Climate Change and the Primacy of Politics

    I.

    Wind turbines do not “cause cancer.” Offshore wind farms are not “driving whales loco.” And wind power is not “the most expensive form of energy,” no matter what the president of the United States says. It’s one of the cheapest.

    Donald Trump tells lots of dopey lies about wind. “If you have a windmill anywhere near your house, congratulations, it just went down seventy-five percent in value.” No, studies have found virtually no impact on home prices. “The whole thing is a con job. Germany tried it, it didn’t work.” No, wind is Germany’s largest source of electricity. “You won’t find any wind farms in China.” No, China has more wind farms than the rest of the world combined. “You want to see a bird graveyard? Go under a windmill. You’ll see more than you’ve ever seen in your life.” No, wind turbines cause 0.01 percent of bird deaths, orders of magnitude fewer than cats, cars, or windows. ”The turbines start to rust and rot in eight years.” No, they don’t. They just don’t.

    It is true, as the president often points out, that wind farms do not generate power when the wind isn’t blowing. But electric utilities in Republican-controlled Texas, which is America’s top wind-producing state despite its oil-soaked politics, are aware of this meteorological complication, which is why the story that Trump loves to tell about a Texas woman on a windless night rings about as true as his carcinogenic turbines or loco whales: “She says to her husband, ‘Is the wind blowing? I’d love to watch a show tonight, darling, but the wind hasn’t blown for three days. Darling, please tell the wind to blow.’”

    It’s all bullshit, darling — but consequential bullshit, because the president of the United States has launched an all-out war on the wind industry. He has not only cut off federal subsidies, he has also weaponized the federal bureaucracy to block new turbines, from the Department of Transportation, which is reviewing their alleged risks to planes and railroads, to the Department of Health and Human Services, which has suggested they might emit electromagnetic death rays. The Departments of the Interior and Defense have even shut down work on offshore wind farms already under construction, concocting bogus national security justifications about how they might interfere with military radar or somehow facilitate underwater drone attacks.

    Much of the commentary about Trump’s anti-wind campaign has emphasized its hypocrisy. He claims to want Energy Dominance — he declared a national emergency because our energy supply is supposedly inadequate — but he is relentlessly throttling a fast-growing energy source that already provides ten percent of our electricity. He claims energy prices are too high, but he is regularly intervening in energy markets to prop up exorbitantly expensive coal plants while cracking down on affordable wind. He is using bird protection laws to harass wind developers while loosening those laws for oil and gas companies that kill far more birds. He is forcing lickspittle lackeys like Interior Secretary Doug Burgum — who was a wind supporter when he was governor of North Dakota! — to spew preposterous talking points about how wind doesn’t work. 

    Yes, it’s all hypocritical. But it’s also terrible. As naive as it sounds, presidents should not lie. Presidents should not flout laws and gouge consumers and pretend to care about birds and whales in order to cripple industries they hate. 

    What’s really terrible about Trump’s jihad is that wind power is clean power, while his beloved coal and gas plants emit greenhouse gases that trap heat in the atmosphere. He claims that climate change is a hoax, but that is rubbish, too. Climate change is real, it is here, it is man-made, and it really is a problem. There hasn’t been this much carbon in the atmosphere in three million years. The earth has not heated this quickly in 485 million years. Global warming is already contributing to vicious wildfires in California and even Siberia; freakish heat waves in Arizona and West Africa; unprecedented ice melts in Greenland and Antarctica; catastrophic floods in North Carolina and Pakistan; and biblical swarms of locusts in India and Kenya. The last ten years were the ten hottest years on record, and swarms of locusts are generally reliable indicators that things are not going so well.

    That said, some climate activists have an annoying habit of exaggerating how badly things are going. Global warming is making droughts and floods worse, but it is not making them happen. In fact, global warming does not always make everything worse; tropical hurricanes, for example, do not seem to be getting more frequent, defying a lot of shrill eco-catastrophism. Apocalyptic rhetoric about how it’s game over for the climate if we do not cut greenhouse emissions 43% by 2030 is not only annoying but wrong. There’s no such thing as game over for the climate. Carbon gradually accumulates in the atmosphere, so the earth gets a tiny bit warmer every time a fossil fuel is combusted or a forest is clear-cut. So it’s true that the more carbon we emit, the worse disasters such as Superstorm Sandy or the current mega-drought in the Horn of Africa will get, and that the earth will keep getting warmer until we somehow start removing more carbon from the sky than our cars and buildings and power plants and deforestation and wildfires are putting up there. But there is no inflection point where we all suddenly die or are all doomed. There is only better and worse.

    And some things are getting better. The costs of wind energy and especially solar energy — as well as batteries to store wind and solar electricity when it isn’t windy or sunny — have plummeted. A global clean-energy revolution is underway; ninety percent of new power plants are now zero-emissions. Less than two decades after the documentary Who Killed the Electric Car? bemoaned humanity’s unbreakable addiction to gasoline-fueled transportation, a quarter of new automotive sales are now all-electric. The UN’s consensus business-as-usual scientific forecast for warming in 2100 has improved from an unfathomably hideous five degrees Celsius to under three degrees — still awful, but not human-extinction awful. It would be nice if more environmentalists acknowledged that better is better than worse.

    Climate issues are more complicated than the nose-ringed Just Stop Oil pests who glue themselves to museums or the contemptuous Bluesky in-crowd that snarks about insufficiently radical Democrats would have you believe. The climate left is often clueless about politics, and sometimes also about climate; the knee-jerk naysayers who fight zero-emissions nuclear plants, solar panels in tortoise habitats, and the transmission lines necessary to distribute renewable power to metropolitan areas are not doing the environment any favors. I recently wrote a book about the food piece of the climate problem, and it’s appalling how many enviros are making it worse by pushing fake solutions like farm-grown biofuels and organic agriculture.

    Honestly, though, it feels nutty to nitpick activist excesses when Trump is gleefully and relentlessly trashing the climate. He is almost as hostile to solar as he is to wind, even though solar is as transformative a technology as artificial intelligence. “We will not approve wind or farmer destroying Solar,” he announced, in defiance of all kinds of laws, on Truth Social. “The days of stupidity are over in the USA!” (An epitaph if there ever was one, from the scientific savant who routinely hails the existence of winter weather as proof that global warming isn’t real.) Do we really need to harp on the left’s ill-conceived crusades against fracking, plastic straws, and chemical fertilizer when Trump and his thugs are proclaiming unlimited power to crush renewables, bragging about their “concierge, white-glove service” for fossil-fuel interests, and defending a foreign invasion with petro-imperialist rhetoric straight out of Just Stop Oil’s fever dreams? I think we do, if we are sincere about fixing the problem someday, but we also need to acknowledge that our harping will not help much right now.

    It is boring to point out that the orange man is bad on climate, but the orange man is very bad on climate. He is a deranged and tireless advocate for carbon pollution. He is surrendering the race to lead the energy economy of the future to China. And for climate obsessives like me, he is a frustrating distraction from more interesting debates that will help shape the future of our country and our species long after he is gone. I suspect that immigration obsessives, rule-of-law obsessives, and other wonks who cringe at the excesses of Trump’s “resistance” critics even though Trump is very bad on their issues can relate. We are in a politically and rhetorically tricky position.

    So let us stipulate his unmitigated climate badness, and try to think about how to make the best of this bad situation. What should those of us who prefer less badness focus on as Trump takes aim at our atmosphere? What should we freak out about and what should we roll our eyes about? And what is a realistic save-the-climate strategy for this screw-the-climate era?

    II.

    If Kamala Harris were president and the Democrats held Congress, we would be talking about very different climate questions. Would the efficiency benefits of carbon taxes on fossil fuels, red meat, and other high-emissions products justify their political cost? Should the generous subsidies for solar, wind, electric cars, and other climate-friendly technologies in the Democrats’ Inflation Reduction Act be expanded or merely extended? How much more should Washington increase its spending on energy and agriculture research? How can America, which is now responsible for twelve percent of global emissions, use its leadership to help the rest of the world rein in the other eighty-eight percent?

    Obviously those questions are currently irrelevant. Trump has gutted environmental regulation and enforcement, slashed research funding, yanked America out of the global climate community, and teamed up with the Republican Congress to roll back Biden’s green subsidies. You don’t have to be a conspiracy theorist to believe that he’s in cahoots with petro-dictators in Russia and the Middle East as well as the American petro-giants he has invited to Venezuela. You just have to read the news.

    The first relevant question to ask amid this tsunami of terribleness is whether all American climate progress is dead as long as the climate deniers control Washington. The answer is, not necessarily, or at least not entirely. 

    For example, even though most congressional Republicans are now hostile to wind and solar — and the others won’t buck Trump — there is bipartisan enthusiasm for geothermal projects that transform underground heat into clean round-the-clock energy. The same is increasingly true for nuclear power, which is also clean and continuous, albeit costly and hard to build; to their credit, most green groups and non-hippie Democrats now acknowledge its importance. And solar has gotten so cheap and awesome that Republican opposition can only slow its expansion; Democratic states and cities (foreshadowing alert) can help to accelerate its growth — as well as batteries, heat pumps, electric-vehicle chargers, and other green stuff — with supportive policies. This would also be a nice time for Democrats to stop flacking for corn ethanol and other biofuel boondoggles — climate disasters masquerading as climate solutions that enjoy bipartisan support only because Democrats keep pandering to farmers who will never vote for them.

    The most prominent debate with bipartisan potential, over “permit reform,” is trickier. These days, the main obstacle to clean energy development is no longer cost; it is the maze of legal and procedural roadblocks that give opponents enormous power to delay and block projects. Many environmentalists hate permit reform, because they like delaying and blocking permits, and a more streamlined process could accelerate fossil-energy projects as well as clean-energy projects. But since clean energy, as enviros often remind us, can usually outcompete dirty on a level playing field, the climate benefits of easing all energy permitting would far outweigh the costs. It is more important to help clean alternatives that can reduce demand for fossil fuels get even cheaper and more abundant than it is to try to stop American companies from supplying fossil fuels that consumers still demand. The Stone Age didn’t end because of restrictions on stone extraction, which is why after decades of no, smart environmentalists are learning to say yes. 

