated the Witt committee with faculty experts on history, race, and commemoration. Even more than the Princeton report, the Witt Committee’s final document was judicious and well-reasoned. When, in 2017, Yale finally dropped Calhoun’s name from the residential college, no one could accuse the university of having done so rashly. 

     

    Deliberation by committee, with democratic input, may be necessary to ensure an informed outcome on a controversial subject, but as the example of DCFACES shows, it is not always sufficient. Setting forth good principles is also essential. One mistake that the Washington group made was in asking whom to disqualify from recognition, rather than who might qualify. Historians know that the categories of heroism and villainy are of limited value. Everyone is “problematic.” And as Bryan Stevenson likes to say, each of us is more than the worst thing we have ever done.

    Thus if we begin with the premise that certain views or deeds are simply disqualifying, we have trouble grasping the foolishness of targeting Gandhi (for his anti-black racism), Albert Schweitzer (for his racist and colonialist views), or Martin Luther King, Jr. (for his philandering and plagiarism). In any case, how can we insist that racism automatically denies a historical actor a place in the pantheon when the new reigning assumption — the new gospel — is that everyone is (at least) a little bit racist? We all have prejudices and blind spots; we all succumb to stereotyping and “implicit bias.” By this logic, we are all disqualified, and there is no one left to bestow a name on the local library.

    A more fruitful approach is the one the Witt Committee of Yale chose: by asking what are the “principal legacies” of the person under consideration, the “lasting effects that cause a namesake to be remembered.” We honor Wilson for his presidential leadership and vision of international peace. He is recognized not for his racism but in spite of it. We honor Margaret Sanger as an advocate of reproductive and sexual freedom, not for her support of eugenics but in spite of it. Churchill was above all a defender of freedom against fascism, and the context in which he earned his renown matters. Of the recent efforts to blackball him, one Twitter wag remarked, “If you think Churchill was a racist, wait until you hear about the other guy.” Not everything a person does or says is of equal significance, and people with ugly opinions can do great things, not least because they may also hold noble opinions.

    Principal legacies can evolve. They undergo revision as people or groups who once had little say in forging any scholarly or public consensus participate in determining those legacies. It may well be that by now Andrew Jackson is known as much for the Trail of Tears as for expanding democracy, and perhaps that is appropriate. Arthur M. Schlesinger, Jr., made no mention of Indian Removal in his classic The Age of Jackson in 1945, but by 1989 he had come to agree that the omission — common to Jackson scholars of the 1940s — was “shameful,” if all too common among his peers at the time. But as the Witt Committee noted, our understandings of someone’s legacies “do not change on any single person’s or group’s whim; altering the interpretation of a historical figure is not something that can be done easily.” For all that Americans have learned about Thomas Jefferson’s racial views and his slaveholding in recent decades, his principal legacies — among them writing the Declaration of Independence, articulating enduring principles of rights and freedom, steering a young country through intense political conflict as president — remain unassailable. We will have to learn to live with all of him.

    The Witt Committee also asked whether the criticisms made of a historical figure were widely shared in his or her own time — or if they are a latter-day imposition of our own values. The difference is not trivial. As late as 2012, when Barack Obama finally endorsed gay marriage, most Democrats still opposed the practice. But norms and attitudes evolved. Today most Democrats think gay marriage unremarkable, and the Supreme Court has deemed it a constitutional right. It might be fair to condemn someone who in 2020 seeks to overturn the court’s decision, but it would be perverse to label everyone who had been skeptical of gay marriage ten years ago a homophobe or a bigot. Historians must judge people by the values, standards, and prevailing opinions of their times, not our own. No doubt we, too, will one day wish to be judged that way. Yet the pervasive impulse these days to moralize, to turn analytical questions into moral ones, has also made us all into parochial inquisitors.

    It is also worth asking what harm is truly caused by retaining someone’s name, especially if the person’s sins are obscure or incidental to his reputation. Many buildings and streets commemorate people who are largely forgotten, making it hard to claim that their passing presence in our lives does damage. A federal court forbade Alabama’s Judge Roy Moore from placing a giant marble Ten Commandments in the state judicial building, but the phrase “In God We Trust” is allowed on coins because in that context it is considered anodyne and secular — wallpaper or background noise — without meaningful religious content. By analogy, the preponderance of place names hardly evoke any associations at all. They are decorations, mere words. The State University of New York at Buffalo removed Millard Fillmore’s name from a campus hall because Fillmore signed the Fugitive Slave Act. But it is doubtful that Fillmore’s surname on the edifice had ever caused much offense, for the simple reason that almost no one knows anything about Millard Fillmore.

    Then, too, as Peter Salovey initially suggested about Calhoun, a person’s name can sometimes be a useful and educational reminder of a shameful time or practice in our past. In 2016, Harvard Law School convened a committee to reconsider its seal, which depicted three sheaves of wheat and came from the family crest of Isaac Royall, a Massachu-setts slaveowner and early benefactor of the school. While the committee voted to retire the seal, historian and law professor Annette Gordon-Reed and one law student dissented, arguing that keeping the seal would serve “to keep alive the memory of the people whose labor gave Isaac Royall the resources to purchase the land whose sale helped found Harvard Law School.” Historical memory is always a mixed bag — if, that is, we wish to remember as much as we can about how we came to be who we are. Sometimes, a concern for history is precisely what warns us not to hide inconvenient or unpleasant pieces of the past.

    Often context can serve the purposes of promoting antiracism or other noble principles better than erasure. Museums and other forms of public history are experiencing a golden age. Historic sites that once lacked any significant information for tourists are being redesigned to satisfy the hungriest scholar. Plaques, panels, touch-screen information banks, and other displays can educate visitors about the faults and failings — as well as the virtues — of the men and women whose names appears on their buildings and streets. Addition — more information, more explanation, more context — may teach us more than subtraction. But even here, there are limits. A recent show at the National Gallery of Degas’ opera and ballet pictures did not mention that he was a virulent anti-Semite. Should we care? If the museum had “contextualized” the tutus with a wall caption about Captain Dreyfus, the information would not have been false, but it would have been irrelevant, and in its setting quite strange. We don’t need asterisks everywhere.

    Above all, renaming should be carried out in a spirit of humility. The coming and going of names over the decades might inspire in some a Jacobin presumptuousness about how easy it is to remake the world. But what it should more properly induce is a frisson of uncertainty about how correct and authoritative our newly dispensed verdicts about the past truly are. “We readily spot the outgrown motives and circumstances that shaped past historians’ views,” writes the geographer David Lowenthal; “we remain blind to present conditions that only our successors will be able to detect and correct.” Public debates and deliberation about how to name our institutions, how to evaluate historical figures, and how to commemorate the past are an essential part of any democratic nation’s intellectual life and political evolution. Our understandings of our history must be refreshed from time to time with challenges — frequently rooted in deeply held political passions — to widely held and hardened beliefs. There are always more standpoints than the ones we already possess. Yet passions are an unreliable guide in deriving historical understanding or arriving at lasting moral judgments. In light of the amply demonstrated human capacity for overreach and error, there is wisdom in treading lightly. Bias is everywhere, even in the enemies of bias. Nobody is pure.

    The Student

    He acts it as life before he apprehends it as truth.
    RALPH WALDO EMERSON

    Entering an unfamiliar classroom for the first time, met by a cacophony of greetings, shuffles, and the flutter of unsettled nerves, a student experiences a particular strain of vertigo — a a kind of thrownness. Unbalanced, she glances about, wondering if her fresh peers are already friends, if they know or care more about the subject than she does, if the professor will command attention or beg for it. She wonders also about the subject — how it will stretch or resist or entice her; and what personal qualities, as well as intellectual qualities, she ought to bring to her studenthood. She must wait for an internal order to develop, and for the nerves to slow gently into a new rhythm. The experience catapults her from the grooves of ordinary life. She has the sensation of a swift transit. 

    That is what learning is meant to do. The developments that will occur in that homely but exotic room over those few months ought to confuse, not confirm, her. Each time she enters the classroom she must again try to recapture the vertigo and recover the instability — to distance herself from herself. She cannot learn, or learn well, if she conceives of that place and those hours as a sphere in which to calcify who she already is. Alienation is essential to study. The classroom is a community of the alienated. Genuine learning demands courage and adventure. The room must be a realm apart, a space with a strange energy and a different gravity — a foreign country, populated by real and imagined strangers. Discomfort is its air.

    The comfort of one’s own couch, then, is a bad place to set up school. And so the question is begged: Is remote learning possible? Is the setting of study a matter of indifference to the activity of study? The question was relevant before Covid19 bleakly introduced the age of Zoom. In the United States over the past fifteen years, enrollment in online courses has more than quadrupled. This trend, the success of which was meteoric, was a response to the equally monumental and endlessly mounting cost of college for the average student. In America, higher education now costs students thirteen times what it did forty years ago, and that price has swelled while state funding for public universities has decreased. As tuition has risen, returns on investment have dropped. The pioneers of MOOCs — “mass open online courses,” for those born too late to remember the old country in which they required introduction — explained that this disconnection is due to the uselessness of traditional curricula for the contemporary workforce and the “revolution in work.” All this reading and writing, all this training in thought — all this humanistic exploration — seemed impractical, and practicality has increasingly become the standard of judgement. If not for a job, then for what? And so they developed cheaper, skills-based models. Those models are online, a “convenience” which proclaims that the classroom, like the libraries cluttering university campuses, is redundant, and even archaic.

    For years now, Coursera has offered a fully online master’s degree from the University of Pennsylvania in computer and information technology for one-third of the cost of the on-campus version. MIT boasts a supply chain management degree which begins with an online segment on edX (a global non-profit founded in 2012 by Harvard and MIT). Similarly, Arizona State University’s Global Freshman Academy kicks off with a virtual first year. In both the Arizona State and MIT programs students complete the initial leg of their degree online and then are invited to apply for the on-campus portion at a fraction of its usual price. edX, like most similar platforms, considers education the process through which students are armed with tools to earn money. From its website: “[we are] transforming traditional education, removing the barriers of cost, location and access…. [our students are] learners at every state, whether entering the job market, changing fields, seeking a promotion or exploring new interests.” It tells us “edX is where you go to learn.” A professionalized application of the term, to be sure; but because of the overwhelming success and reach of these platforms, they have largely successfully redefined “learning” and “education.”

    Anant Agarwal, the founder of edX, called 2012 “the year of disruption” for higher education. Disruption indeed, and on what a scale! In its first year, edX had 370,000 students. Coursera, founded in January of 2012, reached over 1.7 million students within just a few months, and in the same stretch of time formed partnerships with thirty-three of the most elite institutions in higher education, including Princeton, Brown, Columbia, and Duke. Often when people talk about education now, they mean education as edX defines it. And when they talk about it in the years of the pandemic, they may be referring to the only pedagogical means possible. Imagine life in lockdown without the internet! And yet one must ask, in this field as in many other fields of contemporary life, at what price convenience?

    Of course, a certain kind of learning can be done online. Knowledge comes in many types and has many purposes and brings many satisfactions, and many people will find that better jobs and better lives will result from the acquisition of what can be obtained digitally. These are not trivial considerations. But the technological expansion of educational resources may also come with a significant cost. The critique of the digitalization of life is not Luddism. It is the only responsible way to reap the benefits of digitalization, and it is an intellectual duty now that there is no going back. It would be foolish not to utilize the new technological opportunities, except when we utilize them foolishly. So what, exactly, can a screen capture and transmit, and what can it not capture and transmit? If we are serious about the supreme value of education for the individual and society, we must not passively acquiesce in every online excitement and remain worshippers in the church of “disruption.” It sounds almost silly to say, and yet many realms of contem porary life often ignore this truth: there are significant things that numbers cannot measure.

    One way to evaluate the new technology is by the old purpose. If the new technology cannot serve the old purpose, and if we continue to believe in the old purpose, then the new technology must be judged by its limits. Learning has a long history, at all its levels. We know a lot about it. And by the standard of what we know about it, we have reason to ask whether digital learning is, strictly speaking, learning at all. Perhaps, owing to the constraints it imposes upon the student and the teacher, it is something else entirely: perhaps it is merely training, the communication of useful information, which may be structurally similar to learning, but which has the opposite mental and spiritual effect.

    That there is a difference between learning and training, between meanings and skills, has been noticed before, in a variety of traditions and eras. Here is an ancient example. The distinction is alluded to in the opening chapter of Pirkei Avot, or Ethics of the Fathers, a tractate of the Jewish legal text known as the Mishna. This particular tractate has no laws; it is an anthology of rabbinical wisdoms. Here it is twice stated “aseh lecha rav,” or “make for yourself a teacher” — in the sixth article of the first chapter, “make for yourself a teacher, acquire for yourself a friend, and give every person the benefit of the doubt”; and again, ten articles later, “make for yourself a teacher, and avoid confusion, and do not become accustomed to estimating tithes.” That the imperative appears twice indicates — I am reasoning here in the old Talmudic way — that each instance must refer to a different type of authority.

    In both cases the word “rav” is used. This is the traditional term for the figure to whom one turns for legal rulings, and also for the teacher with whom one studies. The same person can serve both functions and traverse the distance between the two roles. Less arcanely, think of a professor who offers expert insight to a journalist before meeting with a student about her doctoral thesis: she could have been discussing the same subject in both places, but her tonal shift, and the change in the scholarly level of her intervention, would be consider-able. In both roles she wields authority, but while speaking to the journalist her authority is meant to be the final word, whereas with her student it ought to stimulate curiosity and conversation. 

    The rav who is discussed in the latter dictum has the sort of authority that obliterates doubt. This figure gives rulings, and dispositive answers to practical questions, and the listener take note and acts accordingly. The students of this rav are not provoked, they are steadied. They have heard the stabilizing certainties of an expert — no thought is required of them, just trust and a willingness to follow instructions. This authority is different in kind from the first sort of rav, the one mentioned just before the “friend” and just after an article that treats of relations between wives and husbands. Extrapolating from this sequence — husband-wife; student-teacher; friend-friend — the rabbis establish that, after family, this sort of teacher-student relationship is the most intimate form of companionship, more intimate even than friendship.

    In both these articles the same unexpected verb is used: one must make a teacher. There are, predictably, centuries of argument in the Jewish tradition over exactly what this making means. Teachers are not found, they are made; and not only are they made, but they are made together with people other than themselves — by their students. Note that “make” is immediately distinguished from “acquire” (“make for yourself a teacher, acquire for yourself a friend”). “Acquire” intimates that a friend comes readymade, as it were — prepared for friendship. Both partners decide independently to commence the friendship. But a teacher cannot be a teacher unless he 

    (the Mishna assumed that all students and teachers were male) is made into one by a student. This is a more radical and obscure observation than that one becomes a teacher only through teaching, by means of practice. It is well known that no textbook or graduate study can inculcate the peculiar sensitivities that a teacher must develop: that only the work of teaching does that. But the Mishna makes a stranger and more stringent demand upon the teacher: he owes his status to a collaboration. His pedagogical certification derives from a personal relationship with the individual who comes to him for knowledge. Closeness and trust, intimacy and vulnerability: these are the terms of teacher-making.

    These conditions are not optional but obligatory, as it is also established from the article that it is a duty that the student make a teacher. One must not simply wait for a teacher to turn up, and one must not try to learn alone. Maimonides, whose reading of the ancient injunction is echoed by subsequent commentators, strikingly declared that the student must secure a teacher even if the teacher is not intellectually superior to the student. Not your equal or your better; just your interlocutor. This is an extraordinary refutation of our commonplace assumptions about pedagogical qualifications. This ideal of study is not hierarchical, it is dialogical. (The Jewish tradition has plenty of hierarchical reverence for teachers in other places.) Dialogical study is always superior to solitary study. In a significant sense, solitary study is oxymoronic.