    Except that they really can’t say yes to reform right now, because Trump would make them look silly. As long as he can keep halting permitted clean-energy projects, permit reform would just be dirty-energy permit reform.

    So climate progress in the United States, while conceivable, will be a tough slog until the November midterms, when Democrats have a chance to break up the Republican monopoly on federal power. (More foreshadowing!) The immediate challenge is to distinguish catastrophes from annoyances, the truly destructive and irreversible badness from insignificant or temporary badness. It is also wise to focus on stoppable badness. Judges are already blocking Trump’s attacks on permitted wind farms. And why not force his team to spend time and energy defending the indefensible, like its refusal to enforce air or water pollution laws for the filthiest and creakiest coal plants? Even though there is really no way to force environment-haters to protect the environment, it’s a righteous and popular fight to pick. The same goes for resistance to Trump’s assaults on research and data collection. Nobody asked for that, and the politics of climate matters. (Last foreshadowing alert!)

    On the other hand, a lot of the news that triggers climate hawks is less important than it sounds. Climate progress can be measured simply — by how much and how quickly the world reduces emissions — so the various pledges and deadlines that get walked back and extended by nations and corporations don’t matter much. Actions and legislation are what affect emissions. Similarly, it’s fine to be angry that Trump pulled the United States out of a slew of global climate agreements, but we wouldn’t honor those agreements anyway while he’s president, and we can always rejoin once he’s gone. More troubling is the way Trump used the threat of tariffs and visa restrictions to bully the rest of the world into scrapping a deal to slash emissions from the shipping industry. Our mad king successfully exercised American power on behalf of global warming — and once the deal was scuttled, he enacted tariffs and visa restrictions anyway.

    The most contentious debate in climate circles — it is related to permit reform — is whether to focus on fighting drilling projects, pipelines, new terminals for exporting liquified natural gas, and other new fossil-fuel infrastructure in the United States, or whether activists should pivot to yes-environmentalism focused on promoting clean energy. 

    The correct answer is: Pivot! The way to phase out dirty is to make clean even more affordable and reliable. The way to do that is to build more wind and solar to achieve greater economies of scale, more battery storage to make wind and solar less intermittent, more transmission lines to deliver it to consumers, and more electric-vehicle chargers to combat the range anxiety that is slowing the transition away from gasoline. And the center-left writer Matthew Yglesias was right to argue not long ago in the New York Times that American fossil energy is usually cleaner than foreign fossil energy, even though the climate movement’s hall monitors absurdly denounced him as a denier. Energy markets are complex, and Yglesias arguably overstated the climate benefits of expanding American oil production, but restricting it wouldn’t help, either; other countries will supply the oil we consume until we don’t consume it anymore. And blocking all natural gas is definitely counterproductive, especially now that the rush to build AI-driven data centers is creating a rush to build new power plants to meet projected spikes in electricity demand; electrification is vital for decarbonization, and gas-fired electricity is much cleaner than coal, even if it isn’t clean as wind or solar.

    Yglesias also pointed out that the all-of-the-above approach to energy is more popular than all-out opposition to fossil fuels, especially in states such as Pennsylvania (which does a lot of fracking) and Michigan (which has a lot of conventional vehicle factories). Polls suggest that climate is an extremely low priority for most American voters, largely because they associate it with environmental sacrifices that create higher prices. That is no longer always true — coal is fading because it is no longer cheap — but sometimes it is true. Even if it were never true, there is a good reason that President Obama touted the all-of-the-above approach in swing states, and that center-left leaders in Mexico and Canada support their petroleum industries. Just Stop Oil is a terribly unpopular message.

    And politics, after all, is a popularity contest.

    III.

    Climate politics are inherently tough. How do you get voters to care about an invisible and mostly imperceptible enemy such as carbon dioxide? A few extra degrees of warmth by 2100 doesn’t sound so horrific, especially to people who will not be alive in 2100. Americans like sport-utility vehicles, cheeseburgers, air conditioning, plastic toys imported from Asia, moving sidewalks, and other planet-warming stuff. They are less fond of policies that force them to make sacrifices to reduce emissions without forcing other countries to make the same sacrifices.

    And yet America has enacted some climate-friendly policies. Obama’s stimulus in 2009 poured an astonishing $90 billion into clean energy, jump-starting solar, electric cars, and LED lighting. Biden’s Inflation Reduction Act, the most ambitious climate law in world history, had over four times as much green spending. Blue states such as Colorado, Washington, and Minnesota have also passed massive climate initiatives, as have blue cities such as Chicago, Los Angeles, and New York.

    It turns out that there is one foolproof strategy to ensure better climate policies. This “one weird trick,” as the climate writer David Roberts calls it, does not involve throwing soup at famous paintings, or talking about the climate in ways that emphasize hope or fear or relatable storytelling, or talking about the climate at all. It is not about mobilizing climate voters, or building bridges to climate skeptics, or persuading ordinary Americans that climate change is already affecting their lives right now.

    The one weird trick is to elect Democrats.

    I recognize that this is an awkward point for a nonpartisan journalist to make, but it’s simply a fact that Democrats almost always try to enact policies that help the climate, while Republicans almost always try to block and reverse them. Every Democrat in Congress voted for the Inflation Reduction Act; every Republican voted no. The worst Democrat on climate, Senator Joe Manchin from the coal country of West Virginia, got the bill across the finish line, even as climate activists ferociously attacked him as a planet-killer; the best Republicans on climate all tried to stop him. Climate policy has become another symbolic battlefield in America’s political-cultural wars, with Trump trashing anything climate-related as part of a communist-elitist Green New Scam designed to force real Americans to eat bugs; Democrats seizing the issue as a metaphor for Neanderthal Republican hostility to science and facts; and Republicans opposing anything Trump is against and libs are for. But it doesn’t really matter why the issue has become so partisan. What matters is that it has.

    This idea that climate action depends on the electoral success of Democrats, rather than their climate rhetoric or commitments, has uncomfortable implications for climate activism. It suggests green groups should stop pressuring Democratic candidates in states such as Texas and Ohio to embrace Green New Deal talking points about a hundred-percent renewable grid or climate justice for minorities, and give them a pass to take more moderate positions that enhance their electability. Ivory Soap environmentalism that rejects 99.44 percent pure as a sellout to Big Oil — such as the activists who held a sit-in in Nancy Pelosi’s office and gave Joe Biden’s absurdly ambitious $1.7 trillion climate proposal an F-minus grade — does not seem like a realistic path to electoral majorities. Activists angry about Arizona Democratic Senator Ruben Gallego’s vision of the American Dream as a big-ass truck should probably keep their anger to themselves. If Mary Peltola thinks supporting Alaska’s oil industry will help her flip its Senate seat blue, they should pretend not to hear her — unless she actually wants them to attack her, in which case they should oblige. 

    Certain “eco-realists” believe Democrats should stop talking about climate at all, since it polls poorly and reminds voters of Democratic attitudes that they dislike; that is a bit extreme, I think, since denying climate science and throttling wind farms also polls poorly. Yet it’s certainly true that activists who bash Democratic #ClimateSilence and demand maximalist climate promises are not doing the climate any favors. Neither Zohran Mamdani, the Democratic socialist mayor of New York, nor Abigail Spanberger, the Democratic centrist governor of Virginia, talked much about climate on the campaign trail, but both won, and both will be climate-friendlier than their opponents would have been. Even Tom Steyer, the billionaire climate activist who ran for president in 2020 on a climate platform, is soft-peddling climate now that he is running for governor — in California!

    What they’re all talking about instead is “affordability,” because Americans are much more upset about high prices than high atmospheric carbon levels. There is a reason why the Inflation Reduction Act wasn’t called the Climate Change Prevention Act. Even environmental groups have pivoted to affordability, pointing out that Trump’s assaults on wind and solar are jacking up energy prices. Of course, they do not also point out that Trump’s drill-baby-drill approach to oil and gas can decrease energy prices. They hate fossil fuels way more than they love affordability.

    Politics is not like climate science, where models can predict with some precision how various inputs will change the world, so reasonable people can disagree about what Democrats and climate advocates should say and do if their objective is maximizing Democratic electoral success. I suspect low-volume moderation that appeals to swing voters will work better than heighten-the-contradictions extremism that fires up base voters, but I am a moderate, so maybe I am wish-casting. I also suspect that deprioritizing climate issues will make Democrats more popular, but I am a climate obsessive, so I hope I’m wrong.

    Clearly, though, maximizing Democratic electoral success should be the objective. The environmental regress in Trump’s Washington’s will continue unless Democrats take back at least one house of Congress later this year. How else will they stop Trump from shutting down climate labs, grounding satellites that collect climate data, and terminating grants that include the word “climate”? And significant climate progress in America will be impossible unless Democrats take back the White House and Congress in 2028; that is the only way to undo Trump’s mishigaas, and to enact new laws and regulations (remember regulations?), and to rejoin the global climate community. Yet very few climate leaders or climate analysts like to admit that partisan political victories ought to be the top American climate priority. It’s unsatisfying. It feels so, well, us versus them. It is certainly orthogonal to the factional and ideological battles inside the Democratic party that many find more inspiring, urgent and even enjoyable. It doesn’t get as many clicks.

    These observations about the unavoidability of raw politics apply just as well to the immigration crisis, the rule-of-law crisis, and all the other crises Trump has created. I don’t know whether “Abolish ICE” is good politics or bad politics for Democrats, but I do know that the political question is more important right now than the policy question, because the only path to better immigration policy is to beat Trump and the Republicans. The same is true of Medicare for All, packing the Supreme Court, and just about any other Democratic proposal. Until there is a Democratic president and Congress, they are only useful insofar as they make a Democratic president and Congress more likely. Save the circular firing squads over policy issues for that blessed day when they might actually influence policy.

    We have all been wisely taught to distinguish, in theory and in practice, between policy and politics, and as a policy dork it is painful to admit that right now good politics matters more than good ideas. It is not insightful or distinctive or interesting to recognize that the orange man is very bad — and it is a bit cringeworthy to echo the “resistance” posters who screech about him all day long — but he really is very bad. For the sake of the whales, the country, and the climate that envelops the whole world, what matters most is beating him and his enablers. Only then will the days of stupidity be over in the USA.