    If a teacher does not have to be smarter than his student, then cleverness and even erudition are not the most important quality in the setting of study, or in the classroom. What matters most, it seems, is that it be a human encounter, an exchange of intellectual electricity. Maimonides’ notion has humbling implications for both teachers and students. Clearly, it humanizes the teacher, whom we may otherwise be tempted to cast as an infallible sage. In this scenario of study, the teacher, too, is vulnerable. And it also reminds the young and the bright that precocity is beside the point: in the classroom, obtaining knowledge and understanding not yet acquired is the overriding objective. One must not come to class eager to glitter. A student who is mesmerized by her own rhythms and insights will not grasp the subject and enter its new world, which is what study is. Better to be empty and attentive than clever and ahead. Learning is travel. “When you travel,” Elizabeth Hardwick observed, “your first discovery is that you do not exist.”

    All of which is to say that education, I mean of the deepest questions and themes, is first and foremost an experience.

    The difference between the first aseh lecha rav and the second is the difference between training, which transmits a practical skill, and learning. Skills make one useful; they provide the security of a straightforward purpose. The goal of training is problem-solving; and since life is full of solvable problems, two cheers for training. But not all of our problems are of the solvable, or easily solvable, or obviously and familiarly solvable, kind. Problems of meaning do not have technical or replicable solutions. Learning, therefore, is the opposite of training. It is a different sort of preparation for a different sort of difficulty. Learning acclimates students to the looming awareness that life is not governed by simple laws clearly stated. It is messy, murky, essentially contested, often mysterious. In the realm of meaning, neatness is not natural. (Though there have been philosophers who have thought otherwise.)

    It is certainly possible for trainees to train in the spirit of study — for example, through the rigors and drudgeries of a legal education a law student can be stimulated by the philosophical implications of her casebooks. It is also possible for disciples to study in the spirit of a trainee: to master the weeds and memorize the footnotes. This is Casaubonism, or humanism degraded, robbed of its soul — in sum, humanism minus doubt. True study does not obliterate doubt. The longer one spends inside a new world, the more acutely one recognizes that there are facets of it that can never be wholly penetrated. And the deeper into the world one goes, the more exasperating and incontrovertible that truth becomes. Moreover, the eventual comparison of another world with our own is itself one of the classical sources of doubt. Authority in a field does not confer certainty, as the greatest scholars know.

    It is impossible to become comfortable in an alien world without a guide — it is impossible to learn without a teacher. Even Emerson, the learner par excellence, whose enchanted mind thrived in unbalanced confusion and ecstatic chaos, had teachers whom he imitated, revered, differed with, and finally abandoned — but only after having been transformed. Emerson, to be sure, was a genius — but again, a teacher does not have to be smarter than her students. She simply has to have knowledge that they do not have, and a willingness to deliberate together. The distance between what a teacher knows and what a student knows will always be considerably smaller than the distance between what a teacher knows and what it is possible to know. No matter how many books and manuscripts and archives a scholar discovers and masters, there will always be secrets unknown, always someone who knows something the expert does not (even if this other person knows less than she does). And so the amount of information she has mastered will never be as essential to a learner as the attitude she has towards what is strange. It is the development of this attitude, an acquired openness, that all learners have in common.

    The objective of study is not self-expression. A genuine student must quiet her own rhythm in order to focus intensely on the rhythms of an alien system — another person, another religion, another civilization — they all have their own rhythm. Still, quieting one’s own is not the same as forgetting it. A student is not a blank slate, she brings her experiences with her to the classroom; it is after all her own mind, her own self, that she is cultivating by means of study. But she does not hold them at the forefront of her mind while she works. She must never find herself more interesting than what she studies. If she captivates herself, she is captive to herself. She is self-shackled. Instead she must strain to allow her subject to set the pace of study. If she is to understand thoughts that are not her own and lives that are not her own, the question that she must ask is how they are different from her, not how they are the same.

    The exploration of what is alien is not always exciting. In some stages of study it will almost certainly be tedious. Everything worth understanding demands discipline. There will be drills: amo, amas, amat, amamus, amatis, amant, flashcards, charts, red pens. These drills are not stimulating, but serious intellectual stimulation is impossible without them. They are the humanist’s training — training-for-learning, training that is only preparatory, that makes the student fit for the transit to a different and non-utilitarian plane. Drills are not learning, the way stretching is not running, but try running without stretching. 

    The result of this training for learning is a ready mind, a mind primed for and open to the unfamiliar and the alien. These monotonous exercises are the scaffolding that will hold and support the new universe into which the student ventures. Openness is finally the greatest quality of the learner. A student who is constantly comparing an alien grammar to the grammar to which she is accustomed will never experi-ence the tingly mental reorganization particular to thinking in and about a new vocabulary. This openness is a peculiar kind of emptiness: it is rigorous emptiness, well-equipped and well-appointed, a tensed readiness to be filled in. It withholds judgment only so as to judge more correctly later, which is especially necessary when studying ideas or figures for which the student lacks natural sympathy. After all, the only negative evaluation that has intellectual integrity is an evaluation made after an intimate understanding has been developed — in the way, for example, that Isaiah Berlin for decades dedicated himself to the study of his intellectual opposites.

    Why is this capacity useful? The question is often asked. It is a reasonable question, insofar as people deserve to be given reasons for humanistic exertions, but it is also a crass question, because it makes utility paramount. Answers have been given to the question on its own grounds: that the study of art, history, and philosophy can make the difference between brilliant lawyers, politicians, and doctors and ordinary ones, because the more professionals know about human existence, the wiser they will be when their professional activities may require a gloss of wisdom. All this is true and familiar: these are the apologias that adorn the welcome catalogs of liberal arts departments. These practical rationales for humanistic study are further proof of the infiltration and triumph of edX’s flattened “education.” The defense of learning in the terms of training, the justification of the humanities in economic and vocational terms: this is the hemlock that the humanities (and the arts more generally, starved for funds) now serve and swallow. Recall the English majors now flourishing at McKinsey. No, learning for its own sake is the only justification that treats the subject on its own terms — and so learning for its own sake is the only sake there is. In that spirit we may gladly acknowledge the social and personal “utility” of humanistic pursuits, as it is presented by writers and historians and philosophers, since it will inevitably inform and enrich the lives of students and teachers. Anyway, spiritually speaking, the enrichment of human life is useful.

    The obsession with outcomes is hard to resist in an outcomes-based culture. It may penetrate the most impractical of pursuits. In her admirable book Lost in Thought, Zena Hitz, a tutor at St. John’s College, bears witness to one iteration of this phenomenon: “[as a professor] my focus shifted — without my noticing — to the outcomes of my work rather than the work itself. I had lost much of the ability to think freely and openly on a topic, concerned lest I lose my hard-won position in the academic social hierarchy.” Her lament brings to mind Nietzsche’s strictures about the professionalization of philosophy. “It is probable,” he wrote in 1874 in On the Use and Abuse of History for Life “that [a professionalized philosopher] will attain cleverness, but he will never attain wisdom. He compromises, calculates, and accommodates himself to the facts.” He conducts research in order to publish, which he does in order to maintain a reputation for publishing, which he does in order to keep his job. The wonder and the vertigo disappear from his work.

    Pardon the unreconstructed idealism, but there are higher reasons.

    “What do you think about translation?”

    She asked me that question a few months after we met. In that time I had developed a familiarity with the cadence of her thoughts, so different from mine, gentle and complicated, and always swaying, studying, interpreting. This ruminative cadence was the first thing I noticed about her. I knew she would introduce me to a new rhythm, a different pace of thought. My pace unnerved her: it was too fast and forward, she got spooked. Slow down, slow down. It was difficult for me to slow down. I wanted to learn it from her. Too early, and incessantly, I would ask her the questions that occupied me because I wanted to hear them played back at her tempo. It would transform them, make them strange, open them up. Even the words we both use we do not use in the same way. She has cultivated her own relationships with language.

    “What do you mean?”

    (It was an act of generosity that she answered me instead of concluding that I wouldn’t be able to understand her, and then withdrawing from me. That is a particularly bitter kind of rejection. Once, years ago, a man pulled back from me and muttered, “No, no, I shouldn’t have tried to tell you.” I remember where I was standing when he said that.)

    “I mean — well, if you’re in love with someone and he’s asked you to explain a thought that you’ve had, or a fear or anxiety or any example of the many sorts of things that are specific to you, but you know he can’t understand it because it’s the kind of thought he wouldn’t have or even have imagined was possible (not because he’s stupid or self-centered, but because it just isn’t within his framework) you have to translate it for him. Is that bad? If he can’t understand it, does that mean he can’t understand me? That he can’t really love me if translation is necessary? ….. I suppose it’s all a question of degree.” (It was so characteristic that she added that last thought, a signature suffix.)

    Her trust reminds me of an exchange I had with a writer who asked me whether her use of esoteric language, of arcane foreign words, in an essay that she had written made it incomprehensible to uninitiated readers. I reread it and responded: Many of the terms you used felt foreign, like the language of an alien tradition or an exotic religion. I like that feeling. For the duration of your essay I could develop an acquaintance with the rhythms of the tradition of which you are an emissary. It is the rhythm that would have been lost in translation. You were right to be uncompromising about a taste of the original. Since you didn’t define those words, which would have ruptured or mangled their melody, their verbal music remained intact, even if I couldn’t explain in my own language exactly what you were saying. If someone who has never danced asks you what the sensation of dancing is like, the best you can do is show them. I trusted that you would compose your essay in such a way that it would eventually allow me to understand your meaning, and I was grateful that you trusted me to savor what I did not yet understand. You worry about uninitiated readers, but your essay is their initiation, and initiation is education.

    But books are not people. Isn’t reading a form of remote  learning, too? Isn’t a page somewhat like a screen — a blank surface for language to occupy?

    Emerson was a radical reader. Ravenously he sucked the souls of writers out of their books. His great biographer Robert Richardson marveled that “it sometimes seems as though no book published from 1820 until his death evaded his attention completely.” On its face, Emerson’s bookishness is odd given that he worshiped activity and had contempt for “meek young men grow[ing] up in libraries.” But Emerson’s reading was charged, active. It offered entry to a symposium out of time. Reading works of genius, he wrote, one “converses with truths that have always been spoken in the world and becomes conscious of a closer sympathy with Zeno and Arrian, than with persons in the house.” A relentless thirst for the nectar of intellectual companionship informs Emerson’s writing. This is what permitted him to read the way he read. He was able to coax what he sought from the pages of a book because of the enthusiasm (his holy word) that charged his entire approach to living. Wrestling with intellectual and spiritual possibilities in conversation with others was a familiar exercise for Emerson. He took this method, this experience, this dialogical energy, to his books, which he believed were as sure a portal as a classroom.

    Yet he never mistook a book for a person, or recommended reading as an adequate substitute for teaching, lecturing, conversing — for the experiential dimension of study. (“Books are for the scholar’s idle times. When he can read God directly, the hour is too precious to be wasted in other men’s transcripts of their readings.”) But if a book is an example of remote humanistic study, what are we to say of digital remoteness? The text or the image is there on the screen, and so is the tiny apparition of the talking teacher, hovering above it. Ideas in some form may certainly be imparted. But is this the full transit to another world that constitutes the fulfillment of humanistic education? Isn’t it rather the case that the screen leaves one where one began? That it is a buffer, a fancy buffer between the student and the world?

    A screen is too familiar to propel a student from her deepest grooves, particularly for a student who has never left her couch. On a screen everything, no matter how vividly presented, is flattened and made less real, and all the realms are compressed and equalized into a comfortable, closable haze. Most importantly, all the Zooming in the world has not established the screen as anything but a simulacrum of human interaction, a dim facsimile of pedagogical experience. One is no more than a partial student when one has no more than a partial teacher, or no teacher at all. Zooming is a stopgap measure that leaves one longing for actual presence, which is the condition of actual learning. It is a lot better than nothing, but nothing must never be the standard.

    Some Possible Grounds for Hope

    I don’t see how we get out of this. There is nothing truer that can be said of this time. It is a perverse measure of its truth that we have been inundated with books and bromides that purport to show the opposite, that have hit upon the way out, the solutions, or better, the solution, the formulas for the miracle, all the how’s and all the why’s. How can so many people understand so much and so immediately, when so many of our torments are so unfamiliar? Isn’t anybody stunned into silence anymore?

    So many words, so many numbers, so many “frames.” They are fortifying, I guess, and we certainly need strength. Let every-one come forward in the dark with their light. But I don’t see how we get out of this, not yet. 

    The empty streets of the covid nights are so candid in their desolation. They are thronged with the people who are not there. They provide a peculiar serenity, in which one can be alone with one’s fear, and take it for a walk.

    Philosophers since Seneca have known that fear and hope are twins. They are alternative ways of interpreting the opacity of the future. 

    If hope were rational, it would be redundant. Hope picks up where reason leaves off, like changing guides at the frontier. Hope is the best we can do with uncertainty. It is an image of happiness that cannot quite be dismissed as an illusion. If it cannot be proven, neither can it be disproven. Its enchantment lies in its cognitive limitation. It comes to an end with knowledge. 

    One of the characteristic errors of the American debate is to mistake the homiletical for the analytical — preaching for teaching. The objective of moral and social thought is not uplift. And as every religious person knows, castigation, too, can be experienced as uplift. It warms the heart to be told that we are all sinners, doesn’t it? Drop a coin in the charity box on the way out, you miserable excuse for finitude, and recover your contentment. It was never really damaged anyway. Of course this high-level complacency is abundantly found among the secular as well. They, too, like a warm sensation of their own shortcomings, as long as you do not overdo it. They, too, are lifted up by the sound of sermons, as in the editorial “must”: “We must restore trust.” Yes, we must!

    For many years I travelled around the country, like an itinerant preacher, chastising American Jews for their ignorance of Hebrew, which is their language even if they cannot speak it. I was received cordially almost everywhere I went. But I became suspicious of this cordiality: after  all, I had come to discomfit them. And on the occasions when I did discomfit them — as when, after one of those lectures, a woman came up to me and testily said, “Sir, that was a wonder-ful presentation, but I did not feel affirmed!” — I smiled politely and triumphantly. (Actually, what I said to the woman was this: “Madam, I did not come all this way to affirm you.”) But those occasions were rare. The futility of my efforts was owed to the tragi-comic fact that feeling bad makes some people feel good. Criticism assures them of their meaningfulness, which is really all they seek.

    “I don’t see how we get out of this.” Thank you for your honesty. It is not nearly as disagreeable as our circumstances.

    If hope and history ever rhyme, in accordance with the poet’s wishes, it will be a soft rhyme, a weak rhyme, a half-rhyme. 

    I don’t see how we get out of this. The country is poisoned. There is contempt everywhere; contempt and certainty. There are also wonderful people doing wonderful things for the weak and the needy and the scorned — a national plenitude of local kindnesses; but all these practices of solidarity have not yet altered the character of our politics and our culture, or banished our furies. Not just yet. The rampaging passions — otherwise known as populism — have not yet exhausted themselves. Perhaps it is just a matter of patience, except that patience is in ideological disrepute and was long ago retired by our technology.

    The greater the suffering, the greater the dream of redemption. An apocalyptic is a man in extreme pain. He can imagine only an extreme cure. He is not concerned that he may cause pain to end pain. He hurts that much. But must the magnitude of the cure always be commensurate with the magnitude of the pain? What if there are cases in which the only genuine relief is gradual relief? This is insulting to the sufferer, who expects that his view of his suffering to be definitive. Yet our compassion, our love, does not require that we agree with him. A person in pain knows only one thing, but he will be saved with the help of people who know more things. For example: a person in pain hates time, which is abolished by the immediacy of his torments. He lives (to borrow Robert Lowell’s piercing word) momently. A person in pain experi-ences time as an eternity. (In this way he resembles a person in ecstasy.) But time may be his ally, insofar as it is the only condi-tion of his healing. Recovering from pain is a way of returning from eternity to time. Or, more practically, of taking concrete and steady and reasoned steps.