    The New Ecclesiocrats

    The gods are once again at play in the public square. Around the globe, political claims are being advanced in the name of religion. Speaking in the Rose Garden on a spring day in 2024, President Trump declared that “we’re bringing religion back to our country, and it’s a big deal.” In the American political calendar, it was National Prayer Day and the most profane president in American history was announcing the establishment of the Religious Liberty Commission. Given the context and the identity of its members — who oddly include Dr. Phil and a former Miss America — it is reasonable to suspect that “religious liberty” does not mean the freedom to practice religion but the freedom to impose religion. Liberal criticisms of the politicization of religion, of the establishment of religion in the corridors of power, are bizarrely denounced as an attempt to suppress religion. This is all part of a global phenomenon — the remarriage of religion and politics. Their second marriage, you might say.

    For a while it seemed that the crosier had been successfully divorced from the sword and religion had been evicted from the halls of power. Secularism has spoken in triumphalist tones for a long time. In 1902, for example, William James surmised that “religion is probably only an anachronism.” Half a century later, the American sociologist C. W. Mills predicted that “in due course, the sacred shall disappear altogether except, possibly, in the private realm.” Such confident predictions were spectacularly wrong. Now the gods are back and they are carrying not only a crosier and a holy book, but also a flag and even a gun. 

    Four buildings

    In December 1992, a horde of Hindu nationalists tore apart the Babri mosque in Ayodhya. This followed more than a decade of incitement by the Hindu nationalist Bharatiya Janata Party (BJP), targeting the 500-year-old mosque built on what Hindus regard as the birthplace of the god Ram. In the subsequent riots more than 2,000 people were killed. In 2024 the country’s president, Narendra Modi, who is also the leader of the BJP, consecrated a vast, flashy temple for Lord Ram on the site. His speech at the event had the theatrics of a religious sermon, but its content was unadulterated Hindu nationalism. The event, as Modi’s biographer summarized, marked “an era when the prime minister is the high priest of Hinduism, blurring all lines between religion and politics on the one hand and between religion and the Indian state on the other.”

    Religious nationalism doesn’t just blur these lines of separation, it rejects them categorically. The wedding of religion and nationalism is not a marriage of convenience, but a union of conviction. They are not distinct notions glued together merely by political expediency, though the political rewards of religion are not lost on the unifiers. For religious nationalists, religion is nationalist and nationalism is religious. It is a fusion rather than a conjunction. 

    The magnificent Hagia Sophia in Istanbul is an epitome of Byzantine architecture and one of Turkey’s grandest landmarks. For Turkey’s Islamists, however, this is not enough. In 1934 the medieval building, which had previously served as a Byzantine church and after the Arab occupation was converted into a mosque, was given a new and nonreligious identity as a museum by decree of Mustafa Kemal Atatürk, the founder of modern Turkey and a devout secularizer. But Recep Tayyip Erdoğan’s Islamist government has reversed Atatürk’s secularization of the space despite legal obstacles and widespread opposition. For Erdoğan, the religious reclamation of the building was “a resurrection,” replenishing the nation’s spirituality and its “spirit of conquest.” Erdoğan described it as “a symbol of the re-rising of our civilization’s sun.” 

    Erdoğan went on to claim that the Islamic character of the building, its mosqueness, was the foundation of Turkish sovereignty. 

    Converting Hagia Sophia into a mosque . . . is no less a right of the Republic of Turkey than its flag, its capital, its adhan [call to prayer], its language, its borders, and its eighty-one provinces. 

    In other words, questioning Turkey’s Islamism is tantamount to challenging its borders — an assault on its sovereignty. Erdoğan emphatically claimed “the Turkish nation’s right to the Hagia Sophia,” as if such a collective right is denied when the structure serves as a national museum. To express Turkish greatness, the historic landmark must be imbued with religious significance. The ancient structure, with all its glory and its history, is not enough. It must function as a Muslim shrine. (Does French pride in the cathedral of Notre Dame rest on Sunday Mass?) 

    “The resurrection of Hagia Sophia heralds the liberation of the al-Aqsa Mosque,” Erdoğan declared. The shrine atop the Temple Mount in Jerusalem is another hotbed of religious nationalism. For over a century, nationalist Muslims and Jews have been quarreling over the site, regarding it as the Archimedean point of political legitimacy, of national sovereignty. “He who rules the mountain rules the land,” say the Jewish zealots. In their twisted worldview it is not the mountain that matters, but the deity to which the mountain is enshrined: in the Jewish tradition, the binding of Isaac took place on that peak. (And as a historical matter, the First and Second Temples, the centers of ancient Judaism, stood there.) In the Islamic tradition, however, the Prophet ascended from the same summit to heaven. Religious nationalism is now at the heart of the incessant strife between Israelis and Palestinians, as territorial conflict is increasingly becoming a holy war. It is also the driving force behind the government’s anti-liberal constitutional overhaul that has been tearing Israel apart in recent years. And the increasingly regular anti-Palestinian pogroms on the West Bank are motivated by a profoundly religious chauvinism.

    In India, Turkey, and Israel, to choose three especially explosive examples, religious nationalism now dominates politics. The ruling coalitions in all three countries are firmly controlled by religious nationalist parties. But even where it is not organized in designated parties, the toxic cocktail of faith and flag is reshaping politics. Dissolve to Capitol Hill on January 6, 2021. A journalist who filmed the pro-Trump riot against the Constitution later recalled: “The Christianity was one of the surprises to me in covering this stuff, and it has been hugely underestimated. . . . Christian nationalism is the driving force and also the unifying force of these disparate players. It’s really Christianity that ties it all together.”

    Obviously that insurrection had many causes, but there is no gainsaying the prominence of a certain strain of American Christianity among them. Many of the insurrectionists believed they were, in their own words. “taking America back for God.” Some waved the “Appeal to Heaven” flag, which has become a symbol of Christian nationalism. (It has been posted outside the office of House Speaker Mike Johnson and at one point it flew over Justice Samuel Alito’s vacation home). Some of the rioters knelt in prayer just before storming the building or they conducted prayers inside the chamber afterwards. The night before, General Michael T. Flynn rallied the crusaders using highly charged religious rhetoric, as did a host of other online preachers and prophets. (Supporters of Jair Bolsonaro, who ransacked Brazil’s Supreme Court, Congress, and presidential palace shouting “God! Homeland! Family! Freedom!” were running on the same theocratic fuel.) 

    In the ancient world, overrunning holy sites was an assertion of victory. By imposing their might on the gods of the vanquished, the winners showcased their triumph and hoped to bury the losers’ spiritual identity under their own. These days, the gods are overrunning many of the bastions of secular power. Rather than rendering unto Caesar what is Caesar’s, their militant Christianity wishes itself to be Caesar.

    State of denial

    This unanticipated revival of providential politics is too often scanted. Critics are slow to voice condemnation, sometimes for fear that criticism will be mistaken for bigotry. In 2014, as the Islamic State was gaining ground and committing all sorts of atrocities, President Obama bluntly declared that “ISIL is not Islamic.” Soon after September 11, Salman Rushdie wrote in the Washington Post that “these are tyrants, not Muslims.” 

    Two decades later Rushdie was stabbed multiple times by an Islamist fundamentalist. He lost an eye, but not his life. In the book that he wrote after the event, he grappled with the motives of his attacker. He recalls the stabbing of another writer almost a century earlier. In 1938, as Samuel Beckett was walking with friends near the Porte-d’Orléans in Paris, a pimp with the fable-ready name Prudence tried to mug him. Beckett shoved the assailant, who lunged back at him and stabbed the young writer in the chest. At the trial Beckett confronted his attacker and asked him why he did it, to which Prudence replied, “Je ne sais pas, monsieur. Je m’excuse.” (“I don’t know, sir. I’m sorry.”) 

    But the two stabbings are hardly the same. Beckett’s stabbing was an act of senseless violence. The assault on Rushdie was no such thing: it was a premeditated and planned assault, driven by a very specific religious motive, one that had been inspired by a religious ruling in 1989, when Ayatollah Khomeini issued his notorious fatwa against the writer. That is not senseless violence. It is political violence and religious violence, just as the jihadis who took down the Twin Towers were both tyrants and Muslims and the mad mob that destroyed the Babri Masjid in Ayodhya were both tyrants and Hindus. The Jewish terrorists rampaging villages in the West Bank and murdering civilians in Gaza are both political thugs and religious zealots. We must describe reality correctly.

    This applies not only to homicidal terrorists. Scholars also tend to dismiss the religious motives of right-wing extremists. In 2004, in his influential What’s the Matter with Kansas?, Thomas Frank cast religion as a mere accoutrement: “The leaders of the backlash may talk Christ, but they walk corporate.” As if religion is, to borrow the old Marxist term, always epiphenomenal, and can never serve as a sufficient cause or a sufficient explanation. Frank’s confident pronouncements — “Abortion is never halted. Affirmative action is never abolished. . . . It may never bring prayer back to the schools.” — have not aged well. Analyzing the current populist backlash, some scholars assert that “the Christian identity claimed by populists is not Christian” or that “Christianity is embraced not as a religion but as a civilizational identity.” This is much too neat. The political reputation of Christianity will not be saved by looking away from some of its actual consequences. 

    Now, it is true that in some contexts, particularly in Northern and Western Europe, talk of Judeo-Christian values, of “the Judeo-Christian tradition,” (a collocation of breathtaking historical obtuseness, especially when cited by the descendants of Jew-haters) is deployed primarily to exclude Muslims — as a social weapon, not a religious weapon. Bigots do not need religion for their hatreds. It is also true that some contemporary theocrats — Catholic integralists, Dominionists, and Ultra-Orthodox Jews — are not necessarily nationalists. Still, the energy and the intensity of providential politics in our era derives from its fusion with belligerent nationalism. Religious nationalism is not reducible to nationalism. 

    Classic nationalism aimed to supplant religion, which seemed to be in its death throes. And besides, faith and ritual were ill-suited to hold together diverse and modernizing societies. Many national founders — Bismarck, Mazzini, Atatürk, Ben-Gurion, Nehru, and even Gandhi in his way — were openly antagonistic to religion. But religious nationalists have their own version of their secular nationalist pasts: they insert devotional vocabulary and sentiment into their definition of the nation (which is why, despite their zealous nationalism, they often diminish their secular founders). 

    Again, the tendency to discount the religiosity of political phenomena, especially when they are repugnant, has become a marker of civility, as if identifying religious influence is a form of religious intolerance. Yet whatever the etiquette of acceptable political speech, surely one must be tolerant and truthful. In the West, certainly, religion and political power have not been incompatible since Constantine; and the theocratic antiquities of Judaism and Islam are plain in their respective sources. If anything, they — religion and group identity, religion and nationalism, religion and power — have what Goethe called an elective affinity, a tendency to find each other and go together. 

    The implicit logic of the reductivist view, it seems, is that since these are political currents, they are, by definition, not genuinely religious. This view assumes a categorical distinction between religion and politics — which is precisely what the new ecclesiocratic reality seems to refute. The liberal aspiration to separate politics from religion has mutated into an analytical presupposition that religion and politics are mutually exclusive. But history complicates the tidiness of such a demarcation. It was precisely as a recoil from the wars of religion in early modern Europe — from the disastrous effects of religion’s penetration of politics — that European liberalism was born.

    Religious nationalism is a real phenomenon and a distinct one. It is not just xenophobia — or some variety of capitalism — embellished with ecclesiastical baubles. It may talk culture, but it walks Christ. It ought to be understood in its own terms, not distorted by ideological presumptions about how religion should manifest itself. 

    The providential state

    For religious nationalists, divorcing religion from the state is tantamount to emasculating both the religion and the state. Religion without a state is crippled and a state without religion is empty. Religion without a state is crippled because ecclesiastical ambitions can only be fully realized by worldly power, which is regarded as the historical proof of a religion’s truth. A state without religion is empty because the whole point of the state is to realize a divine purpose. Civitas terrena exists to serve civitas dei

    For some, this sacralization of the state rests on a messianic vision. Some American evangelicals clearly take the “City on a Hill” quite literally, and the religious fervor of that understanding is exactly like their faith in the Sermon on the Mount, from which that ideal originates. The state, in this case the United States, is nothing less than a vessel of salvation. Some see Trump as a modern Cyrus, the heathen Persian emperor anointed by God to deliver the Israelites from the Babylonian exile, according to the prophet Isaiah. The Patriarch Kirill, the current leader of the Russian Orthodox church, invokes similar tropes to describe his tyrannical leader. Vladimir Putin, he teaches, is part of God’s plan to restore “Greater Russia.” Likewise there are febrile rabbis who have anointed Netanyahu a messianic figure. Religious Zionism, which used to be more diverse and less irrational, is today premised on a messianic conception of the Jewish state as the climax of a sacred history; its secular architects may have thought that they were creating a vehicle of political emancipation, but in fact they were being steered by God’s invisible hand to construct the chariot of redemption. According to political messianists, salvation is not an other-worldly spiritual affair, but a historical project. Its avatars are not individual souls but flesh-and-blood collectives. Whether it is bringing about the Rapture, reinstating the Kingdom of David, or establishing the Caliphate, it takes place terrestrially, in this world, and it is thoroughly political.

    Most religious nationalists, however, are not messianic or eschatologically inclined in this sense. For them, religion requires temporal power because it requires a political community of faith, a civic order shaped by divine dictates; and it requires this for its vindication in the eyes of its believers. At the National Prayer Breakfast in 1993, President Clinton declared: “It is important to reaffirm that in this nation where we have freedom of religion, we need not seek freedom from religion.” He was quoting from a popular book by Stephen Carter, a Yale legal scholar, which argued that the liberal separation of church and state trivializes religion because religion is “a tradition of group worship.” The philosopher Richard Rorty, a devout atheist, rejected this argument. Even under a Jeffersonian separation of church and state, he contended, religion can still include group worship. “Our family or love lives are private, nonpolitical and non-trivial,” he wrote. “The poems we atheists write, like the prayers our religious friends raise, are private, nonpolitical and non-trivial.”

    Rorty’s criticism is well taken, but it addresses Carter’s words, not his intention. Like Clinton, he overlooked Carter’s point, which was not that religion requires community, but that its aims and values should be reflected in political arrangements and expressed in public debate about them. The issue, in other words, is not freedom from religion, but religion’s public role. It is religion’s social and political ambitions that are trivialized by its relegation to the private sphere. 

    While nonbelievers cannot live freely in a theocracy, the religious can exercise their faith in a liberal state. Setting aside a few civil regulations and laws (such as the French restrictions on religious attire in public institutions or the American ban on polygamy), believers would be hard pressed to list religious practices that they are precluded from performing. Liberalism was designed to guarantee “liberty of conscience.” Even in a Jeffersonian dispensation, therefore, religion may be encountered throughout the public square. But the new ecclesiocrats, even though they sometimes invoke the label of religious liberty, that is, the freedom to practice one’s religion without hindrance, are really intent on establishing the political authority of religion or, to be more precise, of a particular religion. 

    Theirs is certainly not the only conception of religion available, but neither is it a recent invention or a fabrication. It is not unusual for religious traditions to regard the state as the secular arm of spiritual power. Abrahamic religions, at least in their canonical forms, place politics squarely within their purview. Religions make claims on civic life. They aspire not just to publicly practicing religion, but to shaping society through public institutions. The idea that religion can be a private matter is a Protestant novelty (though the most rigorous argument for the protection of personal belief from the compulsion of the state was made by the Jewish religious philosopher Moses Mendelssohn in his book Jerusalem), and one that, as we can readily see these days, struggles to maintain a foothold even among Protestants. The orthodox view sees the state as the body and religion as the soul. The state is the hardware, the Gospel is (or should be) the software. 

    Though nonpolitical interpretations of most religions certainly exist, and some strains of American Christianity have wearied of the corruptions and seductions of politics and have come to prefer “the Benedict option,” the dominant traditions undeniably regard the state as a sphere of religious activity. Whether one endorses it or not, theocrats such as the Harvard legal scholar Adrian Vermeule, who advocate the enforcement of religiously grounded moral norms, have a solid ecclesiastical leg to stand on. Such claims can be justified in terms of sacred truth or by the demands of individual piety. One cannot live a fully Christian, or Hindu, or Muslim life in a secular state, it is said, because each of these religions makes claims on public life and civic institutions and has chosen to include political power among the fulfillments of spiritual life. The freedom to publicly express one’s faith — a miracle, by the standards of all our political and religious histories — is not enough. The ecclesiocrats also demand the authority to shape public affairs.

    Both messianic and non-messianic versions of political religion subscribe to a providential conception of politics — to the idea that political institutions should serve as instruments of divine purposes. For messianists, this means facilitating a divine plan. For non-messianist theocrats, this means seeking religious fulfillment in the state. For messianists, politics is a redemptive enterprise. For non-messianists, religion is nonetheless inescapably political. A secular state is a stale and sterile thing, and a depoliticized religion is impoverished, debilitated, thwarted. 

    As I say, these notions are not novel in orthodox religion and neither is the aspiration to reshape politics in light of them. But in recent years they have moved from the wings to center stage. What gives them broad reach and turns them into a potent political current is their ability to harness the rising tide of nationalism. Religious nationalism couches the imperatives of faith in the nonecclesiastical notions of culture and identity. 

    Religion’s Cultural Turn

    In 1925, John T. Scopes was prosecuted in Tennessee for violating the Butler Act, which made it illegal “to teach any theory that denies the story of the Divine Creation of man as taught in the Bible.” The prosecution argued that teaching evolution would undermine faith and lead to moral decay. In 2001, when Judge Roy Moore had a 5,000-pound monument to the Ten Commandments installed in the state capitol of Alabama, and adamantly refused to remove it, he did not appeal to the Holy Spirit but to the spirit of the nation: “This is not a nation established on the principles of Buddha or Hinduism. Our faith is not Islam. What we follow is not the Koran but the Bible. This is a Christian nation.” (A lawsuit in Federal court followed, the monument was declared unconstitutional, Judge Moore refused to move it, and he was suspended from the bench.) 

    These days theocracy marches chiefly under the banner of culture and identity. Americans hear that they are “a Christian nation” with increasing frequency and increasing volume. This is an Americanized version of the sentiment professed by that high priest of European Christian nationalism, Viktor Orbán: “We must protect our Christian traditions in order to keep Hungary Hungarian.” The preamble to Hungary’s revised constitution from 2016 officially enshrines this religious basis of national identity, stating: “We recognize the role of Christianity in preserving nationhood.” The aim of religious observance is not to salvage souls, but to preserve a Volksgeist.

    In a similar vein, Narendra Modi described the provocative Hindu shrine in Ayodhya as “a temple of national consciousness.” Its erection atop the ruins of a mosque is an expression of “unwavering faith in Indian culture.” The former Polish president Andrzej Duda argued that abolishing religious instruction would “remove an inalienable part of Polishness,” while Jarosław Kaczyński, leader of the country’s anti-liberal Law and Justice party, claimed that the church must have an authoritative position because “the foundation of Polishness is the Church and its teachings.” On this view, abortion must be banned because it is inconsistent with Poland’s Catholic character. Israel does not operate public transportation on the Sabbath, even though more than seventy percent of the population supports doing so, not because God prohibited the practice but “because it is a Jewish state.” 

    In America, banning abortion, gay marriage, pornography, and no-fault divorce, limiting access to contraceptives, and eliminating sexual health education, while introducing bible study and school prayer — all of these policies are pushed on the basis of the country’s purported Christian essence. When these Christianizers describe the United States as a Christian country, they are not speaking sociologically. It is true, as an empirical matter, that most of the citizens of the United States are Christians — yet the liberal dispensation of the First Amendment, its religious neutrality, is based not on numbers, on how many Christians live in the country, but on principles. 

    All this marks a seminal shift. The previous generation of conservatism pushed for a small government which would create a framework within which individuals would be free to live as they chose. “The conservative looks upon politics as the art of achieving the maximum amount of freedom for individuals that is consistent with the maintenance of the social order,” Barry Goldwater wrote in The Conscience of a Conservative. Despite occasional conservative collaboration with theocrats and religious nationalists, the latter remained marginal. The intellectual guides of mainstream conservatism were libertarians such as Friedrich Hayek and liberal conservatives such as Michael Oakeshott. Its political messengers were “small government” establishment figures such as Nixon and Thatcher. This conservatism conceived of itself as an heir to Enlightenment values of universalist humanism, rationality, and individual freedom. 