    Of course there are sufferers who do not have time on their side. When we discover this about physical ills, we call it tragedy. But we have no right to invoke tragedy about social ills. The tragic sense connotes a certain helplessness about circum-stances, or more precisely, about other people’s circumstances. It promotes resignation. But whereas it may be legitimate for me to resign myself to my troubles, it is not legitimate for me to resign myself to your troubles. I can surrender myself, but I cannot surrender you.

    To approach injustice from the standpoint of tragedy has the effect of relaxing the will and shrinking the sense of agency, and even of usurping ethics with aesthetics. How do you fight tragedy?

    Was slavery tragic? In retrospect, yes. But in its time, no. In its time it was odious and disgusting and abominable. In its time it demanded resistance and abolition. Only evils of the past are tragic. The evils amid which we live are challenges — occasions of responsibility. Tragedy is precisely what we are charged to preempt.

    Was the catastrophe in Syria tragic? Only because nobody stopped it.

    “Interventionism” is now a dirty word. But it signifies more than a controversy — well, I wish it were still a controversy — about foreign affairs. Who ever did the right thing without intervening? Ethical action is always an intrusion, a refusal to leave a situation as one found it. Morality is a theory of meddling. What is intervention if not the Biblical injunction not to stand idly before the spilled blood of another? I do not recall any mention of costs and benefits in the verse. A government, of course, needs more than the Bible, more than high principle, to guide its actions. But does power exist only for the perpetration of evil? What about the costs and benefits of doing nothing? Or shall we acquiesce in the deformities of the world, except when there is money to be made?

    “But it’s complicated”: the streets of the capital, the corridors of power that masquerade as the corridors of powerlessness when it suits them, echo with those allegedly extenuating words. It is always smart to say that a problem is complicated. As if it is the duty of government to pursue justice only when it is not complicated.

    Tragedy, remember, is designed, in its most influential definition, to excite “pity and fear” so as to bring about “the proper purgation” of those emotions. It is a performance that exercises certain feelings so as to annul them. Never mind that those feelings may be put to good use outside the theater. Tragedy is an entertainment.

    Catharsis is the enemy of action. It leaves one spent and sated. It is the orgasm of conscience. I wondered about the relation of catharsis to politics as I joined the protests at Black Lives Matter Plaza. I was not worried about “performativity,” since the public expression of opposition is an essential element of opposition. I was worried about the problem of spiritual stamina, about the durability of the energy in the streets, about the overestimation of excitement, about the preference for the adventure of protest over its pedantic translation into policy. The politics of the streets can make do with catharsis. We will see.

    Concrete and steady and reasoned steps taken patiently and resolutely over time for the purpose of mitigating and eliminating the sufferings of others: in a word, liberalism. 

    The most widespread cliché of our time is “polarization.” Everyone laments it, and many scholars and commentators regard it as the most dire of our ills. It has provided work for a generation of social scientists. That we are living in an age of spectacular social division is undeniable, and the excesses of this discord are sometimes lunatic and criminal. But a little intellectual pressure needs to be put on this obsession with our lack of harmony. Is it worse than covid, or discrimination, or poverty? Of course not. There are those who argue that it will be impossible to address those monumental wounds in our society unless we overcome polarization. Barack Obama squandered the first two years of his presidency, when he had a majority in both houses of Congress, on lyrical exhortations to bipartisanship. But there is nothing freakish, or surprising, or unAmerican, about partisanship, even extreme partisanship. It is the stuff of which politics is made. But then one must take politics seriously — more, one must think highly of politics, and even revere it, and recognize that its ruthlessness is not inconsistent with its nobility; which is to say, one must come to value power.

    The words “value” and “power” look strange together, don’t they? The juxtaposition certainly makes many liberals uncomfortable. They have been mildly embarrassed about power for many decades, probably since Vietnam. But if you are not serious about power you are not serious about change.

    If despair is born of powerlessness, then power is a reason for hope. It sounds harsh and unlovely, but there is no other way to protect human dignity and its political home, which is democracy.

    Political ideas are not poems. They do not exist to deepen our grasp of reality. Their objective is to modify reality. For this reason, political thinkers may be held accountable for the consequences of their thoughts. Anyone who lacks the stomach for consequences should stick with poetry. (For the purpose of a rich life, however, it beats politics.)

    When the mad and beautiful Phil Ochs was asked for his verdict on the 1960s, he replied: “They won the war, but we had the best songs.”

    Polarization is one of the effects of partisanship and partisan-ship is one of the effects of human association. 

    To acknowledge reality without becoming complicit in it. To correct the world without destroying it. Those were the accomplishments of James Madison. His genius, and it was nothing less, was for being an optimist and a pessimist, an idealist and a realist, at the same time. He got the balance right, while the globe is littered with the ruins of political experiments that got it wrong. The equilibrium was revolutionary, especially on the question of the place of conflict in human affairs.

    A revolution of equilibrium: the American innovation.

    A reading from The Federalist Papers, 10. Please rise.

    The latent causes of faction are thus sown in the nature of man; and we see them everywhere brought into different degrees of activity, according to the differ-ent circumstances of civil society. A zeal for different opinions concerning religion, concerning government, and many other points, as well of speculation as of practice; an attachment to different leaders ambitiously contending for pre-eminence and power; or to persons of other descriptions whose fortunes have been interesting to the human passions, have, in turn, divided mankind into parties, inflamed them with mutual animosity, and rendered them much more disposed to vex and oppress each other than to co-operate for their common good. So strong is this propensity of mankind to fall into mutual animosities, that where no substantial occasion presents itself, the most frivolous and fanciful distinctions have been sufficient to kindle their unfriendly passions and excite their most violent conflicts. But the most common and durable source of factions has been the various and unequal distribution of property. Those who hold and those who are without property have ever formed distinct interests in society. The regulation of these various and interfering inter-ests forms the principal task of modern legislation, and involves the spirit of party and faction in the necessary and ordinary operations of the government.

    Here endeth the reading.

    So be of good cheer: it was always nasty. To borrow the famous phrase of Madison’s successor in the formulation of the Ameri-can philosophy, the better angels of our nature are not the only angels of our nature. The American system was constructed on the assumption that conflict is ineradicable. The foretold conflicts concern both principles and interests, and the expectation is that they will be brutal. “The causes of faction cannot be removed,” is Madison’s conclusion. Out of this dourness he designed a democracy.

    It should be added that the conflicts that constitute a permanent feature of society are not — as we, in our psychologizing habits, often prefer to think of them — misunderstandings. 

    There is no clarification, no revision of language, that will make them vanish. A misunderstanding is an apparent conflict, a temporary conflict. It can be resolved with some exploration and some patience, and an apology. But a contradiction between worldviews cannot be resolved; it can only be respected, and then managed. And if the opinions are sincerely and thought-fully held, neither side has anything to apologize for.

    Error is a form of innocence. There are many worse things in life than being wrong. (This is the courtesy that Americans seem no longer able to extend to each other.)

    Respect is more valuable, and more arduous, than reconciliation.

    The alternative to “polarization” is not consensus. There will be no consensus. Madison already warned against “giving to every citizen the same opinions, the same passions, and the same interests.” In the American tradition there is no fantasy of unanimity. Social agreement is not our eschaton. The American hypothesis is that consensus is not necessary for cooperation, that social agreement is not necessary for social peace. 

    The horror of uniformity is the democratic idea itself.

    In his painstaking attempt to describe an “overlapping consensus” for a democratic system that must accept “the fact of pluralism,” John Rawls admitted that “we do not, of course assume that an overlapping consensus is always possible, given the doctrines currently existing in any democratic society.” It is a bleak moment in his heroically optimistic enterprise. I think it passes too swiftly. He was a philosopher and he insisted upon a philosophical conception of justice, and for this reason he dismissed what he called a “mere modus vivendi.” He accused Madison (and Hobbes and Locke and Hume and Kant) of philosophical failure by contenting himself with the ideal of compromise between interests. Rawls thought that such a purely improvisational system is too fragile. Indeed it is; but it may be the finest we can do — one fragile compromise after another fragile compromise until the end of time. The problem is not only that we are not a nation of philosophers; it is also that in a pluralist society there is nothing “mere” about a modus vivendi. Madison should not be treated as the first transactionalist. It is dangerous to delegitimate compromise philosophically. Indeed, many unphilosophical activities hide philosophical principles and teach philosophical lessons. There are worse failures than theorylessness.

    I am always a little shocked, and pleasantly so, by the Founders’ ease about interests. They were unembarrassed by human partiality. And from the grubby they rose to the sublime.

    The United States Constitution is the greatest tribute to, and the greatest rebuke of, Hobbes. 

    A philosophy and a system of government that proposes to accept the collisions of society and leave the cacophony alone is a prescription for tough-mindedness. Or more accurately, tough-mindedness in the cause of the tender mercies. We are called upon to be not only sensitive but also effective.

    Too many worriers about “polarization” are so sentimental, so nostalgic, so exquisite in their sensitivity to the injuries of democratic combat, so anxious that taking a side might be a human failure. Yet an open society is a rough society. Polemic is one of the central methods of persuasion. “Deliberative democracy” is not the work of professors, even if it is the invention of professors.  

    We are a society that makes a cult out of honesty and then wants to be protected from it. 

    In an open society, inoffensiveness may be a delinquency of citizenship.

    Democracy is wasted on the timorous. The emboldening of ordinary men and women is its very purpose.

    A reading from The Social Contract, Book I. Please remain seated.

    Properly understood, all of these clauses [of the social contract] come down to a single one, namely, the total alienation of each associate, with all his rights, to the whole community…Instantly, in place of the private person of each contracting party, this act of association produces a moral and collective body, composed of as many members as there are voices in the assembly, which receives from this same act its unity, its common self, its life, and its will…For if the opposition of private interests made the establishment of societies necessary, it is the agreement of these same interests that made it possible….Either the will is general or it is not, It is the will of the people as a body, or of only a part…There is often a great difference between the will of all and the general will. The latter considers only the common interest; the former considers private interest, and is only a sum of private wills…In order for the general will to be well expressed, it is therefore important that there be no a partial society in the State…..

    Rousseau adds a footnote: “In order for a will to be general, it is not always necessary for it to be unanimous, but it is necessary that all votes be counted.” Not always! There is here a dream of social and political seamlessness, which is achieved by the dissolution of the individual in the community, the collectivity, the state. It was appropriate that the animadversion about unanimity, the mild concession to the stubbornness of difference, be a footnote, because in the holistic ethos of Rousseau’s state it really is just a footnote. These passages, and the notorious remark, also in Book I, that “whoever refuses to obey the general will shall be constrained to do so by the entire body, which means only that he will be forced to be free,” provoked a renowned historian to describe Rousseau’s ideal as “totalitarian democracy.” 

    He aspires to a perfect union, but we aspire to a “more perfect union.” The difference between democracy and totalitarian-ism is the difference between the belief in perfectibility and the belief in perfection. (I do not concur that Rousseau was a totalitarian, exactly; but his democracy repels me. I am an American.) He holds that the individual must “alienate” his rights, but we hold that the individual’s rights are “inalienable.” If you wish to understand the philosophical and political excruciations that France has endured in the wake of the murder of Samuel Paty, may his memory be a blessing, you could do worse than begin with the distinction between these notions of alienation and alienability.

    There they do not wish to recognize difference. Here we wish to recognize nothing else. Or so it sometimes seems.

    Is a nation a community? The communitarians among us would like to think so. It is certainly the case that a sub-national idea of community would leave us a state of states, a community of communities, a bubble of bubbles, a collection of monocultures paradoxically justified by multiculturalism. This would amount to a degradation of the pluralist promise, according to 

    which we can live together and apart. In order to cohere as a nation, we must extend ourselves beyond our particularities, beyond our cloisterings. A homogeneous nation has no need of universalism, but a heterogeneous nation is proof of its beauty. 

    Of course there is no such thing as a homogeneous nation. It was one of the necessary fictions of nationalism, and minorities have been paying dearly for it ever since. There is always someone unlike ourselves within our borders, and even if there were only one such person, he or she would still be the test of our decency. (And he or she may think it is me.) 

    Perhaps a nation should not be a community. Perhaps it is enough that it is a nation.

    In 1813, in a case in New York called People v. Philips, which considered the question of whether a Catholic priest could be forced to provide information that was obtained in the confessional, a lawyer named William Sampson told this to the court: “Every citizen here is in his own country.  To the protestant it is a protestant country; to the catholic, a catholic country; and the jew, if he pleases, may establish in it his New Jerusalem.”  An epochal declaration, a genuine liberation from the Old World. But what he described is both a blessing and a curse. It is pluralism carried to the limits of psychosis  For even if we are all of those countries, we are not any of those countries. We are a whole that does not devour its parts, but we are still a whole.

    Who in his right mind would wish to live only among his own? Give me goyim, please! Traditions wither in isolation. Only the infirm of identity seek more of themselves.

    It is the stupendous irony of a multiethnic society that it exposes the limitations of particularism. 

    In 1966, the brilliant Jewish historian Gerson D. Cohen gave a commencement address at the Hebrew Teachers College in Boston that he called, with a hint of wickedness, “The Blessing of Assimilation in Jewish History.” Reading it now, when a soft kind of separatism is enjoying a new prestige, is exhilarating. “A frank appraisal of the periods in which Judaism flourished will indicate that not only did a certain amount of assimilation and acculturation not impede Jewish continuity and creativity, but that in a profound sense, this assimilation and acculturation was a stimulus to original thinking and expression, a source of renewed vitality.” Our borders give us our shape, but their porousness contributes to our substance. A border is not a wall, it is the opposite of a wall, and the confusion of a border with a wall is a prescription for social and cultural disaster. 

    In the name of authenticity, people imprison themselves. And when they do so, these loyal sons and daughters, they usually insult their ancestors, who were less afraid of influences.

    The recent history of American society can be told as a story about the vicissitudes of the idea of integration.

    Differences are not discrepancies, except from the haughty standpoint of somebody else’s norm. They do not have to be brought into line. But we are not wanting in arguments for difference. Everybody screams their difference, which makes them all so tediously alike.

    Permeability ought to be a source of pride in mature individuals and mature societies. 

    A possible ground for hope: the individual. In a country in which people are masterfully manipulated by disinformation and demagoguery, in an electorate that increasingly consists of mobs and herds and gangs, in a society in which citizens are encouraged to seek intellectual strength in numbers, it is past time to remind ourselves of the dignities and the powers of the ordinary man and woman, of the autonomy of adults, of the ability of individuals to think for themselves and rise above the pernicious nonsense that their individuation is what ails them. 

    The religious extol the uniqueness of souls, the secular extol the uniqueness of selves. In this way they issue the elevating challenge that their integralist currents, religious and secular, retract.

    You cannot take your country back until you take your mind back. 

     

    I used to like bowling alone. Not always, but sometimes. Anyway, there is nothing like company to make you feel lonely. Loneliness is a social emotion.

    Individualism is a far larger dispensation than egotism, which is not to be confused with it. Egotism is a debasement of individualism, in the way that selfishness is a debasement of selfhood. The problem of individual self-love is as nothing compared to the problem of collective self-love. 