    The current crop of reactionaries sometimes still brands itself “conservative,” but sets itself up in ardent opposition to liberalism and the Enlightenment. Far from the prudent and reflective temperament of Burkean conservatism, they wax revolutionary, aiming to upend established norms and institutions, both foreign and domestic. And at the heart of this shift, of their certainty, stands religion. Or rather, the political role of religion. Their intellectual guides include theistic thinkers, God-hearing prophets, and revivalist preachers, and their political agents are religious nativists. But their arguments are unabashedly identitarian. 

    Senator Josh Hawley recently told a crowd of supporters that it is not religious liberty that binds Americans together, but religion. “Most Americans share broad and basic religious convictions. Theistic, biblical, Christian . . . these are things . . . that make us a nation.” Therefore, “conservatives must defend our national religion and its role in our national life.” Promoting Christianity in public affairs, preferring Christians as their rulers, shaping laws in line with “Christian values” — these are all defended by the claim that America was founded as a Christian nation. 

    Even theocrats who are not particularly nationalist turn to the rhetoric of identity. When he was still a cardinal, Joseph Ratzinger often spoke about secularism, or failing to “embrace our own heritage of the sacred,” as a denial of “the identity of Europe.” The insertion of religion into politics is imposed not in the name of divine decree but as a demand of identity. Tradition is anchored not in revelation or metaphysical truth, but in fidelity to culture. “It is not a matter of believing in God or not,” according to Yoram Hazony. “It’s a matter of whether you honor the traditions of your nation.” Patrick Deneen stresses “the priority of culture” and advocates “preserving the commonplace traditions of a polity.” The new ecclesiocrats are post-theological. Metaphysics is subordinate to history and culture takes the place of revelation.

    They do not argue that gay marriage should be banned because it is “so abominable in the sight of God, that He destroyed the cities of Sodom and Gomorrah because of this terrible sin,” as Jerry Falwell did. That is to say, their claim is not theological, but cultural: that homosexuality — like all significant extensions of equality and revisions of social mores — erodes the old, that is religious, values which underpin our culture. Their claims are not doctrinal and the express aim of many of them is not to impose dogma, ritual, or clerical rule. Instead, they stake the validity of religious principles on their indispensability for preserving a certain national character. Patriotism, and of a very exclusivist sort, is their surrogate for piety.

    The fatal conceit

    Theocracy’s cultural turn disarms its opponents. After all, it was liberals and the left who wove culture and identity into the fabric of politics. In the latter quarter of the twentieth century, multiculturalism and communitarianism emerged as supplements to liberalism, insisting on the importance of culture and communal associations to human flourishing. Initially, these were proposed primarily as footnotes to liberal political theory, stressing the need to protect minority cultures against assimilationist pressures. Communitarian thinkers stressed the role of ends and values inherited from unchosen cultural and religious associations, and championed the importance of communal cohesion and shared political culture for liberalism itself. 

    It was not long, however, before these friendly amendments, offered as a balm, hardened into a blade. Repurposed by reactionaries, the liberationist promise was replaced with conservative retrenchment. Rather than defend the plurality of cultures and encourage free engagement with one’s own, they chose to dwell on obligations and boundaries — obligations of fidelity and boundaries to protect the kinds of cultural engagement that conform to the standards of fidelity. 

    An example of this slippery shift can be found in the work of Alasdair MacIntyre, the most sophisticated among the communitarian thinkers of the previous generation. While liberals were talking about “being the author of one’s life story,” MacIntyre argued that “the key question for men is not about their own authorship; I can only answer the question ‘What am I to do?’ if I can answer the prior question ‘Of what story or stories do I find myself a part?’” These stories are dictated to us by tradition: we are born into these stories, we do not choose them. “I find myself part of a history and that is generally to say, whether I like it or not, whether I recognize it or not, one of the bearers of a tradition.” From this almost banal proposition MacIntyre derived a stifling imperative — to “[sustain] those traditions which provide both practices and individual lives with their necessary historical context.” To sustain them, and then to reproduce them. The cultural buffet turned into ancestral force-feeding.

    It is a small step from this conservative mandate to the idea that the state should enforce at least some of these traditions. Imposed customs and traditions, which John Stuart Mill saw as “despots” stifling individual self-development, are for Patrick Deneen guardrails which “protect the stability and order that most benefits ordinary people.” As such, they can be shoved on individuals against their will (creating “a non-voluntarist cultural landscape,” as he slyly puts it), not only because they serve their “real” interests but in the name of “defend[ing] a preeminent role of cultural institutions.” Although he acknowledges that this is a form of the tyranny of the majority, Deneen exonerates it as “benign” and “deeply democratic,” apparently because — whether the objectors recognize it or not — these cultures are their own. That is all we need to know. This is reminiscent of Rousseau’s notion of forcing people to be free, which liberals, from Benjamin Constant to Isaiah Berlin, regarded as a prelude to oppression. 

    Such a culturally authoritarian development was invited by the conservative communitarianism of the previous generation. If culture is a manacle rather than an invitation — an inherited diktat to which one must submit rather than a legacy that one is free to inflect and make one’s own — then a good society is one that encourages, even if it does not compel, submission rather than autonomy. For the new ecclesiocrats, freedom means the freedom to revere and obey. In the words of Project 2025, “Our Constitution grants each of us the liberty to do not what we want, but what we ought.” Viktor Orbán calls this “Christian liberty” — the liberty to obey what the state determines to be “our” Christian heritage.

    It is hard to overlook the irony of such conservatism being advocated in the name of the Abrahamic religions, whose founders — Abraham, Jesus, and Muhammad — were all rebels. Each of them broke away from their tribes and turned against their inherited creeds; each of them founded a heterodoxy. Irony aside, the main point — the crucial gambit — is the usurpation of the living, unfettered, and open-ended notion of culture by a rigid, foisted, and thoroughly “non-voluntarist” concept of tradition. 

    Culture is essentially dynamic, plural, and contested. It evolves with shifting experiences, changing demographics, novel ideas, and advancing technologies. It is an invitation, not a mandate — a plenitude, not a doctrine — which is why it is consistent with individual freedom. Under the label of “tradition,” however, it hardens into a single dogmatic thing, a sealed package bequeathed from the past, to which one must assimilate and which one must pass on completely intact. In this way culture shrinks into an imperative and identity becomes a spiritual straitjacket. 

    This invites a fatal conceit: casting themselves as culture’s sole guardians, the new ecclesiocrats anoint themselves its exclusive arbiters. Why are the imagined “family values” of the Puritans a more authentic part of American heritage than the sexual revolution and civil rights? (Because they happened earlier?) What makes Orthodox Judaism, detested by many of Zionism’s founders, more of a Jewish expression than the secular Hebrew culture that they created? Is Erdoğan’s Islamism more Turkish than Kemalist secularism? Under the cover of cultural density, the self-proclaimed apostles of the nation are imposing their own version of a multifaceted collective heritage on all the rest. And they do the same with identity. In heterogenous societies there cannot be one settled version of national identity. There is never a single answer about what it means to be an American, a Turk, or a Hindu. National identity is an open question which always receives multiple answers. By politicizing it, the ecclesiocrats seek to foist their interpretation upon their society and delegitimize all the others. As Orhan Pamuk nicely put it, “they are taking away the pride of being both Muslim and secular simultaneously.” This is what identity politics looks like when it moves from left to right. 

    The enemy within, or us

    If theocracy’s cultural turn makes it harder for liberals to confront it, it makes it easier for different kinds of theocrats to band together. For despite its cultural lingo, religious nationalism is grounded in religion. Although it is evangelized in folkish terms, its only claim to supremacy is its divine provenance. This is a bait and switch — the terrestrial notion of identity is the bait and the transcendent authority of the supernatural is the switch. This allows religious nationalists to make common cause with theocrats who may not be nationalists (such as Dominionists and Catholic integralists). Their shared aim is to tear down the wall of separation between church and state. 

    Enlightenment secularism proposed a momentous distinction between a crime and a sin. That is, between an offense against society and an offense against God or tradition. The new ecclesiocrats sneak God back in by making what they regard as deviance from tradition an offense against society. This maneuver also identifies the enemy. When Erdoğan turned the museum into a mosque he was fighting not the crusaders but “internal Byzantines,” as he calls his opponents. He was sending a message to secular Turks such as Pamuk. Those who oppose his policies are not only turning their backs on Allah, they are traitors to the nation, and in effect to themselves: “may Allah not test this nation again with those who are hostile to its values.” And Pamuk got the message. The conversion of Hagia Sophia, he said, “simply means that we don’t respect Kemal Atatürk’s secularism anymore . . . But I am also a Turkish citizen and I am, like many millions of people who are secularists, against this. Unfortunately, our voices are not heard.”

    Orbán, who once advocated “illiberal democracy,” now full-throatedly advocates for “Christian democracy” and identifies the enemy accordingly: 

    When they attack Christian culture they are also attempting to eliminate Europe. They want to take our life from us and exchange it for something that is not our life. In return for the life we have lived up to now they are promising one which is new and more enlightened.

    “They” are not the Muslims, but the liberal secularists (whether they are believers or not), those who aim to replace a cherished form of life with new and modified and “more enlightened” life-forms. If Hungarian culture is indeed limited to Orbán’s Christian culture, then all the other Hungarians in Hungary are a Westernizing fifth column. If national identity is fixed and specific, then all those who stray from it are traitors to themselves and to the nation. Poles who are pro-choice aim “to destroy Poland,” according to Kaczyński. Liberal Israelis “have forgotten what it means to be Jewish,” Netanyahu once whispered in the ears of a revered rabbi. Describing secular Europeans, Ratzinger used an extraordinary phrase: he called them “apostates to themselves.” Treachery and apostasy — national betrayal and religious rebellion — merge into the cardinal sins of self-doubt and self-negation.