    The moral superiority of the community to the individual seems dubious to me. Belonging does not insulate anybody from transgression. Worse, there are depredations that we commit together than we would not commit alone. The haters among us, the killers among us, they may be members and they may be loners. They may speak for themselves and they may speak for their group. And communities may be kind or cruel. It’s a wash. The human heart is busy everywhere.

    In Hebrew, the root for “hope” is the same root for “gather together,” as in “Let the waters under the heaven be gathered together to one place.” As the authoritative concordance notes, 

    sperare and congregatio. I have often pondered this mysterious etymology. It suggests that hope is premised upon the end of a dispersal. But what has been dispersed that must be brought together — the community or the individual? If it is the former, if united we stand and divided we fall, then hope is to be found in the reconstitution of community. If it is the latter, then the dispersed self is what bars the way to hope, and the reconstitution of the self will confer the sought-after encouragement. I am reminded of a work of clinical psychology that appeared in the 1960s called The Psychology of Hope, which concluded with a chapter on “the therapy of hope.” In his account of what he calls “a therapeutic tour de force,” the author describes a clinician who “explicitly and deliberately employed communication of his high expectations of patients as a therapeutic procedure.”

    The critics of individualism, the whole army of them, propound a doctrine of demoralization. They have no faith in the actual person, or worse, they detest her. This is uncharitable, and also inaccurate about human capabilities. Given the irreversible fact of individuation, it can be spiritually damaging. 

    There is another option: that divided we stand. Madison’s motto!

    The Covid-19 virus came along to illustrate what genuine isolation is. Monads in masks now yearn nostalgically for their allegedly atomized life before the pestilence. They miss all the communal meetings and social minglings that were said to have been lost. Except of course the political ones, which have all thrown epidemiological caution to the winds.

    In a period of national emergency, and the Trump years were such a period, the ubiquity of politics, its penetration into the deepest recesses of life, its saturation of experience, is understandable. If you believe that your cause or your country is in peril, you will become a sentry and a soldier. There is integrity to such an intensity of commitment, though the question of whether your analysis is correct, whether reality warrants your panic and your politicization, is an important one. But liberals and conservatives both used to believe, as an axiom of both their worldviews, in the limits of politics, in fair weather or foul. Then foul weather arrived and their wisdom collapsed.

    Instead of decrying “polarization” and dreaming of the disappearance of division, we might turn our attention to the overpoliticization of human existence in America. There is no longer any domain of life from which politics is barred. People who deplore the destruction of privacy by Silicon Valley acquiesce in the destruction of privacy by politics. Perhaps the one prepared them for the other, and softened them up for the tyranny of publicity and the public. People who engage in politics for the defense of dignity acquiesce in the destruction of dignity that attends the destruction of privacy. 

    The first casualty of our overpoliticization was our culture, just about all of it. Art is now politics by other means, full stop. What fools we are to rob ourselves of what we do not have enough of, and for the sake of what we have too much of.

    “All art is political,” says Lin-Manuel Miranda. Bullshit.

    The most chilling instance of our overpoliticization, of course, is the ideological repudiation of science. When told by the government that their lives were in danger, millions of Ameri-cans said only, don’t tread on me. There is no longer any Archi-medean point outside these political self-definitions.

    As for the progressive bedroom, and the infiltration of intimacy by political standards for sexual behavior: make love, not history.

    What would a post-“polarized” America look like? I have a visionary inkling. It would consist of men and women who are not only who they vote for and not only who they agree with. They would hold political convictions and defend them, but they would be known also, and mainly, by other beliefs. They would accept the political dissonance but make themselves a little deaf to it, out of respect and for the sake of comity. They would have friends whose views they despise. They would not look forward to family gatherings as an occasion for gladia-torial combat about the issues of the day. They would give up their erotic relationship to anger, and to rectitude. They would renounce their appetites for last battles and last judgements. They would refuse to let even their own extremely correct views interfere with the fullness of living. They would march, and then they would come home. They would mobilize, and then repair to those realms in which mobilization is beside the point. They would not display their politics as proof of their goodness, because they would take note of the good people on the other side. (There are sides, of course, where no goodness can be found, but they are not many.) They would forgive.

    Joy in the struggle for justice: outside the contested epiphanies of mysticism, is there a more astonishing spiritual accomplishment? It is joy in the face of misery, after all; joy amid injustice, but deployed against it. When I watch films of the civil rights movement of the 1960s, I am always dumbfounded by the joy, which somehow never got in the way of strategy. What powers of soul! 

    In ancient Greece there was a sect of philosophers known as the Elpistikoi: the Hope-ists, or in another translation, the Hopefulists. We know nothing about them. They are mentioned only once, in Plutarch, in a discussion about “whether the sea or the land affords better food.” According to a certain Symmachus, “they believe that what is most essential to life is hoping, on the grounds that when hope is not present to make it pleasant, then life is unbearable.” Or in another translation: “in the absence of hope and without its seasoning life is unendurable.” Seasoning, indeed: Symmachus compares hope to salt. This is a utilitarian case for hope, which is undeniable, because in the absence of any verification we cling to hope entirely for its effects. But it is also more: for the hopefulist, life was not bearable or unbearable, but unbearable or pleas-ant. The hopefulist does not wish only to make it through the night. He wants a pleasant morning, too, and pleasant days. 

    Is hope a pleasure? I suppose it depends on what one fears. There may be terrors that hope cannot dispel. Or does hope rise to match them in scale? Hopelessness, in any event, appears when ignorance has passed. Ignorance is the soil of hope, which may be a chapter of its own in the legend about ignorance and bliss. 

    Not so, say the economists, whose subject is now the whole of life. Hope, they say, is an assessment of probabilities. But the more the probabilities are known, the less need there is for hope. If the probabilities could be entirely known, we would all be enlightened and hopeless. I am not sure I like the sound of that. But hope is not an assessment. It is a prayer — perhaps the only prayer that the godless, too, can pray.   

    Symmachus, lying in the Ionian sun, picking at salted delicacies, voluptuously hoping. 

    And back here, in the winter wastes, two possible grounds of hope: a new vaccine and a new president. We are not yet getting to the end.

    A Memory

    A sickness came over me
    whose origins were never determined
    though it became more and more difficult
    to sustain the pretense of normalcy,
    of good health or joy in existence —
    Gradually I wanted only to be with those like myself;
    I sought them out as best I could
    which was no easy matter
    since they were all disguised or in hiding.
    But eventually I did find some companions
    and in that period I would sometimes walk
    with one or another by the side of the river,
    speaking again with a frankness I had nearly forgotten —
    and yet, more often we were silent, preferring
    the river over anything we could say —
    on either bank, the tall marsh grass blew
    calmly, continuously, in the autumn wind.
    And it seemed to me I remembered this place
    from my childhood, though
    there was no river in my childhood,
    only houses and lawns. So perhaps
    I was going back to that time
    before my childhood, to oblivion, maybe
    it was that river I remembered.

    Trash

    General consensus in our home
    was candy or soda would kill us,

    or else rot our constitutions in some
    larger, metaphysical sense. Body & soul,

    to cite the old wisdom. In protest,
    my big sister & I would sneak the stuff

    through customs whenever we could:
    Swedish Fish & ginger beer, Kit-Kats,

    Mary Janes & Malta lining the sides
    of each pocket like the contraband

    spoils they were, smallest joys,
    our solitary arms

    in this war against the invisible
    wall our parents built to bar

    the world of dreams. Now that
    we are older, the mystery is all

    but gone. We were poor. Teeth
    cost. In the end, it was the same

    as any worthwhile piece
    of ancient lore: love obscured

    by law, our clumsy hands
    demanding heaven, forgetting

    the bounty in our bellies, the miracles
    our mother made from Jiffy mix

    & cans of salmon, all the pain
    we never knew we never knew

    held there, against our will,
    in the citadel of her care.

    Reparation

    How are you feeling is always your opening question
    & you know me. I always take it the wrong way
    when you say it like that.
    I hear you asking for damage reports, the autobiography
    of this pile of brown rubble bumbling on
    about his father’s beauty, this chasm splitting
    the voice in his unkempt head & the one
    which enters the realm of the living.
    You are good to me, & this kindness, I think, is not reducible
    to our plainly economic relation, the yellow carbon
    receipt at the end of each session a reminder
    that we aren’t just girls
    in the park catching up, estimating the cost
    of our high school errors.
    I never call you my analyst, because
    that makes me sound like a body
    of work, some extended meditation
    approaching theory, if only asymptotically.
    Anyways. I’m alright today. I remembered
    to eat breakfast, & went for a run uptown.
    I gave myself credit for trying to change.
    Something in me awakened, today,
    ready for liftoff. It sang.

    The Hatboro Blues

    To the memory of friends 

    The first thing I remember thinking about what we now call “the opioid crisis” is that it was making everything really boring. It was 2010, I was in eleventh grade and at a house party about which I had been excited all week. I had with me a wingman in the form of my buddy Curt, and a fresh pack of smokes, and — please don’t think less of me — 750 milliliters of Absolut blueberry vodka. In short, all that was needed for a good night.

    And yet the party was a bust. It seemed that every third kid was “dipped out,” as we called those in drug-induced comas, lit cigarettes still dangling from their lips. Even the terrible rap music wasn’t enough to wake them. Nobody was fighting, nobody was fornicating, nobody was doing much of anything. There was nothing about this sorry shindig that set it apart from many others just like it which were still to come, but it sticks in my mind now for a melancholy reason: It was the point at which I realized that something was very wrong.

    What follows is not some hardcore Requiem for a Dream kind of yarn. Different movies apply. My high school experience was plenty Dazed and Confused, but with shades of Trainspotting and maybe a flash of Drugstore Cowboy. It was like The Breakfast Club, if Claire had carried Percocet in her purse and the dope in Bender’s locker had been white, not green. This is a story about how a kid who enters high school as a Led Zeppelin-loving pothead can leave four years later with a needle sticking out of his arm. (Or not leave at all). It is a tale of a town and a generation held hostage by Purdue pharma — the story of every place on the edge of a big East Coast city flushed with cheap heroin and prescription pills in the mid-to-late aughts. Maybe you already know how it goes.

    Fifteen miles north of Philadelphia’s City Hall sits Hatboro. It is a majority-white town with an average per capita income of $35,000 per year. A set of train tracks dissecting the town can shoot you into the city in a few minutes and for a couple of bucks. My elementary school, Crooked Billet, was named after a Revolutionary-era battle that took place on its grounds on May 1, 1778. Every year on that day kids don tricorn hats and sing songs about America. The town is part of a larger school district encompassing a neighboring township called Horsham, which gets much wealthier as it creeps closer to Philadelphia’s Main Line. In high school, some kids lived in McMansions and drove new cars, others took the bus. The public schools were good.

    I was raised, along with a younger brother and sister, by a single mom who worked as a hairdresser and a waitress. I spent every other weekend with my father, who lived in the next town over and founded a tree and landscaping company and later worked in real estate. We qualified for the free lunch program at school, and some years were tougher than others, but we were not poor and always had everything we needed. One week every summer was spent on vacation in Wildwood, New Jersey. I began my career as a busboy in an Italian restaurant when I was fourteen and kept the job all through high school. Later I became the first person in my family to go to college.

    It started off as your regular suburban experience, innocent enough. I smoked my first cigarette on the same day as my first toke of pot, in the last week of eighth grade. The cigarette was a Marlboro Red, provided by a friend’s older sister whom everyone thought was hot. (Regrettably, I smoke them to this day). Weekends were spent with my three best friends, guzzling Canadian whisky lifted ever-so-gently from a parent’s liquor cabinet and chain-smoking in various parking lots. We were long-haired little gremlins who liked to venture into the city for Warped Tour, Ozzfest, and Marilyn Manson. We loved Cypress Hill and named my friend’s $45 bong “King Zulu.” We hated the rich fucks (that was our term of art for them) who wouldn’t shut up about tie-dying their shirts for the next Dave Matthews concert.

    Sandwiched between a scrap-metal yard and the Revolutionary-era battleground turned elementary school were the aforementioned train tracks and a pathetic patch of mud and trees we called “the woods.” It was to us what the country club was to that other Pennsylvanian, John O’Hara: a place to get soused and settle scores. A few yards down the tracks lived a homeless Vietnam veteran whom we’d christened “the Bum.” He would walk with us to a local bar to buy forty-ounce bottles of beer — usually Olde English or Steel Reserve — in exchange for a couple of bucks. (Bars in Pennsylvania sell beer-to-go, and many of them still allow you to smoke inside.) My best friend at the time was legendary for being able to down an entire forty in under sixty seconds. We played a clever game called “Edward Fortyhands,” in homage to the Tim Burton movie, in which a forty-ounce bottle would be duct-taped to each hand and use of both your mitts would not be regained until the bottles were emptied. A guy named James at the local Hess gas station would sell us cigarettes underage and one woman who operated the McDonald’s drive-thru traded Newports for dollar-menu items. The world was our malt liquor-soaked oyster.

    Another hangout was a place we called “Chronic Bay.” (We were heavily into Dr. Dre’s “The Chronic” back then.) It was a pond-sized storm drainage ditch located behind a sewage processing plant and an abandoned Sam’s Club that was shielded from view by a tree line. It smelled, literally, like shit, but it was the perfect place to smoke weed and drink fortys undetected. Our soundtrack at the time included lots of Sublime, Biggie Smalls, and some tragically awful emo albums. Most of my friends were skaters who loved to watch “Baker 3” on repeat. Those were the carefree days when everything felt like a party, the days before pregnancies and overdoses. Nobody was dying, or making their mom sad, or falling asleep behind the wheel, or stealing from their grandparents, or going to jail.

    People used to talk a lot about pot as a “gateway drug,” but I think about what came next in terms of floodgate drugs: the floodgates of an over-prescribed society opened, and suddenly drugs were everywhere. Some people would learn where or how to draw the line, but others could not see it; and crossing it became a death sentence. After booze and weed we all started to play around with prescription pills in a way that was always getting ratcheted up. It started light, with Klonopin (“K-pins”), and then Xanax.

    The first time I took Xanax was in a McDonald’s parking lot. I took both of the two milligram “bars” my friend Sam plopped in my hand, felt pretty damn loose, and then my memory disappeared.

    Most of my friends liked to eat pills, some more than others. In the first month of eleventh grade, in 2009, a black comedy called Jennifer’s Body starring a salacious Megan Fox as a demonic succubus, came out in theaters. A friend named Becky piled us into her Honda Accord for a trip to the movies. Most kids sneak candy or soda into the movie theater. Our clandestine appetites were different. We popped Klonopin and smuggled into the theater a backpack stocked with “Four Loko,” the fruity malt liquor concoction that contained so much caffeine that its manufacturer was later forced by the FDA to tweak its recipe, because people were dropping dead after drinking it. Why would anyone pay money to see a movie in this state? Most of us were passed out before the credits rolled. But that’s just how we rolled. Everything seemed like an occasion to get “fucked up,” even standardized testing. Before the PSATS, Sam ate so many Xanax “bars” that halfway through the test he dropped his sharpened number 2 pencil and told the proctor that if she didn’t let him out of the classroom he was going to vomit all over her. (She let him out.)