    The current surge in authoritarian politics cannot be understood apart from the rise of religious nationalism. However cynical authoritarianism’s instrumental exploitation by some of its leaders, their popular support draws from deep wellsprings of religious and nationalist fervor. The revolt against the secularization of politics has been revived not as theocracy but as nationalism (and never mind the long history of liberal nationalism). It claims not the mantle of the prophet but of the nation-builder, summoning culture and identity rather than divine decree — but all the while its theological ambitions persist, as does the threat that it poses to free societies. 

    No, the new ecclesiocrats are not aiming to revive the Inquisition. They do not generally demand ritual observance or public declarations of faith, nor do they openly aspire to clerical rule. Their goal, rather, is to sculpt the architecture of power by the cast of their creed. They arrogate to themselves the authority to shape laws, civic institutions, and cultural and public spaces irrespective of democratic choice and unhindered by constraints of fairness and toleration. And, most importantly, they claim the power to determine who belongs to the polity and who does not, who gets to count as a real American, a genuine Turk, a true Jew, and who is merely a guest, or worse, a backstabbing interloper. And they do so by invoking religious authority. This may not be your grandmother’s religion, but it is one of the principal forms that religion now takes. To counter it, an equally principled commitment to the secularization of politics — which emphatically includes the freedom of religion — is indispensable. A free society should not infringe on personal belief, but it cannot disregard providential politics and exclusivist designs upon power. No faith is owed political power, regardless of the number of its adherents in the society. Tolerating the intolerant is a recipe for tyranny. 

    “History,” Thomas Jefferson wrote in 1813, “furnishes no example of a priest-ridden people maintaining a free civil government.” The return of the gods into the halls of earthly power always happens the same way: it is never the gods who occupy the offices, but only those who presume to speak for them. In his Rose Garden speech, President Trump, with all the guilelessness of his ignorance, laid it out: “They say separation between church and state . . . I said, ‘All right, let’s forget about that for one time.’” But one time may be all it takes. 

    Svoї, or The Perks of Being Untranslatable

    I was already at work on an analysis of the Ukrainian word svoï, a little worried that it might be received as merely a linguistic exercise, a bit of pedantry, when I was unexpectedly assisted by the Ukrainian historian, writer, and public intellectual Olena Stiazhkina (whose novel, Cecil the Lion Had to Die, a linguistic puzzle of another kind, was recently published in the United States). In August 2025, she chose to give the closing lecture at the International Literary Festival Frontera in Lutsk on the theme The Formula for Our Nationalism Is The Word “Svoї.” This untranslatable word was exactly what I had been pondering, because I believe it has the potential to reveal a great deal about the Ukrainian character, and more.

    The credit for my inquiry goes to Marci Shore, an intellectual historian and a contributor to this journal, with whom I collaborated on a project about translation for last year’s book fair in Kyiv. She speaks Polish and Czech brilliantly, as well as Russian, and has a good command of Ukrainian. All these languages have the possessive pronoun “svoї” (the phonetics and spelling differ a bit from language to language, of course), unknown to English, or French, or German. During one of our conversations on untranslatability she mentioned svoї as a word that is lacking in English. It would be much easier to explain many things if English had such a word, she said. I was left thinking that svoï is so much more than a word. And that it also sheds a great deal of light about Ukraine these days, particularly about the galloping changes of Ukrainian society.

    So what does svoї mean? In Ukrainian and other Slavic languages it is technically a possessive pronoun. As a possessive pronoun svoї is used with the first person and the second person, and the third person if they are actors (for example, it replaces the “my” before “story” in the English sentence “I tell my story”). In such cases it is simple: you just translate the unique word as a possessive pronoun in English: my, your, his, hers, theirs, and so on. But the pronoun serves also a substantive term: svoї means a group of almost endless and barely appreciable features which is hard to explain but easy to recognize. It is close to “tribe,” and not accidentally: the root came from Old Norse svíar, which was “our tribe,” in contemporary parlance “Swedes.”

    In some cases, the closest translation into English would be “in,” as in the once-hip English phrase “the in-crowd.” A deep and natural belonging. But this usage of “in” denotes exclusivity, while the Ukrainian word is tricky: it is both exclusive and inclusive. Svoї could be used to describe someone you meet for the first time in your life and yet they are the opposite of “strangers.” They are always someone you can trust, even when you don’t know them. An anxious newcomer may be encouraged to speak freely in a new group in this way: “Relax, everyone is svoї,” meaning relax, you are among your own, among our own, no one will judge you. I once wrote an article in Ukrainian titled “Vsi svoї” — literally, “all are svoї” — and the title was translated for the English summary as “All in the Family,” a totally correct idiom for the context of the article but not the universal one. What would be the correct contemporary translation for the encouraging phrase to speak freely, I wonder? A “safe space?” Possibly. It can also be the increasingly familiar Danish hygge, owing to the image that it evokes: a small cozy party, a circle of friends, an informal gathering, one for which you need not dress up. 

    Soon after the Maidan Revolution of 2014, when Ukrainians became less skeptical and more interested in their own culture, the words “Vsi svoї” became a name for the monthly market and later for the department store at Khreshchatyk — Kyiv’s main street — which sells only Ukrainian products, from our own manufacturers of clothes, souvenirs, home design, and so on.. (The concept was not original, as a year before the Maidan a media project called “Made in Ukraine” launched the trend.) Inflation hit the country after the Russo-Ukrainian war started in the east of Ukraine and Crimea was annexed by Russia, so it made perfect sense to buy Ukrainian goods instead of imported ones when possible. It would be imprecise to call it a case of economic nationalism; it was instead a glamorous form of urban middle-class patriotism. 

    In fact, the word has a history of less glamorous usage in the context of economic nationalism. Most Ukrainians are familiar with “Svij to svoho po svoje,” the interwar slogan in western Ukraine (then Poland) in the 1930s — another untranslatable wordplay — to mean “each for his own.” Ukrainian cooperatives of the era (say, dairy) encouraged Ukrainians to buy from Ukrainian manufacturers, not Polish ones, and thus to support “svoї” and thereby create an economic basis for Ukrainian political parties and the Ukrainian national movement in general. It sounds positive, and most Ukrainians believe that the slogan and the campaign that popularized it were Ukrainian in origin. This is not so. In the second half of the nineteenth century, it was used by Polish traders to compete with German and Jewish entrepreneurs — particularly in Poznań, the territory of Poland that was annexed by Prussia in the partition of Poland at the end of the eighteenth century, which Germans dominated both administratively and economically. Unfortunately, Poles took to the slogan even when they were not a colonized nation: in the 1930s, when Poland was independent again, the slogan “Swój do swego po swoje” was revived in a nefarious way, as a call to boycott Jewish businesses. 

    This nationalist and antisemitic revival of the slogan and the sentiment behind it is mocked in the novel Cosmos, from 1965, by the émigré writer Witold Gombrowicz, a difficult writer and the enfant terrible of twentieth-century Polish literature. Danuta Borchardt, the first English translator of the novel, observed in the foreword to the book: 

    In order to develop the onanistic theme of the book, Gombrowicz chose the Polish expression swój do swego po swoje, which he used to convey a succession of meanings. Literally it means “himself to his own for his own,” and it refers to buying stuff from your own people — a distant cousin to “buy American,” or, more personally, “getting one’s gratification from one’s own.” It first appears, innocently enough, in one of [the character] Fuks’s remarks as early as the second chapter of the book, and then, in the second half, it gathers momentum and gravity as Gombrowicz gives it self-gratifying, onanistic implications. It seemed necessary to use a progression of English expressions — from Fuks’ “whatever turns you on” to [the character] Venomie’s “her own self, just for herself” — to achieve a satisfactory effect without violating the original text. 

    In other words, Gombrowicz elevated the casual intimacy of the term to the heights of the absurd (which was one of his specialties). 

    The intimacy of svoї can be quite broad. My formative experience with the word took place during the Maidan revolution of 2013–2014. The protests started small, and on the first night in the square it seemed as if I knew most of the protesters personally. Then the protests grew and grew: sometimes there were thousands of us, and sometimes hundreds of thousands. On the ensuing days and nights (mostly nights), more than 90 of them, I knew that I would eventually run into my friends or someone I knew, even when half a million or more appeared in the central streets of Kyiv. Sometimes I didn’t run into anyone I knew, sometimes I met new people, and yet the warmth always felt the same: that is what we call svoї. Maidan was the essence of it. And that was one of the reasons why people kept coming to the square in spite of the risk of being beaten, arrested, and even kidnapped and killed. It felt safe even when it was dangerous. A German journalist asked me how it was that I was not afraid to go to Maidan alone in the middle of the night. I explained that I wasn’t brave at all. What frightened me, terrified me actually, was the prospect of staying home alone. (I was single back then.) I kept going to Maidan because I felt protected there. I was among svoї. And we recognized each other, we intuited each other, even outside Maidan. There was a joke making the rounds that you could smell a decent person in Kyiv: our clothes smelled of smoke all winter because we tried to get warm near fire barrels. 

    The crowd was not all people like me or after my own heart. There were people from all walks of life and they held different, sometimes opposing, views. There were people at Maidan who would hate me under different circumstances, who did hate me before, and who maybe hate me now. But we were svoї. Even within the gathering there were occasional conflicts: in those turbulent times the wolf did not exactly lie down with the lamb, nor did the lion eat straw. Still, it felt pretty close to utopia, close enough to it that after the commotions ended I came to miss those perilous and exhilarating days.

    After Maidan, I came to think of svoї as a term for something extra-inclusive. The protest was itself the proof: you were welcome to our side of the barricades if you wished to be there. “Come to the light side, we have cookies!” was one of the slogans of our svoї. And insofar as this experience of belonging was also a matter of individual choice, svoї had become modern. It was actually an entire orchestra of individual choices: there was your decision to join and the decision of others to accept you. From this standpoint, svoї is the antithesis of identity, even an antidote to identity. Or at least it can sometimes serve as such a correction. 