    Sharon was a year older than me and lived in the neighbor-hood. The year her mother was sent to jail, Sharon’s house became our free-for-all party pad and experimentation fort. Sharon’s scratchy baritone made for the perfect imitation mom-voice, so she could supply an alibi to any anxious parent inquiring about their child’s whereabouts. It always worked, including on my own mother.  One night at Sharon’s we couldn’t get our paws on any preferred substances, and so Collin, our friend with the stickiest fingers, had a brainstorm: He would go to the home of a girl he was seeing and raid her parent’s medicine cabinet. After he came back with a bottle of what we thought was pharmaceutical-grade sleeping medication, we decided to divvy up the bottle, pop all the pills at once, wash them down with fortys, and have a contest to see who could stay awake the longest. Fingers were crossed that we would be rewarded with hallucinations. But things went awry and it was only later, after consulting our handy-dandy Pillfinder (“Worried about some capsules found in your teenager’s room? Not sure about those leftover pills still in the bathroom cabinet? There’s a good chance that our Pill Identification Wizard (Pill Finder) can help you match the imprint, size, shape, or color and lead you to the detailed description in our drug database”) that we realized the Seroquel we had ingested was not knock-off Ambien but an antipsychotic medication used to treat schizophrenia. Oh well.

    Meanwhile, all the regular stuff associated with teenage development continued apace. I had some bad haircuts, kept decent grades, and rarely missed a day of work at the restaurant. (There was that one time, when Collin, Sam, and I each ate an eighth of magic mushrooms at midnight, went out to play in a state-of-emergency blizzard, and I missed a brunch shift the next morning. Otherwise I was a model employee and my bosses loved me.) I was the same bookish kid I had always been, devouring every Harry Potter and Lord of the Rings book in the library. I shared a room with my little brother. I hung a Pulp Fiction poster on my wall and bought CDs at the mall. I lost my virginity. I got my permit and then my license. My father bought me a 1999 Nissan Maxima with 190,000 miles on it for $2,000 and taught me how to drive a stick shift.

    Wheels meant freedom and access — to fine things, like trips to the shore, but to trouble, too. Now that our group was mobile, all my friends suddenly became two-bit drug dealers. Usually they had only an ounce or less of pot to peddle, but sometimes more. I held a pound of weed for the first time when a friend asked me to drive to nearby Norristown to pick it up and stash it in the trunk of my car. (Incentive: “I’ll fill your gas tank and smoke you up on the way.”) Most days after school my Maxima was transformed into a roving dispensary of marijuana and other delights. One night I decided to vacuum the thing and install some new air fresheners. Miraculously, the next day the school announced a surprise search of the grounds by the police and their drug-sniffing dogs. Midway through science class a principal knocked on the door and beckoned for me. The whole classroom shifted to watch as I traipsed out, fate unknown. We walked down the hall in silence and approached the exit to the parking lot, where a sortie of my buddies — who didn’t know I had just wiped “the whip,” as we called the car — had congregated with looks of abject terror on their faces to watch the pooches encircle my lemony-scented ride. Even though it had been cleaned, the dogs couldn’t help but stop on their adventure through the school’s parking lot. You can imagine the dismay of the principal and the officers upon finding nothing harder than a pack of cigarettes and some “Rohto Arctic” eye drops inside. As I say, a miracle.

    One friend, high on something or other, crashed his car through a storefront on the town’s Main Street. Later, after a new facade was constructed, we joked that he had merely given the place a free facelift. (No one was seriously injured.) Another time I was cruising around with my friend Ethan when a drug dealer named Pete got in touch. For reasons that now seem inexplicable, we thought Pete was cool and that his imprimatur meant something. At the time he was dating Diana, a beautiful brunette and a real Calamity Jane who had flitted in and out of our crew since the early days of eighth-grade summer, when she would never turn up any place without a Gatorade bottle full of vodka and a pack of Newport 100s. So when she dialed me up to say that Pete had an $800 bag of cocaine from which a modest profit could be made, and did I want to move it for him, I had to take a minute to think about it. Ethan and I both looked at each other and blithely shrugged, but my gut told me it was maybe a bad idea to become a coke dealer. Besides, I had a job already, a real one. I said I was honored but politely declined and hung up the phone.

    Then Ethan’s cell started to ring — it was Diana. He said yes, dropped out of school the next week, and started selling the pile of white powder, gram by gram. This posed two problems for the rest of us: We liked coke and we had no self-control. By the time the weekend rolled around, half the bag had disappeared up our little noses. Even worse, Ethan’s mother found the rest under his bed, freaked out and flushed it. We dodged Pete for as long as possible, and then he turned up on Ethan’s front lawn with a couple goons and baseball bats. Poor Ethan’s parents were left with no choice but to call the cops. Pete eventually backed off, but Ethan’s credit around town was pretty low afterward and there were more than a few parties to which we couldn’t bring him.

    Drugs beget drugs and things begin to blur. The halcyon days of fat blunts and warm beer in the woods were firmly in the rearview. Movie shorthand again: if the ninth and tenth grades were Fast Times at Ridgemont High, junior and senior year were more like Valley of the Dolls, all the Spicolis turned to fiendish Neely O’Hara’s. And it was not just my raggedy clique that was gobbling pills like Pac Man. The vicissitudes of the Lacrosse team and the Richie Rich kids from up the way seemed to mirror our own. Next came Percocet, an opiate, and therefore in the same drug family as heroin. “Perc 10s” and blueish “Perc 30s” could be crushed up and snorted. Luckily for me, I disliked the way Percocet made me feel. I didn’t enjoy the stomach pains, the itches, the bouts of narcolepsy — or the feeling that I was an actual drug user as opposed to a dumb kid having fun.

    When you are a teenager, it is of course easy to make bad choices, because you feel invincible. Maybe the worst decision one could make in pilltown was to try OxyContin. You can have fun, as we all did, with Klonopin, coke, Xanax, Percocet, Ecstasy, and tabs of acid, but there is usually no coming back from OxyContin. A seventeen-year-old doesn’t stand a chance. Adults who are prescribed it for legitimate reasons barely stand a chance. Oxycontin’s not a drug that one can “dabble” in. It is synthetic heroin in pill form manufactured by a gigantic pharmaceutical corporation, and in Hatboro it wasn’t hard to find 40 milligram doses of it — “OC 40s” for short, or the double dosage “OC 80s.” Ingested orally, Oxycontin is meant to mete out pain relief over a number of hours, but the “extended release” could be circumvented for an instantaneous high by crushing and then snorting the pills.

    In 2010, when I was in eleventh grade, Purdue Pharma tweaked its production so that the pills could no longer be crushed. It was like trying to plug a sinkhole with a wine cork. (Studies would later argue that this tweak only pushed people more quickly to heroin.) By then we all knew someone who was a full blown “jawn head,” as we called those addicted to OC’s. Maybe it was the kid next to you in homeroom who stopped showing up to school. Maybe it was a friend from the grade above. Maybe it was an older sibling. There was a stupid rap song called “OxyCotton” extolling the joys of OC’s and it became a kind of unofficial anthem of my high school, Hatboro-Horsham High School, now nicknamed “Heroin High.” The song was a menacing joint by an otherwise obscure rapper named Lil Wyte. One verse, rapped by Lord Infamous, went like this:

    Scarecrow, scarecrow whatʼs that youʼre popping

    A powerful pill they call Oxycontin

    But it’s so tiny and it catch you dragging

    Haven’t you heard big things come in small packages

    I prefer the oranges with the black OC

    Take two and you cannot move up out your seat

    Some people melt ‘em down in a needle and shoot ‘em up

    But I pop ‘em with Seroquel like glue, I am stuck

    This was hardly just a street drug, though. With so many people’s parents being over-prescribed opiates, nabbing pills out of a medicine cabinet became my generation’s version of raiding the liquor cabinet. In this way one of my earliest friends, Danny, got hooked. He lived two streets over and was in the grade above me. We’d known each other since we were in diapers. “In the beginning it was fun, there’s no two ways about it,” he now recalls. “If it wasn’t fun, we wouldn’t have done it. I don’t know if that was the only way we knew how to have fun or if we just took it to another level. Kids in different parts of the country will drink and party and take it to a certain level and there’s nothing else readily available so it fizzles out. Around here, it’s like you partied and then you met older kids and the older kids were doing this, and then, somehow — peer pressure, wanting to fit in and be cool — you somehow got into that.” The way he said it, “somehow” was another word for inevitably.

    I never touched the stuff, not because I was smarter than anyone else, I was just more of a wimp. I was already trepidatious owing to some unpleasant experiences with Percocet, and OxyContin seemed genuinely frightening. By now the kind of havoc that the drug could unleash was everywhere apparent, and snuffing the fun out of house parties was just the start. An older brother type with whom I had worked at the restaurant since the day I was hired was no longer funny, smart, or cool: He was a confirmed and abject jawn head, a zombie. It was heartbreaking to watch someone’s personality dim and die before he was even old enough to vote. You had to look out for your own, and my best buddies and I made a pact that, no matter how far we pushed our partying, we would stay away from OC’s. Still, everything was being warped around us. Even our mood music morphed from metal, grunge, and 90’s hip hop into the real hood stuff coming out of North Philly at the time, mix tapes about “trapping” and being “on the block” and pushing drugs 365 24/7 rain or shine. I hate to sound like Tipper Gore, but I believe that the music, if it did not directly influence us, at least reflected the spiraling and trashy subcul-ture of an ostensibly nice town littered with drug baggies.

    Hatboro is just across the city line and a thirty-minute drive from the open air drug markets of North Philly, known as “the badlands.” That is where all the heroin comes from once it is pulled from the docks and flooded through the streets. OxyContin is expensive, but a $10 “stamp bag” of heroin does the trick just as well. And so before long, in a kind of irreversible entailment, all the jawn heads devolved into dope heads, actual heroin addicts. Ground zero for dope was — and still is — an intersection called “K & A,” where Kensington and Allegheny Avenues meet in the Kensington neighborhood. The streets that spiderweb out from that junction are an addict’s bazaar, a warren of narrow blocks in which dealers sit on porches shouting out their merchandise to passersby. You don’t even have to know someone to collect. When cops roll down the block, the dealers simply retreat back inside. This is the hellish district in which suburban mothers go looking for their heroin-addicted children, bringing them peanut butter and jelly sandwiches or a new coat if they can’t coax them to come home. Half the kids on those streets are from towns just like mine.

    I started hanging out in the city more when Becky — she who had driven us to the movies to see Jennifer’s Body — began dating Matt. He was a year older, out of school, and living in a one-bedroom apartment on Rising Sun Avenue, about a fifteen-minute drive from the open air drug markets. Now drugs were more attainable than ever. A new cast of shady characters floated into our orbit and the old ones just got shadier. One night at Matt’s I pawned some of the Xbox 360 games I had received for Christmas to purchase a bag of ecstasy pills that turned out to be cut with methamphetamines. The red pills emblazoned with stars and the green ones imprinted with palm trees kept me, Sam, and Collin up all night — Sam vomited every hour on the hour and we pondered bringing him to the emergency room — and sent us into horrible withdrawal the next morning. It was the worst I had ever felt in all my short life. The kid who sold us the dirty E-pills, also named Matt, had his newborn baby with him that night. I can still remember Matt fishing for a Newport in his pocket while handing me his baby and saying “Here, you look like you’re good with kids.” That Matt is dead now. When I bumped into the baby’s mother at a bar last year, we didn’t even bother mentioning that fact. It was the order of things. The other Matt became an addict and a father and then, last I heard, got clean. Becky has two rugrats herself and just sent out wedding invitations.

    Until then, the city had always loomed large in our suburban imaginations as the place where we would spend the best nights of our lives. We used to head into the city to see our favorite bands at the Electric Factory or the Theater of the Living Arts on South Street. It was where the best cheesesteaks were, and the Italian market, and the Flyers and Melrose Diner. It was the home of magic. But then going to “the city” meant dipping into a dangerous neighborhood for drugs — a different kind of home for a different kind of magic. We were slowly being blasted. It was on another night at Matt’s when my own sense of invincibility was finally shattered. After polishing off a bottle of vodka we took a drive to K & A for some more provisions. I parked the car while Matt walked up the block. He came back empty handed, but with two cops in tow. They pulled up next to my Maxima, yanked us out, slapped handcuffs on our wrists, and searched my car. There was nothing to find, but one cop grabbed my red Verizon enV3 flip phone, turned to me and asked, “Who am I calling, Mom or Dad?” I thought for a second and then gulped, “Dad.”

    The cop left a voicemail on my father’s phone, gripped me up and spat, “Now go back to the suburbs and stick to smoking your fucking grass, white boy.” When I got home, my father was nothing but rage. He yelled so loud I can still remember the foundations of the house shaking. I try to imagine what the voicemail said: “Hey, we’ve got your loser son down here trying to buy narcotics in a neighborhood where people are shot in broad daylight. Where did you think he was, the mall?” When I reflect on that episode now, what is most shocking to me is the blatant and incontrovertible white privilege. Here we were, teenagers drinking and driving and looking for drugs, a menace to ourselves and to anyone who might encounter us, and my interaction with the police amounted not to a  rap sheet or a bullet but parental concern and an actual slap on the wrist.

    For me, the alarm had sounded. What on earth was I doing in North Philly or with people like Matt? I really harbored no desire to destroy myself. I really was hungry for life. Despair was never my affliction, so why was I acting as if it was? And so I stopped going to the city and cut out everything except pot and booze — a renunciation which, given the habits of most of my friends, was practically monastic. The fact that I had been scared straightish did not mean that anyone else was. The opposite was the case. Things were getting worse. Rehab stints to the local clinic, court mandated or otherwise, became a rite of passage for hard partiers. This meant that Suboxone, a drug just as powerful as heroin that is used to wean one off it, entered an already bleak picture. One day after school I watched as Ethan and Curt split one tiny Suboxone pill, letting it overpower them to the point that they could barely walk or keep from vomiting. Hard drugs were no longer the realm of upperclassmen, either. When Curt’s parents went out of town, we threw a party at his place and were deeply unsettled to discover a fifteen-year-old freshman girl snorting lines of heroin in the upstairs bathroom. We were the moralists! It was an odd sensation for us to be clutching our pearls at the ripe old age of eighteen, but that episode shocked even us.

    My story is coming to its end. In the years after I graduated, the bill for a class of kids hooked on heroin came due. One of the first people with whom we ever smoked weed in eighth grade overdosed and died. So did the kid who used to sell it to us. Two of the most beloved girls in town, lifelong friends who grew up on the same block as each other, both overdosed and died. Danny overdosed a number of times, he was even found turning purple on the floor of a Rite Aid bathroom once, and against all odds he is now sober. (To this day his mother carries two forms of Narcan in her purse because you never know.) Diana, who was dating the drug dealer Pete, descended further into addiction, stole from friends, and fell off the map altogether. One day last year I received a frantic Facebook message from her mother, who was reaching out to Diana’s old school friends for any clues as to her whereabouts. She finally turned up a few months ago newly sober, and posted a long status on Facebook about how, at her lowest, she had picked up a meth addiction, weighed less than ninety pounds, and was hearing voices. Her ex-boyfriend Pete lost his little brother to dope. The list of the lost goes on. And not only of the young. Some of the parents were just addicted as their children. My mom’s ex-boyfriend, who was like a stepfather to me during the years when I was in middle school, became an addict and is now dead. The man she dated when I was in eleventh grade ended up addicted to opiates. As for any judgment about the quality of anyone’s parenting: I have come to believe that no level of awareness about the danger could have prevented it. You can keep a close eye on your child, but when drugs are ubiquitous, when they are a central feature of social life, when the surrounding culture confers prestige upon them, the best you can do is cross your fingers and pray.

    A whole vocabulary has sprung up to convey the shared experience of addiction, a vernacular of the carnage. When I go home and visit with old friends, there is always a grim roll call conducted over beers. “When was the last time anyone heard from her?” “Oh, I heard she’s still really bad.” There is a lot of sorrowful shaking of heads. Another one I’ve heard often and with nonchalance: “So, guess who’s a dopehead nowadays?” Social media has become a surreal forum for this conversation, too. Facebook newsfeeds are so peppered with remembrances and R.I.P posts that you might not even pause while scrolling past one. Many of them include poorly cropped angel wings or some variant of “Heaven just gained another angel,” a phrase so anodyne and overused I consider it Hatboro’s version of a Hallmark card. These were the clichés of social destruction. In the years since I graduated, heroin has been largely edged out by fentanyl, a synthetic opioid that is much easier to overdose on than your garden-variety dope. Meth, which was never around in my picaresque youth, has found a big market in the suburbs, too.

    The crisis is in your face everywhere you go. It is the driver next to you at a stoplight falling asleep at the wheel. It is the dopehead in line in front of you at the 7-Eleven or the grieving mother of one of your school chums standing behind you. Who should we turn to? God, perhaps; but look at His record. The government, perhaps; but look at its record.

    To confront the addiction of the despairing produces its own variety of despair. Along with some of my closest friends from back then, I marvel that we made it out when so many of our comrades did not. Melancholy permeates my town. And it is never really over. One of those friends recently became a cause for concern among our circle after he was fired for dipping out at work, just the way we did at house parties in eleventh grade. He is not returning anyone’s calls, and word is that he has stopped paying some of his debts. It beggars belief: opiates now, after everything we remember? But we are too sober to delude ourselves about what is possible in our town, and in other towns. We have seen this movie before.

    Note: The names in this essay have been changed out of respect for the privacy of its subjects.

    Steadying

    For some time now it has felt like history is itself the pandemic. In our country and elsewhere, it has been in overdrive, teeming with evils, flush with collapses, abounding in fear and rage, a wounding contest between the sense of an ending and the sense of a beginning, between inertia and momentum, with all the terribilities of ages of transition. What is going has not yet gone and what is coming has not yet come. We have become connoisseurs of convulsion. At sea is our new sea.

    For better and for worse, axioms and assumptions are dying everywhere around us. Such vertiginous hours always come with both clarities and confusions — there is no promise of illumination. The guidance we need in our circumstances will not be provided by the circumstances themselves: they are too many and too contradictory and too volatile; passion increasingly unconstrained and power increasingly unconstrained. As the sense of injustice grows, injustice seems to keep pace with it. There is a piercing sensation of flux, of uncontrollable effects and unmanageable consequences. The masks on our faces are emblems of an entire era of vulnerability. The most important thing, therefore, is that we keep our heads. A disequilibrium of history demands an equilibrium of the mind. Steadiness in the midst of turbulence is not complicity with the existing order. It is precisely in such binges of history that we must teach ourselves to sort through the true and the false, the good and the bad, the continuities and the discontinuities, the right statues and the wrong statues, the humane and the utopian.

    Everything will be different: this is a ubiquitous sentiment. In all our upheavals — social and epidemiological — so much seems to be wrong and so much seems to be slipping away that one may be forgiven for enjoying a fantasy of total change. All these horrors, all these outrages, all these marches, and the world stays the same? So the first thing that needs to be said in the effort to keep our heads is that everything never changes. More, the idea that everything will change usually plays into the hands of those who want nothing to change. The cycle of revolution and reaction has never been the most effective engine of progress. Nothing suits the interests of the old regime like utopianism. The thirst for change will not be slaked by the cheap whiskey of apocalyptic thinking. The only certain outcome of the apocalyptic temper is catharsis, and one way of describing the decline of our politics in recent decades is that it has increasingly become a politics of catharsis, in which crisis is met mainly by emotion. (Populism is just mass emotionalism, and the emotions are often ugly ones.) Apocalypse is not an analysis, it is the death of analysis. It sets the stage only for salvation, but salvation must never become a political goal. This is especially true in a democratic society, where the only saviors are, alas, ourselves.

    Thus it is that the struggle against injustice imposes upon us a paradoxical psychology: it demands both impatience and patience. Impatience about injustice, patience about justice. This is hard to do. It looks too much like, and in many cases it may well be, complacence. It is certainly difficult to preach incrementalism to the injured. So why not be impatient about justice, too? There are historical and practical reasons why not. History is stained by tales of instantaneous justice, by the consequences of the rush to perfection, by the victims of the victims. The ethical calculus of means and ends is never teleologically suspended, if just causes are to remain just. Nor is it a quantitative calculus: when I first studied the modern history of the Jews I drew a variety of conclusions from the Dreyfus affair, and one of them, which was an important moment in my moral education, was that Zola and his comrades appropriately threw an entire country into crisis for the sake of one man. Similarly, due process is not a legal formality, a procedural exercise that slows the way to a satisfying climax; it is the very honor of a liberal society.

    More concretely, the establishment of justice involves not only revisions in opinions but also revisions in institutions. A dreary point! But anyone who denies the institutional dimension, in all its exasperating machinery, is not serious about the change. Paroxysms, unlike laws, vanish. This was the year in which the campaign for racial justice found support in virtually all the sectors of American society, with the exception of the White House — an unprecedented national epiphany that cannot be dismissed as “performative”, because culture matters; but the road from protest to policy is long and winding. It is not a betrayal of the ideal of social justice to tread carefully and tenaciously, with a mastery of the scruples and the methods that would make a reform defensible and durable. Tenacity is what patience looks like in the middle of a struggle.

    I will give an example of the complicated nature of the mentality of change. One of the consequences of recent social movements in America — #MeToo (which came also to my door, with its lesson and its recklessness) and Black Lives Matter—has been to reveal how poorly we understand each other. Or more precisely, they have exposed the extent to which the failure to understand others may be owed to the failure to understand oneself — the limitations of one’s own standpoint, the comfortable assumption that one appears to others as one wishes to appear to them, or to oneself. This is nonsense, though sometimes you learn so the hard way. There are limits to our epistemological jurisdiction. The failure to observe these limits is solipsism, and we all begin as solipsists, awaiting correction by social experience.

    Our epistemological jurisdiction stops at the encounter with another person. She is another epistemological kingdom, not more perfect but certainly different, with something important to add, and a perceptual contribution to make. I may like to think that I am what I present myself to be, but I am also what she sees me to be, because she sees me as I cannot, or will not, see myself. I am never in control of my self-representation and never complete in my self-awareness. We always show more of ourselves than we think we do, which is why we may learn from the responses of others. We spill beyond our intentions and our conceits, and what we gain from this overflow is criticism.

    But criticism, too, must be assessed critically – there is no exemption. The enlightenment that one acquires from the judgments of others is owed only to their accuracy. It is certainly not warranted by the belief that a person’s identity or socio-economic position or experience of hardship confers an absolute authority, a special relationship to truth, a vatic privilege. What a simple world it would be if pain were a sufficient guarantee of credibility. But it is not – indeed, the opposite is the case, pain is myopic and sees chiefly itself, which is one of the reasons it hurts. Finally we are all left with the modesty of our grasp. No whole classes of people are right and no whole classes of people are wrong.

    The ineradicability of ambiguity from human relations, the ignorance of ourselves that accompanies our ignorance of others, the whole fallible heap, creates an urgent need for tolerance and, more strenuously, for forgiveness. Historians will record that in the early decades of the twenty-first century we became an unforgiving society, a society of furies, a society in search of guilt and shame, a society of sanctimonies and “struggle sessions” American-style. They will admire our awakening to prejudice but lament the sometimes prejudicial ways in which we acted on our progressive realizations. In this respect America should become more Christian. (There, I said it.) For all our elaborate culture of self-knowledge, for all the hectoring articulateness of our identity vocabularies, we are still, each of us, our own blind spots. We should welcome every person we meet as a small blow against blindness.

    The partiality of perspective: this is the great teaching of the contemporary tumult. The problem is that we have not only begun to acknowledge our partiality, and the partiality of others, we have also begun to revere it, and this is a mistake. We are gagging on all our roots. If pain does not provide access to truth, neither does particularity. The worship of particularism is one of the great impediments to social justice, and in its exhilarating way it coarsens us all. In our moral and social thinking, our obsession with otherness has concealed that the foundation of moral and social action is sameness. The “other” is exotic, but there is nothing exotic about the homeless man on the street: he is the same as me, a human being, except that he is hungry and I am not. The difference in our circumstances is not a difference in our definition. When I hand him a few dollars I am not extending myself toward an alien being; I am practicing species solidarity. I am not discovering his humanity; I am responding to it. I am acting, in other words, universally, and none of the social problems that afflict us will be solved unless we recover the universalist standpoint that sees beyond the visible divisions, and is not trapped in, or enraptured by, the specificities of our tribes. Pluralism secures the right to turn inward, but it also broaches the duty to turn outward. By surrounding us with other partialities it legitimates our own partiality, but it also reveals that there is more to the world than what is merely ours.

    A great deal has been written in recent years about the discovery of our commonplace biases and the techniques for overcoming them. Much of this literature is psychological, but some of it is political, and its aim is to confine us proudly within our limits and call them wonderful. In the name of authenticity, we are instructed that the partiality of our perspective is all we will ever have, and that the aspiration to impartiality is an aspiration to power, or a justification of power. Every view is a view from somewhere. Nobody escapes his or her position. We are all marooned in our respective glories. Objectivity, according to this advanced opinion, is an epistemological plot of the elites.

    This inculcates a kind of localist arrogance that is fully the match of the globalist kind. Such “perspectivism” was one of Nietzsche’s lasting provocations, and in American philosophy it was ringingly championed by Richard Rorty, who was the only man I have ever known to use the word “ethnocentrism” positively. He denounced objectivity in favor of solidarity, and his children are everywhere, in all the movements; and a similar war on truth flourishes, for less sophisticated reasons, also in the offices of prime ministers and presidents. The outlook for intelligence, as Paul Valery used to say in an earlier era of confusion and peril, is not heartening. Truth in America is a refugee, an undocumented immigrant. Philosophers and political operatives have joined together to proclaim the fictive nature of fact. About this there is no “polarization.” It is not only policy over which we differ: we differ also over the description of reality. (And even if science is not all we need to know, is there any plainer measure of stupidity than the mockery of science?)

    All these communitarianisms of the mind are absurd. If all one can express with one’s beliefs is solidarity with one’s community, then how is it possible to disagree with one’s community, and what is the origin of dissent? If it is impossible for people of different backgrounds, or classes, or races, or genders, to understand each other, why are they disappointed or angry when they are not understood? If people who are white or male or rich cannot claim to comprehend people who are black or female or poor, how can people who are black or female or poor claim to comprehend people who are white or male or rich? Of course the world does not work this way, according to this Empedoclean epistemology, for which like can only know like. The startling reality – it is one of the tremendous features of human existence – is that, within societies and among societies, across nations and cultures, we manage to be intelligible to one another. If you don’t get it, you can get it. As a strategy for thwarting human communication, Babel was a bust.

    This everyday mental commerce, this regular passage through these permeable frontiers, sometimes needs the assistance of translation, and always needs the assistance of imagination, but it proves that the inherited perspectives may be enlarged and that the despair of a greater commonality is a self-inflicted wound. Perfect objectivity may never be attained, but that is no excuse to act like merry peasants. “Positional objectivity,” as Amartya Sen has described the only plausible mitigation of our parochialism, will get us very far. Moreover, chafing against one’s limits is a condition of ethical sensitivity: if I were to be content with what my own life has taught me, I could not recognize sufferings which I have not lived and against which I have a responsibility to act. All that I need to know I cannot learn in my town, even if I can learn a great deal there. We have moral obligations in unfamiliar situations.

    I am not a woman and so I must imagine rape. I am not a black man and so I must imagine chokeholds. I am not a Syrian and so I must imagine that charnel house. I am not a Uighur and so I must imagine those camps. (But I am a Jew and so I expect others to extend the same imaginative respect to the fate of my people.) If victims were the only ones who understood oppression, who would help them? Often they insist that they must help themselves, which is correct, and evidence of their irreducible dignity, but there are limits to what they can do, and their “auto-emancipation” does not absolve the rest of us from the work of their emancipation. This work involves shaking ourselves loose from the mental dullness that is the product of our distance. As Judith Shklar once observed, “it will always be easier to see misfortune rather than injustice in the afflictions of others.”

    Objectivity, in other words, is the sturdiest ground of justice, and the despisers of objectivity are playing with fire. Feelings are a reedy basis for reform. After all, the other side also has feelings – which is how we wound up with the revolting solipsist in the Oval Office. In a democratic society, reform comes about by means of persuasion, and the feelings of others may not do the trick. I may not feel what you feel. I will not be convinced that you are right by the fervor of your feeling that you are right. I need reasons to agree with you, that is, appeals to principles, to rational accounts of preferences, to terms and values larger than each of us which, unlike feelings, we may share.

    Without objectivity, without the practice of detachment that makes genuine deliberation possible, without tearing ourselves away from ourselves, justice in our society will mean only what the majority, or the crowd, or the media (all of them fickle) want it to mean. We will gag on our roots. We will continue to despise each other, some scorning the weak and others scorning the strong. Our system of disagreement will continue to be degraded into a system of umbrage, in which a dissenting opinion may be dismissed as “tone-deaf”. Empathy, where it exists, will be remorselessly selective and most often reserved for one’s own kind. (Down with himpathy! Up with herpathy!) We will remain stalled in our excitability. But none of the questions that we are asking as a society can be answered with a scream or a scowl.

    Some of what I have written here will please progressives. Some of it will please conservatives. I call it liberalism.

    “When the facts change, I change my mind. What do you do, sir?” Legend attributes that swaggering pronouncement to Keynes, and it has become the canonical formulation of the anti-dogmatic mentality, the credo of the open and empirical mind. It has always irritated me, and not because I have a complaint about the admiration for factuality. These days the facts are the front lines in the battle for reason in America. The power of the state has been pitted against them.

    Keynes was an economist, and I have no doubt that the relation that he posits between facts and opinions is entirely appropriate for purposes of administration – say, setting an interest rate. As conditions change, policies must be adjusted. Only a fool would think otherwise. If you are not fascinated by the question of what works, stay away from government. (Or join up, because these days nothing gets done.) Practicality is always reactive; its timeline is short. Pragmatism waits on the news. There is even a current in modern American thought for which democracy is itself an exercise in unceasing pragmatism, in trial and error unto the generations. Its definitive statement can be found in the conclusion to Holmes’ renowned dissent in Abrams in 1919. Immediately following his famous observation that “the best test of truth is the power of the thought to get itself accepted in the competition of the market,” which was an important moment in the infiltration of the non-economic spheres of American life by the vocabulary of economics, Holmes went on to declare about the Constitution that “it is an experiment, as life is an experiment.” Whatever the merits of such a philosophy of existence, the sense of the provisional championed by Holmes is admirable for the mental patience that it imparts, and for its revulsion from absolutism.

    Yet Keynes’ statement seems to be reaching for more than a merely managerial responsiveness. It appears to be making a more general claim about the dependence of beliefs on facts. There are many kinds of belief, of course. But there are some kinds of belief that do not originate in the facts, that are not hostage to changes in the facts, that exist prior to the facts and provide the framework within which the facts are understood and assessed. I cannot agree that moral opinions and philosophical opinions, if indeed Keynes had such opinions in mind when he made his remark, require such a tight association with fact. Even the belief that beliefs must be based in facts cannot be based on facts. There are views I hold about right and wrong, about the individual and the group, about ethical obligation, about the duties and the limits of power, about the nature of truth, about the nature of beauty, and about spiritual meanings that will not be revised by the morning paper, whatever it brings. Before tomorrow’s bad news, I already know that the world is an unkind place and that there are a variety of ways to interpret its cruelty, and I have, to the best of my abilities, in ways that I can explain, already chosen an interpretation.