    Later, with further reflection on the meanings of the Maidan, I recognized that as a concept svoї is both inclusive and exclusive: while everyone who had been there was included, the ones who weren’t there were naturally excluded, as they had not shared the same extreme 

    experience. And now we are all sharing an even more extreme experience, four years of full-scale war. But the svoï of the war is different from the svoї of Maidan: numbers matter, distance from the battlefield matters, there are degrees of extremity. Those in combat can hardly convey their experience to those in safer areas. For this reason, soldiers are feeling more and more distant from civilians. Ukrainians in Kyiv under constant missile and drone attacks feel distant from Ukrainians abroad. The official line is that we are all svoї but the truth is that we are not, and this has been a matter of public debate for some time. If svoї is created by a similarity or sameness of experience, then the radical and sometimes contrary experiences of the allegedly homogenous group (in this case, Ukrainians) will inevitably thwart it. 

    Back in Maidan, during a night shift in the first weeks, which were still relatively safe, we were warming ourselves near a fire barrel where I met a woman activist, a bit older than me, from Zaporizhzhia (a large industrial city now close to the frontline) who also took part in the Maidan protests nine years earlier, demonstrations that were so cheerful that they were sometimes called the Ukrainian Woodstock. “Maidan absorbs you,” she said softly to me, referring to her experience. I don’t remember her name, but I am still grateful to her for showing me the dark side of svoї: the seducing, lulling, comforting side. It is so nice to be with your people, your tribe, it is one of the best experiences in the world, it is so undemanding and so immediately affirming, it is happiness. 

    But like all happiness, it cannot last forever: at some point you need your miserable and doubting self back — contrary to the archaic bliss of belonging, contrary to the ancient svíar that is hidden in the modern svoї. My question is, must we all be svoї? Is svoї a minority or a majority? Again, Maidan was a good example: it felt like a majority when inside, surrounded by thousands and thousands of likeminded brothers and sisters. The overwhelming impact of the videos of the Maidan crowds gave the same impression. But statistically, all the excitement and the exhilaration notwithstanding, we were a minority. The ecstasy of the crowd, even in a just cause, must always be taken with caution. 

    This brings me back to Stiazhkina’s lecture on svoï. The full version of the sentence that became its title goes like this: 

    The formula of our nationalism is in the word “svoї,” since Ukrainian nationalism means that all the children sitting in the shelters, killed in the attacks of Russians, going to the frontlines, defending, dying in the fires after bombing, winning against all odds, all of these children are svoї. Ours. 

    That is the majority, of course. It does not remotely suffice for a Ukrainian identity, in my view, though all the avatars of svoї described by Stiazhkina are victims and survivors of a war against Ukrainian identity, a genocidal war, even when the identity of some of its casualties is not Ukrainian. What is inside of svoї, its true substance, its great gift, is solidarity. Identity is only an external frame, in this case imposed by Russia. 

    Michael Ignatieff has written in these pages about how his parents’ generation chose liberalism because “their generation also knew what it was to hunker down in a bomb shelter with strangers, trying to keep the talk in the darkness light while the ground shook” and “they had lived the cross-class solidarity of those wartime shelters, and they came home from the war believing that liberal government could bind the classes together in peacetime.” When I read those sentences, I reflected that that generation’s liberalism could also be described as svoї.

    Unfortunately, I have witnessed how the mercurial and barely tangible concept of svoї can be hijacked not only from outside by a savage foreign aggression, but also from the inside. Svoї seemed to be resistant to profiling — it is not a gender, a nationality, a generation — until it wasn’t. I noticed that it was often used to protect someone from criticism on the grounds that “one must not double-cross svoї.” In 2018 the phrase was prominently featured in the film The Wild Fields, based on the novel by Serhiy Zhadan, a writer who has become increasingly important in these war years. When I searched the novel (which was published in 2010) for this phrase, I couldn’t find it, though there were other formulations of a similar idea. 

    “One must not double-cross svoї:” precisely this sentence, cited from the film, has been employed to undermine the recent Polish-Ukrainian communiqué by a group of historians of the two countries, focused on the painful and bloody conflicts in the 1940s between Poland and Ukraine and their contemporary interpretations. The group was small, just two dozen researchers from both sides (two Ukrainian historians took back their signatures after the publication of the text and the scandal that ensued), and they tried to formulate a scholarly consensus on the conflicting interpretations of the twentieth-century violence in the villages of Volhynia, the western region of Ukraine during Nazi occupation — a notorious example of total war, ethnic cleansings, and cruel revenge. “We believe that it is necessary for both societies to acquire the paradigm all victims are ours regarding the shared past,” said the historians, “henceforth disabling the competition in victimhood, i.e. dividing them between “ours” [svoї in the original texts] and “the others.” Nationalists of both countries were unhappy with the statement, to put it mildly. The message of the critics was quite simple: stick with your own. No matter what some liberal academics say, the nationalist critics on both sides of the border declared, one should stand by svoї when it is right and when it is wrong. (The irony of these reactionaries citing the film based on Zhadan’s novel is that he was a leftist, even a communist, when he wrote it.) 

    There are other examples of this dark invocation of svoï. Here is one. In 2024, soon after the ferocious far-right nationalist Iryna Farion was killed on the street by an eighteen-year-old assassin, there occurred a remarkable discussion online. Before her death, Farion was much criticized for her hateful and often ludicrous speeches, even by people with nationalist beliefs. After she was murdered, the criticism of Farion — which was amply justified and much needed, in my opinion — became taboo. One of her defenders suggested that I was egregiously wrong to denounce her after death because we were, Farion and I, both “svoї”: both women and both Ukrainian. I replied with the Ukrainian equivalent of “I would rather be hit by a bus” than be considered svoї with Farion. 

    Something that I had considered ideology-proof suddenly appeared to be vulnerable to all sorts of ugly manipulations. As I say, svoï was hijacked. The integrity of the idea of svoї was based, at least in my eyes, on its immunity to such general frames as gender or nationality. It was certainly not a term for any kind of primordiality. It represented, instead, an ethics of solidarity. Yet now the joy of a happily-found human outcome had been turned into a prison. What was supposed to have been an expression of fellow feeling had been mutilated into an expression of prejudice and violence. 

    Let me be clear. I do not mind being profiled like all other mortals: as a woman, as a Ukrainian, as a European, as a member of Gen X, and so on. These generalizations are unavoidable, and they may even have some positive uses. I am certainly aware that we are even further from a post-national utopia than we were at the end of the last century. I believe that we all must pay taxes, even those of us who can buy an island to avoid doing so. But I need svoї. I need it to serve as the foundation of the hope that we can have communities which we build for ourselves and not only communities which have been built for us. A world in which svoї is nothing more than a form of predestination, an inherited fate, would be a dull and cruel world.

    But sometimes you find your svoї where you least expect it. 

    We were returning from a conference in Italy on the same plane with a new acquaintance of mine, a former judge from the Polish city Katowice, the youngest of a dynasty of Jewish lawyers. His grandparents came from Lviv, my native city, which they probably called Lemberg, and, pretending to be Poles, they managed to survive the Shoah. They left for Poland after the war. My new friend told me that he had located their prewar house in Lviv several years earlier. (I know the street; it is in the less fancy part of the former Jewish quarter of the city). “That’s my Wailing Wall,” he said. Now his family name is so Polish that it even sounds a bit Ukrainian to me. We are of the same generation, but we grew up in different countries — in socialist and post-socialist Poland and in Soviet and post-Soviet Ukraine — and in very different families. My grandmother came to Lviv from Kyiv at approximately the time when my new friend’s family left. And yet I immediately felt that he is one of my svoї. (I knew some Polish rock music and he knew Ukrainian rock bands, which may have helped.) 

    Yet finally I have no idea how it works. Something clicks when I meet people with a provenance from Lviv, a city that, to be honest, belongs to them more than to me. I have something that they don’t have and they have something that I don’t have. We all love dark humor and we exchange dangerous jokes. They live wherever they live and most of them have never lived in Lviv, and I live in Kyiv now. Still, we are a small global tribe, connected by intangible and almost undefinable lines. Try to profile us! Good luck with that.

    On our way from Kraków Airport to the railway station where we would part, my new friend was teaching me how to pronounce the Polish word “no!” properly. “No” is the close cousin of the Yiddish (and Ukrainian and Russian) “nu!” and it serves more or less the same purpose. I say more or less because the uses of “no!” are almost endless (which is why I had my lesson on the train). Depending on the tone in which it is uttered, it may mean either approval or disappointment, or a statement that life is full of hardships, or a signal to start a conspiracy, or “I told you so!,” or something else. On that train crowded with tourists we were rehearsing “no!” like two giant birds. 

    My newly acquired skill served me immediately on my next train. I sat next to a chatty Polish guy, a retired worker and a proud voter for the ruling party of national conservatives, who was also a bit skeptical about the amount of financial help that Ukrainian emigrants received in Poland — and yet he was very nice to me. The different “no” helped me to hold the conversation as the train was running to the eastern border, especially as my colloquial Polish is awkward. By the time he got off at his stop he had become a little bit svoï.

    How Poems Happen (For Me)

    I have come to recognize a certain kind of full-on insomnia as an aura, as before a headache, of a gestating poem. Which is not to say that these poems spring fully formed, Athena-like, out of the brain. Maybe it is how an oyster feels when the irritant gets under their nacreous skin.  It’s possible that the inability to sleep itself puts me in poetic mode (quarrels have a similar effect, evidently)—that that kind of disturbed, overwrought, stretched-thin consciousness creates the condition whereby the mundane shimmers with significance. 

    The poet A.E. Housman (who also posited the poem as pearl-from-irritant) confessed in a letter that “the desire, or the need [to write poems], did not come upon him often, and it came usually when he was feeling ill or depressed.” So it is possible that the not feeling one hundred percent well is part of it. Or maybe the poem is the logical result of being up all night, when the house is quiet (I have a teenager), and there are no distractions. Certainly, the anthologies are full of poets writing sonnets to Sleep or to the Moon. But there are other times when, during the broad light of day, I go hunting for poems, and make myself try to write them down. Sometimes a real poem comes out of a willing it to be, or even a mere exercise. Sometimes a good poem is fashioned out of a bad one, silk purse from sow’s ear, through cunning and relentless stitching and unstitching. Sometimes a poem starts as an “ear worm,” a catchy line or phrase that demands to be worked out and developed. Sometimes it is an image, a simile, a curious connection. Often there is a batch of poems, like pancakes: the first two raw in the middle, wonky, or burned, and the third just right. The method is that there is no method.