    It is possible, over time and by means of careful reflection, taking your experience into account but not only your experience, to arrive at a view of life, a worldview, and to hold it continuously, through thick and thin, regardless of who the president is, without embarrassment at the steadfastness with which you maintain it, so long as you give reasons and present them for critical examination. There is no shame in intellectual constancy. It is nothing like dogmatism, if it is thoughtful. And the caprices of external events, even when they are cataclysmic, need not throw one into philosophical crisis. Especially in times of cataclysm, one should aspire to what Rebecca West called “an unsurpriseable mind.”

    I remember a conference, not long after the earthquake of 2016, where I was holding forth on the characteristics of populism. When it came time for questions, an acquaintance of mine, a fiendishly intelligent woman with a saturnine look on her face, a distinguished international civil servant, raised her hand. “After what just happened,” she asked, “how should we revise our views?” It was not the first time that I heard this question in the aftermath of the Trump ascendancy. I disliked the question. It represented a fundamental misunderstanding about the formation of belief. We should not revise our views, I replied. The election did not prove that our views are wrong. It proved only that our views are unpopular. (And the well-named popular vote did not prove even that.) All that a poll can establish is the popularity of a belief, its distribution across a population. It has no bearing whatever upon its substance. What we believe may be wrong, but not because many people disagree with us. This is precisely the problem with Holmes’ idea of verification, with his contention that truth will be established in the competition in the market: success in the market has nothing to do with truth. The interminable history of human illusion shows that the “marketplace of ideas” is like every other marketplace. It reflects only appetites and interests; it is easily manipulated; it is quantitative.

    I may have been a little sharp in my reply to the questioner. My disrespect for her notion of intellectual flexibility must have showed. Politicians, of course, must evaluate ideas politically, but this was not an exchange about politicians. A losing side may need to revise its tactics, but beliefs are not tactics. There is nothing illegitimate or disqualifying about a minority position. A democracy, indeed, should be judged by how it treats its minorities, not least its intellectual minorities. There is honor in minority life. There is honor also in defeat, if one stands for something more than victory. If you stand for principle and you lose, you are equipped to fight again. Sometimes there is good company in the wilderness. In wondering whether defeat should inspire second thoughts about first things, my rattled interlocutor was skirting the problem known as the tyranny of the majority, which was long ago identified as one of the supreme abuses of democracy. When I assured her that the results of the election did not constitute a refutation of her views, I did not mean to lull her into a feeling of righteousness about what she – and I – believed. I wished only to draw a line between disappointment and crippling doubt.

    Here is what I do, sir. When the facts change, I interpret the facts according to the methods and the assumptions in which I have the most intellectual confidence. If I can vouch for the integrity of those methods and assumptions, which in my case are liberal methods and assumptions,I will be reluctant to give them up – especially in a dizzying world, where the people with moorings will be better able to explain and to lead. I recognize that moorings come in many forms – evil, too, comes with intellectual frameworks; but those frameworks will be most effectively challenged and repudiated by those who have a different one of their own. As for the facts, I am all for them; but I am not sure they can do all the work that needs to be done. Will bigotry be vanquished by data? A hatred cannot be dispelled for being non-factual. Sooner or later we have to engage at the level of moral and philosophical principle. We must make ourselves competent in kinds of discourse that are not only empirical. We must not forget how to believe.

    This journal begins its life in a time of breakdown and bewilderment, of arousal and expectancy. It is called Libertiesbecause of all the splendid echoes of the word – liberty, liberal, liberate, liberality, even libertarian, even libertine. (The question of the place of pleasure in human life is one of the fundamental questions.) It is both a grave word and a joyous word. The plural is a tribute to the plurality of freedoms that we enjoy as a matter of right, and also to the plurality of freedoms that the citizens of a growing number of countries are being ruthlessly denied. Above all, it is meant to announce that, in this universe of fascists and commissars, the objective of these pages will be, by argument and by example, in politics and in culture, the rehabilitation of liberalism.

    The slander of liberalism is one of the spectacular idiocies of our age. The errors and the failures of the liberal order, at home and abroad, need to be acknowledged, but they do not need to be exaggerated. The pride of liberals deserves to be much greater than their guilt. A glance at history abundantly demonstrates this, as the issues of this journal will explain. But the historical events that provoked the social, economic, and moral achievements of the liberal order have receded in time, and the experience of time itself has been accelerated, so that historical memory can no longer be relied upon for the work of explanation and nothing is obvious anymore. The work of explanation, guided by reason and humaneness and the study of the past, needs to start again. There is nothing nostalgic about such a project. The restoration of liberal ideas and practices – a social equality based not on venerations of identity but on universal principles; an economic equality based not a delusion of dirigisme but upon a rigorous regulation of capitalism; a faith in government as one of the great creations of human civilization and the protector of the weak against the strong; an affirmation of American power in the world because of the good that American power can do in the world – is entirely forward-looking. To curse liberalism is to curse the future.

    It is no longer trite or tautological to say that a democracy is a place that behaves democratically. Within our democracy, and within other democracies, there are many leaders and movements who behave undemocratically or anti-democratically – who view democracy expediently, as an instrument for the acquisition of power and nothing more. For this reason, the philosophical grounds and political benefits of democracy also need to be re-clarified. In 1938, on a lecture tour of the United States, Thomas Mann observed to his American audiences that democracy “should put aside the habit of taking itself for granted, of self-forgetfulness. It should use this wholly unexpected situation – the fact, namely, that it has again become problematical – to renew and rejuvenate itself by again becoming aware of itself.” He was speaking, of course, with the ruefulness of his German experience. Our situation is not as bleak and bitter, but an authoritarian temper is flourishing in our midst too, in the West Wing and the streets and the media and the platforms. We, too, have become self-forgetful. “No,” Mann told the crowds from coast to coast, “America needs no instruction in the things that concern democracy…Europe has had much to learn from America as to the nature of democracy. It was your American statesmen and poets such as Lincoln and Whitman who proclaimed to the world democratic thought and feeling, and the democratic way of life, in imperishable words.” It is bruising to read those sentences. We no longer offer such instruction to the world, or even care about the condition of freedom beyond our own borders.

    The question of how to live is more than the question of how to vote. The liberal idea was never just a political idea. It is, more generally, a grand belief in human capacity, and in the obligation – exclusive to no group and no tradition – to cultivate it. When Henry James wrote about “the liberal heart”, he meant a large heart, a generous heart, a receptive heart, an expansive heart, an unconforming heart, a heart animated by a wide variety of human expressions. Such an ideal of heartfulness pertains not only to politics but also to culture. The war against callousness cannot be won without the resources of culture. There is no more lasting education in human sympathy than an exposure to literature and the arts.

    The dwindling position of the humanities in American society is one of its most catastrophic developments. This journal, an independent journal, will take a side in this struggle. It will champion sensibility as well as controversy, and attend to culture with the same ardor with which it attends to politics. But it will refrain from aligning cultural criticism with political criticism, in grateful awareness of the multiplicity of the realms in which we lead our lives, and in awareness also of the insidious history of the synchronization of culture with politics. Pardon the counter-revolutionary thinking, but culture must never become politics by other means. Of course this is precisely what culture is becoming, thanks not least to the zealous synchronizers at the New York Times. (And at The New Yorker, which is what PM would have been if it had the money.) The autonomy of art threatens nobody and enriches everybody. The social and political origins of artists vitiate the freedom of art about as much as the social and political origins of thinkers vitiate the freedom of thought. When art is weaponized, it is compromised. Racial justice does not require the racialization of all things. And culture harbors no dream of consensus. An aversion to controversy is an aversion to culture, just as it is an aversion to democracy.

    Not least because it will appear only four times a year, this journal will not be in the business of rapid response to the emergencies and the imbecilities with which we are currently inundated. We will crusade, but slowly. There is a deeper reason for this counter-cultural pace. It is that the investigation into bigger ideas and larger causes takes time. If the sorting out of our intellectual pandemonium should not be conceived under the aspect of eternity, neither should it be conceived under the aspect of the news cycle. American journalists have brilliantly responded to an assault on their integrity and their legitimacy with a golden age of investigative journalism, but they cannot be expected to do more: the exposure of lies in a regime of untruth is as exhausting as it is essential. (How many synonyms are there for “madman”?) So in these pages we will be indifferent to the chyrons. There will be no quick takes and immediate reactions and emotional outbursts, nothing driven by velocity or by brevity. At this journal we are betting on what used to be called the common reader, who would rather reflect than belong and asks of our intellectual life more than a choice between orthodoxies. We are not persuaded that it is a losing bet. With a melancholy sense of the fragility of what we cherish, and with a bestirring sense of how much injustice there is in the country and the world, we wish to bring an old intellectual calling into a new era and see what together we can learn. Nothing quickens the mind like hope.

    Plagues

    Consider the plague. I mean the actual, literal, bubonic plague, the disease caused by the bacterium Yersinia pestis. In this pestilential season the subject has been impossible to avoid, because so many people are calling coronavirus “plague” — even though, as pandemics go, they have almost nothing in common. Plague has an astonishingly high fatality rate — between 50% and 80% of its victims die — but is rarely transmitted directly from person to person, traveling instead through the bites of infected fleas. Covid19, by contrast, is much more contagious but significantly less fatal. And there are other distinctions. While the plague comes with painful, swollen tumors, running sores, and putrid secretions, coronavirus leaves no visible marks on the body. Most victims will survive it. Some might never even know they had it.

    There has also been plenty of talk about Ebola and AIDS and influenza and what all of them have to tell us about the present crisis. (I have no intention of interpreting the present crisis). But plague has retained a special hold on the imagination. To Thomas Dekker, the Elizabethan hack pamphleteer, it was simply “the sicknesse,” a disease with “a Preheminence above all others…none being able to match it for Violence, Strength, Incertainty, Suttlety, Catching, Universality, and Desolation.” The Black Death is still the most deadly pandemic in recorded history. At its height, between 1348 and 1351, the disease may have killed half the population of Eurasia. It has only two close rivals for sheer morbidity: the Spanish influenza of 1918-1919 and the smallpox pandemic brought to the Americas by Europeans after 1492. Both events caused untold human suffering, but neither left behind the same long history of written records. That was because the plague kept coming back. Its periodic recurrences swept through Europe with devastating regularity until the 1770s, and continued to ravage the Ottoman Empire into the 1850s. For almost five centuries, it was not unusual for cities to lose a quarter of their population in a year.

    So when Asiatic cholera spread to Europe in the 1830s, a century after the last plague outbreak, it was swiftly termed “the new plague.” Newspapers from 1918 proclaimed that influenza was “just like a plague of olden times.” Yellow Fever was called “the American plague” when it struck Philadelphia in 1793, and early coverage of AIDS in the 1980s demonized its victims by calling it “the gay plague.” Like coronavirus, none of these diseases are particularly similar to bubonic plague. They have different symptoms, causes, biological agents, and epidemiologies. What they share is a particular social profile: all are epidemic diseases of unusual suddenness and severity. They take populations by surprise. Cholera was the most feared disease of the nineteenth century, not the more deadly and more familiar tuberculosis. Endemic childhood illnesses killed more people than the plague before the invention of vaccination, but they did not inspire nearly the same terror. Fear of plague is not just about death or pain: more fundamentally, it is the fear of not knowing what comes next.

    Unsurprisingly, plague literature is currently having a moment. Publishers have announced a flood of upcoming books about the coronavirus experience. Recent months have seen rising sales of everything from Boccaccio’s Decameron to Dean Koontz’s The Eyes of Darkness (a novel about a fictional bioweapon called the Wuhan-400 virus). Camus’ The Plague is a best-seller in Italy and Korea; Penguin is currently issuing a reprint. For a couple of days in March, Defoe’s A Journal of the Plague Year was actually sold out on Amazon.

    Defoe might not be the best-selling plague author of the moment (though it’s close), but he has almost certainly been the most reviewed. After all, the Journal is the original plague novel, and arguably the only genuine historical narrative of the lot. By reading Defoe, we can tell ourselves a story about what really happened in 1665, when the Great Plague swept through London — and by extension, what has really happened to us now. In just a few days I read that it “speaks clearly to our time,” offers “some useful perspective on our current crisis,” and gives an “eerie play-by-play” of recent events. And at times, reading the Journal really did give me an uncomfortable sense of familiarity. Vague rumors of the plague reach London. The threat is discussed, then dismissed. The government waffles. Deaths start to mount through the winter of 1664 and the spring of 1665. By the time quarantines are established, schools closed, and public events  banned, it’s too late to prevent the worst. There is flight, uncertainty, panic, and lots of hoarding. Grocery shopping is perilous — careful vendors make sure never to touch their customers and keep jars of vinegar on hand to sanitize coins. Quack doctors peddle toxic “cures” and citizens obsess over mortality statistics. Everyone is constantly terrified and also somehow really bored.

    And then there is the famous ending:
    A dreadful plague in London was 
    In the year sixty-five,
    Which swept an hundred thousand souls  Away; yet I alive!

    I suspect that this is the true appeal of plague literature: the narrator always survives to tell the story. The glimpses of the present that we find in Defoe or Camus or Manzoni have a kind of talismanic effect, somewhere between a mirror and a security blanket. The more similarities we find — and judging by the current spate of writing about plague literature, there are always a great deal of “striking parallels” — the easier it is to tell ourselves that things will play out the same way. This, too, shall pass. My copy of the Journal is only 192 pages long and at the end of it the outbreak is over.

    There is nothing wrong with seeking this kind of comfort, but it does make me wonder: what is hiding behind the reassuring promise of human universals? If you read a lot of plague novels, you will notice that they tend to hit similar beats. The threat is dismissed, things get worse, quarantines are imposed, city-dwellers flee, the rule of law breaks down, we learn a very valuable lesson about man’s inhumanity to man and emerge on the other side not unscathed but wiser. Another advantage of fiction over reality is that everything occurs for a reason. Epidemics create a natural backdrop for extreme heroism or extreme selfishness. The disease itself, an inhuman killer that turns fellow-survivors into existential threats, naturally lends itself to allegorical interpretation. Plague is a divine punishment (Defoe) or a parable for totalitarianism (Camus). If we expand the genre a little, it is the inevitability of mortality (Edgar Allen Poe), a device to pare civilization down to stark moral binaries (Stephen King), or whatever it is Thomas Mann is doing in The Magic Mountain —  it is anything at all, that is, except a real disease. By treating fiction as a window into the past, we substitute a particular author’s attempt to make meaning out of meaninglessness for the full, complicated, messy range of responses which every outbreak has inspired.

    A Journal of the Plague Year is a particularly strong object lesson in the creative and purposeful appropriation of history. Defoe was five years old in 1665, too young to remember the epidemic in much detail. He wrote the book almost sixty years later, in response to an outbreak of the plague in Marseilles. Then as now, it was a good time for plague writing: 50,000 of the city’s 90,000 inhabitants had perished, and fears were high that the disease would cross the channel. Parliament issued new quarantine laws. Public fasts were proclaimed. The book was an instant success. Defoe paints a truly apocalyptic picture of London in the grip of the worst outbreak in its history: mass hysteria, corpses rotting in the streets, infants smuggled out of infected houses by desperate parents, the agonized screams of the dying in an unnaturally quiet city. Above it all, there is the omnipresent fear that an incidental touch or stray breath from a seemingly healthy person could spread the contagion.

    Critics have spent the better part of the past three hundred years debating just how accurate this portrait really is. Defoe liked to mix fact and fiction. Just four years earlier, he had published Robinson Crusoe as an authentic travelogue (it sold thousands of copies). The Journal also purports to be a factual account, “written by a Citizen who Continued All the While in London.” When the book was published in 1722, the great plague was still within living memory, and Defoe’s account rang true enough that his contemporaries largely accepted it as fact. His pseudonymous narrator, H.F., freely cites real mortality statistics, veiled or overt references to historical figures, and anecdotes found in genuine accounts of the plague year. Few scholars would go as far as his most peevish defender, Watson Nicholson, who asserted in 1919 that “there is not one single statement in the Journal, pertinent to the history of the Great Plague in London, that has not been verified” — but there is no denying that Defoe did his research.

    At the same time, Defoe’s concerns in the novel have at least as much to do with the present as the past. In the first place, horror sells. Defoe, who ghost-wrote the memoirs of a notorious thief to sell at his execution, was well aware of the commercial value of ghoulishness. He also had definite opinions about public health legislation. Defoe was a vocal advocate of the government’s new and highly unpopular maritime quarantine laws, which included an embargo on trade with plague-stricken countries. In the Journal, he portrays the similar restrictions put in place in 1665 as necessary life-saving measures. True, he acknowledges, they are costly and inconvenient — but that hardly seems relevant in the face of his catastrophic account of the alternative.

    While in favor of maritime quarantine, Defoe was one of a growing number of critics in the seventeenth and early eighteenth centuries who opposed the practice of impris-oning whole families in their homes at the first sign of infection. Some of the book’s most bone-chilling anecdotes are devoted to this “cruel and Unchristian” practice, which increased death tolls, he argued, by shutting up the healthy with the sick, and was in any case ineffective, since the plague was most contagious before its symptoms were evident. (Notably, household quarantine was not one of the provisions adopted in the controversial Quarantine Act of 1721. Here, too, H.F.’s recommendations for containing the disease support the tottering Whig government.)

    Defoe’s account of London in 1665 reflects the particular polit-ical conditions of London in 1722, but it also draws on a much older tradition of English Protestant plague writing.

    By 1665, plague was a very familiar occurrence. “It was a Received Notion amongst the Common People that the Plague visited England once in Twenty Years, as if after a certain Interval, by some inevitable Necessity it must return again,” wrote Nathaniel Hodges, one of the few physicians to remain in London during the Great Plague. In fact, its recurrences were even more frequent: an elderly Londoner in 1665 would have witnessed seven plague outbreaks in his or her lifetime, and only one interval of more than two decades without a visitation.

    The plague inspired unequaled terror, accompanied by intense religious fervor. Since it was universally accepted that the disease was a manifestation of divine vengeance, plagues made for powerful rhetorical tools in sectarian disputes. Under Queen Mary, plague was the consequence of Protestantism; when Queen Elizabeth restored the Anglican church, it was blamed on Catholics. Nonconformists were especially well-placed to take advantage of the revivals which nearly always accompanied outbreaks. Thomas Vincent, a Puritan minister who continued to preach in London through the worst months of 1665, noted that his sermons had never been so well-attended: “If you ever saw a drowning man catch at a rope, you may guess how eagerly many people did catch at the Word, when they were ready to be overwhelmed.” It didn’t hurt that Puritanism stressed emotional piety with an emphasis on sin, punishment, and predestination — all popular themes during outbreaks of a horrific disease that seemed to strike at the virtuous and the wicked indiscriminately.

    For Anglican and Nonconformist ministers alike, the plague was an opportunity to frighten a very receptive audience back into God’s good graces. Their grotesque eyewitness accounts and graphic descriptions of the suffering of plague victims warned readers of the consequences if they failed to repent. Defoe was raised a Calvinist and once intended to pursue a career as a minister. His stock of metaphors, anecdotes, and moral tales recalls the preachers and pamphleteers of earlier outbreaks. Like them, the Journal features lengthy excurses on the plight of the poor, the corruption and hypocrisy of the court, the benefits of piety and charity, and the grisly details of what a bubo really looks like up close. Defoe waxes especially poetic on the stench they emit while being lanced.

    The authors of these materials were quite willing to exaggerate certain details in the interest of leading their readers to religion. In reality, the Great Plague subsided gradually, with deaths returning to pre-plague levels by February 1666. Defoe, in one of his few outright falsehoods, has the plague end abruptly: “In the middle of their distress, when the condition of the city of London was so truly calamitous, just then it pleased God … to disarm this enemy.” This sudden reprieve cannot be attributed to medicine, public health, or anything but “the secret invisible hand of Him that had at first sent this disease as a judgement upon us.” This is where Defoe drops the pretense that he is writing a history book. His words are a warning to the reader: beware. Quarantine laws are all to the good, but if you do not repent, nothing on earth can save you.

    The Great Plague provoked just as much apocalyptic preaching as any other outbreak, but intense religiosity was not the only or even the dominant response. Indeed, the 

    biggest difference between Defoe’s Journal and the diaries of actual plague survivors is how much less the plague features in them. When we consider the scope of the disaster — 100,000 dead, large-scale quarantines, the total cessation of public life — it is hard to imagine how anyone who lived through it could think about anything else. Remarkably, they could and they did. “It is true we have gone through great melancholy because of the great plague” wrote Samuel Pepys, the least inhibited diarist in seventeenth-century England, but “I have never lived so merrily (besides that I never got so much) as I have done this plague time.”

    The Journal picks up in September 1664, with the first rumors of an attack of the plague in Holland. Pepys doesn’t mention the plague at all until the end of April 1665, and then drops the subject entirely for another month. By summer, the traditional peak of the plague season, the epidemic had grown impossible to ignore. John Evelyn, another diarist, first brings up the plague in his entry for July 16: “There died of the plague in London this week 1,100; and in the week following, above 2,000. Two houses were shut up in our parish.” Both men shared Defoe’s interest in mortality statistics. The numbers punctuate Evelyn’s diary for the next few months: “Died this week in London, 4,000.” “There perished this week 5,000.” “Came home, there perishing near 10,000 poor creatures weekly.” But between them, life goes on. Evelyn goes about his business as a commissioner for the care of sick and wounded sailors and prisoners of war. (Unsurprisingly, he is very busy.) He pays social calls. His wife gives birth to a daughter. The plague clearly weighed on his mind, but Evelyn treats it matter-of-factly. The disease is frightening, inconvenient, and a nuisance at work, but it is not the end of the world.

    Throughout the months of August and September, Pepys manages to fit a regular diet of plague-related anxiety in and around more important topics such as food, sex, and earning large quantities of money. He worked as a naval administrator, and the Anglo-Dutch war provided good opportunities for business. In his diary, Pepys is equally assiduous in recording plague mortality, monetary gains, and the “very many fine journys, entertainments and great company” which he consistently manages to provide for himself. The frequent, intense, and jarring juxtaposition of life and death makes for a bizarre reading experience. In a typical entry, Pepys enjoys a venison pasty with some business associates, complains of a mild cold, spends a pleasant evening with his family, and remarks that fatalities have jumped by almost 2,000, bringing this week’s total to 6,000 — though the true number is probably higher.

    It’s not that Pepys is insensitive to the suffering around him —  in fact, he seems keenly aware of it. He records his grief at the deaths of friends and servants, his own fears, the dismal mood in the city. At the same time, he seems to possess a preternatural ability to experience everything fully, from existential dread to a particularly good breakfast. For him, the greatest disaster in living memory is just another part of life. In his entry for September 3, which I can’t help but quote at length, Pepys describes his morning toilette: “Up; and put on my coloured silk suit very fine, and my new periwigg, bought a good while since, but durst not wear, because the plague was in Westminster when I bought it; and it is a wonder what will be the fashion after the plague is done, as to periwiggs, for nobody will dare to buy any haire, for fear of the infection, that it had been cut off of the heads of people dead of the plague.” What indeed will the plague do to periwiggs? The question is so delightfully specific. Nobody but a fashion-conscious seventeenth-century Londoner could possibly think to ask it. In its concreteness it sticks in my mind more than any given passage in Defoe, or any observation about the universal effects of epidemics. Here the disease is human-scale, an event in a particular place and a particular time, a cause of small vanities as well as mass tragedies.

    The specific has more sticking power than the general — which is another reason we look to Defoe. The Great Plague of London seems so familiar to modern readers not because there is some fundamental human response to outbreaks of infectious diseases, but because the reactions it inspired were so different from the medieval outbreaks that came before it. Everything from enforced isolation to widespread fear of infection and attempts to understand the plague’s progress were relatively new developments. The practice of quarantine emerged in northern Italian city states in the aftermath of the Black Death, along with systematic methods of state surveillance, recorded death tallies, and dedicated plague hospitals. This apparatus of plague regulation diffused gradually throughout Europe. By the turn of the seventeenth century, England had official mortality statistics and punitive sanctions to enforce home quarantine.

    The outbreak of 1665 marked another transition. Rather than an unpredictable act of providence, the plague became a predictable act of providence: while still a manifestation of divine punishment, it was carried out through natural means and could be discussed in detached and objective terms. (This development also began in Italy, but there is no great English-language novel of the plague in sixteenth-century Milan.) The Great Plague was the first outbreak in which the discourse of naturalism prevailed, and medical treatises on plague outnumbered religious ones. This medical literature included recipe books of cures and prophylactics, lengthy volumes on the nature of the disease, and theoretical debates carried out in pamphlets and broadsides. While medical writers all acknowledged God as the “first cause” of the epidemic, they established a clear separation between religious and naturalistic inquiry.

    It is tempting for the modern reader, looking back on the past with the benefit of hindsight and germ theory, to treat religious etiologies of plague as a response to a lack of available medical explanations. In fact, early modern Londoners had no shortage of naturalistic causes to choose from. A list by Gideon Harvey, a Dutch-born and Cambridge-educated member of the Royal College of Physicians, includes “great Inundations, Stinks of Rivers, unburied Carcases, Mortality of Cattel, Withering of Trees, Extinction of Plants, an extraordinary multiplication of Froggs, Toads, Mice, Flies, or other Insects and Reptils, a moist and moderate Winter, a warm and moist Spring and Summer, fiery Meteors, as falling Stars, Comets, fiery Pillars, Lightnings, &c. A ready putrefaction of Meats, speedy Moulding of Bread, briefness of the Small Pox and Measles, &c.” Other proposed sources of the plague included rotten mutton, imported carpets, and a particular dog in Amsterdam. 

    William Boghurst, an apothecary who remained in London during the plague, took a cynical view of these lengthy traditional lists: “because they would bee sure to hitt the nayle, they have named all the likely occasions they could think of.” Noticing that most of the commonly listed causes related to dirt or rot, he traced the origin of the plague to corrupt particles lurking in the earth. Like many others, his theory combined the two dominant explanatory frameworks for disease in Early Modern Europe. The classical explanation, derived from the Greek physician Galen, connected plagues and other infectious diseases to miasma, or poisonous effusions from rotting organic matter. The more modern contagionist view held that the plague could be transferred invisibly from person to person. Boghurst believed that outbreaks began when miasmas rose from disturbed earth, and quickly spread through contagion. In a similar vein, Harvey wrote that “the Plague is a most Malignant and Contagious Feaver, caused through Pestilential Miasms.”

    The fear of contagion drove Londoners to measures that even Boghurst considered excessive. He complained of the extreme lengths to which his patients would go to avoid even incidental contact: “for example, what care was taken about letters. Some would sift them in a sieve, some wash them first in water and then dry them at the fire, some air them at the top of a house, or an hedge, or pole, two or three days before they opened them … some would not receive them but on a long pole.” He was right — though he had no way of knowing it — that the plague bacterium does not live for very long on paper. But frightened citizens were eager to implement the mass of medical knowledge suddenly made available to them.

    As we have seen, this enthusiasm for information had a statistical bent. The city of London started to publish weekly bills of mortality during the outbreak of 1592. During times of plague, Londoners enthusiastically read, reprinted, and circulated the bills, which they used to track the progress of the disease from parish to parish. In 1662, John Graunt published the first statistical analysis of the data in his Natural and Political Observations Made upon the Bills of Mortality. Graunt argued that the number of deaths which the bills attributed to the plague during past outbreaks was inaccurate, and speculated that reporting was less than reliable. When the plague struck again in 1665, many Londoners adopted a similarly critical attitude to the reported death rates, suggesting that some groups (Quakers, the poor) might be undercounted, or that fatalities from other diseases were being reported as plague deaths.

    The weekly bills gave rise to one of the weirder genres of English plague publishing: the “Lord Have Mercy” broadside, named for the title which nearly all of them shared. These documents, which were reprinted almost identically in each outbreak, usually included a prayer, a woodcut, some remedies, maybe a poem, and mortality statistics from six or seven previous visitations. Examples from 1665 typically featured data from 1592, 1603, 1625, 1630, 1636, 1637, and the current week. They also included pre-printed headings for the next few weeks or months for the reader to fill in as the epidemic wore on.

    For anyone who has checked the numbers, again, just to see if they have changed, it is not hard to imagine what people got out of this practice. But the historical data is harder to interpret. Knowing how many people died in 1636 is not particularly useful in 1665. Why did Londoners want this? And why did they want it again and again in exactly the same form? Of course, this is the central question of plague literature in general. When historians discuss it, they tend to use phrases like “conventional and derivative” or “a vast and repetitive outpouring.” It is, famously, boring.

    In outbreak after outbreak, plague tracts featured the same assortment of prayers, cures, and exhortations to repent. They also shared the same stories. Some served as cautionary tales: a wealthy man refuses to assist a plague victim and immediately falls ill. Another is struck down after boasting about  his own safety. Premature interment is a common theme. One of Defoe’s anecdotes concerns a drunk piper who passes out in the streets and is loaded onto a dead-cart, only to wake up just as he is about to be buried. In another variant of the story, he is tossed into a plague pit and terrifies the sexton the next morning by calling out from the grave. In yet another, he is thrown out of a tavern for fear that his dead-sleep will  be mistaken for actual death and the whole establishment  will be declared infected.

    The same tale appears in the memoirs of Sir John Rareseby, a bona fide survivor of the plague of 1665, who certainly believed it to be both true and current. “It was usual for People to drop down in the Streets as they went about their Business,” he reports, and it may well have been — but the tale of the drunk piper also appears in plague tracts from 1636 and 1603. Repeated over decades or even centuries, these stories imposed a kind of narrative order on outbreaks. The residents of an infected city knew what to expect when the plague came. They were so familiar with the cultural scripts that they began to see them everywhere.

    The extent to which first-person plague narratives draw on earlier accounts makes it difficult to tease out the subjective experience of individual survivors. “To a degree, interpretations and responses to plague were copied and taught, not reinvented and coined afresh whenever plague occurred,” the historian Paul Slack has observed. When Samuel Pepys and John Evelyn talk about grass growing in the streets of London in 1665, they are quoting Paul the Deacon a thousand years earlier (whether they know it or not), and nearly everybody is citing Thucydides nearly all of the time. His account of the plague in Athens in 430 B.C. is the source of innumerable plague tropes, from the image of bodies lying unburied in the streets to the moral lesson that the disease brings about the collapse of social order. As with Sir John Raresby, there is no reason to believe that later chroniclers used these common-places intentionally to mislead. Expectations have a powerful ability to shape perception. Through them, the disease is tamed, familiarized, and given meaning.

    We are among the first human beings for whom the experience of a disease outbreak so severe and wide-ranging is outside of living memory. Our generation has inherited no familiar stock of coronavirus parables; no script that tells us exactly why we are suffering; no sheets of mortality statistics with an empty space left over for next time. Our fascination with plague literature is a sign that some things never change: this desire to tell and retell stories puts us in the company of every other set of survivors in recorded history. The instinct to impart structure and purpose to a fundamentally purpose-less crisis might be the only truly universal response to life in a pandemic. That we should feel it so strongly is all the more remarkable in a society as blissfully and unprecedentedly pandemic-free as the developed world was at the beginning of the twenty-first century. But no more: now we have narrative resources of our own, stories of contagion and endurance and recovery, to bequeath to the vulnerable who come after us. When faced with the unimaginable, we did what we have always done: look back.