     One of the counterintuitive things about getting older is that writing poems does not get any easier after a lifetime of writing. Maybe it gets harder. I have been writing, and publishing, poems for a long time now. Among my very first acceptances was from Seventeen magazine when I was sixteen. I was elated beyond measure; it was summer and I remember going to the neighborhood pool and turning summersaults of joy under the water, blowing bubbles to keep water from going up my nose. And they sent me a check that was worth more than a whole night’s babysitting. The thrill of getting a poem right, and having an editor welcome it, never gets old. It still tickles the nose.

     I compose almost exclusively in “received forms” — sonnets, blank verse, syllabics, villanelles, etc. It is not that I do not appreciate well-wrought free verse, but my free verse poems are rarely as good as my more “formal” poems. For me, “free” and “formal” are deceptive terms. I find the infinite choices of a free verse poem, like an endless supermarket aisle of different breakfast cereals, to be paralyzing and unhelpful, while the limitations of formal verse are paradoxically freeing: the Universe, the Muse, the form, is collaborating, opening up possibilities you would never otherwise have considered. Rhyme, certainly, has the property of giving permission to the strange, unsettling, or serendipitous: rhyme is the reason. Form is about giving up some measure of control, a liberation.

     I do remember distinctly moments where I “learned” how to write a poem. Sometimes I was trying to do something else, something perhaps beyond my technical scope, and I stumbled into an unexpected thing. “The Man Who Wouldn’t Plant Willow Trees” was meant to be something smoother and more elegant — I think I was going to refer to the ancient discovery of salicylic acid (a chemical found in willow bark) as a painkiller, and that would connect somehow with the “weeping” willow. Now, I probably would be able to write that poem, and it might be clever and elegant, but I might not be able to write “The Man Who Wouldn’t Plant Willow Trees,” which surprised me with its hissing ending:

     Willows are slobs, and must be cleaned up after.

    They’ll bust up pipes just looking for a drink.
    Their fingers tremble, but make wicked switches.
    They claim they are sorry, but they whisper it.

     In short, there is no formula to writing a good poem. If one had a formula, obviously it would be easier to make them; you could have a production line. But then they would be, by definition, formulaic. Each time you make a poem you have to reinvent the wheel, or the pottery wheel. 

     Not that there aren’t tricks of a kind. One of the problems with being creative is that you have to somehow separate the childlike mind that creates and plays from the grown-up mind that censors and criticizes. (The grown-up mind can come in handy later, during revision, but needs to be completely misdirected in the first stage.) I think of the conscious mind, the editor mind, as something like an old-fashioned vampire, who can be easily distracted by various kinds of accounting, by flinging some buttons on the floor. Throw a number of syllables at him, or a new complicated rhyme scheme or verse form, so that he is left totting up their number on his abacus, and the essence of the poem can slip past his notice on tiptoe.

    I do have little spiels I give to young poets in hopes it will help them. Things I am constantly saying include “put it on paper; you cannot be too obvious.” Often there is a compelling idea, observation, or story in the back of the poet’s mind, but it exists nowhere on the page. The poet is afraid to be too clear, thinking that clarity is boring, or unpoetic. Yet clarity and mystery can coexist, like tide pools and their anemones. I tell poets to read and to memorize: make poetry part of the furniture of your mind. I talk about the anxiety of endings, how poets tend to panic once they are in a poem and go for an “emergency dismount” rather than finding the real ending of the poem. Often they have already passed that in their galloping panic. And I often prescribe W.S. Merwin’s “Berryman,” which ends:

     you can’t you can never be sure

    you die without knowing

    whether anything you wrote was any good

    if you have to be sure don’t write

     (Though I suspect Merwin knew that this poem was a keeper.)

     As for starting a poem, one way to think about starting a poem is getting into a pickle. The poet gets into a pickle, of their own devising, and has to figure a way out. If there is one. If there is an easy exit, you have not devised a good enough pickle. You have to somewhat enjoy being in a pickle — to, er, relish it, if you will. (Sorry!)

     Sometimes the most interesting part of a poem — the part of a poem that you might think was essential to its genesis — comes in at a late stage. This is where experience with revision is helpful. I know a poem is “done” (in as much as anything ever is) when I can return to it without tinkering, or when I can resist the itch to tinker. But during the tinkering phase, you need to hold open a sort of window in the mind — yes, many mixed metaphors here — for things that are trying to get into the poem. A villanelle I wrote during the stringent Covid lockdowns in Greece (a villanelle is a nineteen-line form of French origin with two rhyme sounds and two repeating lines waltzing around each other), which was perhaps about that claustrophobic lockdown feeling, called “Daedal,” is ostensibly about Daedalus and the building of the labyrinth on Crete to contain the Minotaur. Something about the villanelle form itself, which keeps turning corners onto a new path only to conclude on the same words over and over, felt like an aural version of a maze. The poem ends:

     The shaken Etch A Sketch awakes

    A lost child buried in its heart.

    To build a labyrinth it takes

    Some good intentions, some mistakes.

     That modern Etch a Sketch, its gray maze of lines and right angles, its rattling shuffle when you shake it to erase it, from my own Generation X childhood, is central to poem, I think, but it only made it into the poem in a very late revision. I think it was always there, in some vestibule of my brain, but I had to give it permission to enter the poem. You have to learn to listen to what might be out there, waiting to be let in.

    The novelist E.L. Doctorow observed that “Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.” He is perhaps referring more to writing novels and fiction, writing that has plot and narrative and has to get from point A to point B. But any kind of writing has this element of un-knowing. (What Keats famously called “negative capability.”)  I would say that the difference, if there is any, in writing a poem is that you are also creating the road as you go. Remember that wonderful scene in The Wrong Trousers, with Gromit chasing Feathers McGraw in a train chase, but he is having to lay spare track as he goes? Something like that.

    To be in the midst of writing a poem is to be, willfully, and sometimes even pleasantly, though sometimes despairingly, lost. Darkling, you wander in a forest, your dropped breadcrumbs all behind you, being quietly devoured by woodland birds and snuffling wild animals. Or you are wandering in a labyrinth, darkling. (“Darkling,” I like to remind readers, sounds like an adjective, or a noun for a baby vampire, but in famous poems, is usually an adverb: “in the dark.”) But not a labyrinth of set stone — one that is alive, and moving, evolving. You are not the “hero” wandering in the labyrinth. You are also, usually, not the sad, hungry monster in the middle. You are his sibling, the perplexed princess maybe, with her ball of string, who invents the path by taking it. Only it isn’t yet a ball of string. Because you have to make that too, with your drop spindle and a cloud of unspun wool. You make the labyrinth by travelling it. And you make the clue of yarn.

    A Letter From a Silent City

    This is one of an Iranian journalist’s dispatches from protests, morgues, and funerals over two weeks in January 2026, offering a rare ground-level view of what Amnesty International calls a “massacre.” Shared via an encrypted channel, these dispatches provide a firsthand account of a crackdown.

    Dear sister, hello. Today is January 8. It is 12:15 AM. I’ve just gotten home, and the sound of gunfire still hasn’t stopped. The internet and SMS have been down for hours, and even the phones are down. We have no way to reach each other. I don’t know why I’m writing these lines to you. I only know one thing: I have to write.

    I feel as if my lungs have swollen like balloons, filled with tear gas. My voice won’t come out after all the screaming. But none of that matters next to what I saw tonight in the streets of Tehran. There were so many of us. Everyone was in the streets. And yet, sister, tonight the best of us were taken. They went drenched in blood, as bullets tore through their heads, necks, and chests.

    The only reason we are still here, the only reason we didn’t go too, is that it wasn’t our turn yet. Maybe we slipped into another side alley. Maybe a bullet went astray. Maybe someone was running behind us, and the bullet found them instead. I don’t know. Maybe tomorrow it will be my turn.

    I decided to write you a few lines so it stays here. If I survive and the internet comes back, I will send it myself. If I don’t, I have entrusted a few people to send this to you. We are trapped in the darkest knot in Iran’s history. I came back alive tonight, but the volleys still haven’t stopped. I feel like a survivor of a massacre. For the rest of my life, I will have no duty except to tell of this crime.

    But if I’m here, one day when we sit together in a café on Khordmand Street and drink tea, I’ll tell you how long these hours felt, and how hard they were.

    I love you as much as all the moments we had the right to be together but weren’t.

    Sattar Khan Street, western Tehran, Thursday, January 8

    Tonight, I saw something in people that I had never seen at any protest before. A kind of clarity. People were determined to bring them down. Security forces opened fire. Instead of scattering, protesters lifted the wounded from the pavement and moved toward the gunmen.

    It was the strangest moment of my life. I was watching people who had accepted death. They came either to die or to be free.

    Eslamshahr, near Tehran, Friday, January 9

    A man brought his eight-year-old daughter to the protests. I begged him to take her home. This is dangerous. They have no mercy. They could shoot a child. The man pointed to his daughter and said, “This child is hungry. I would rather we both die here by bullets than watch my daughter die of hunger in front of my eyes.”

    Tehran, Kahrizak morgue, Saturday, January 10

    I went to Kahrizak, outside Tehran, to retrieve the body of my twenty-three-year-old cousin. I expected a morgue. Instead, we were taken to a warehouse. They opened a door, and bodies were heaped on top of one another, many shot in the head. An officer told us calmly, “Find him yourselves and bring him out.” His father fainted. We had to search through the corpses until we found Erfan and pulled him out. He had been shot in the heart.

    On the drive back, I saw refrigerated trucks heading toward Kahrizak. They carried the bodies of our young people.

    Tehran, Behesht-e Zahra Cemetery, Sunday, January 11

    At funerals, religious rituals have become political flashpoints. Each body should, by Muslim tradition, be escorted with “La ilaha illallah” (“No god is worthy of worship except Allah”). But every time a coffin was lifted, the crowd shouted “Death to the dictator,” as if to insist this young person did not die naturally. This young person was killed by the regime in the streets.

    Tehran Subway, Tuesday, January 13

    I was on the metro when her earbuds stopped working during a song. “Zombie” by the Cranberries had been playing. When the music cut out, I overheard two women nearby.

    They exchanged what they had heard and seen: a colleague’s niece killed in Rasht; a downstairs neighbor’s grandson shot on Sattar Khan Street. Then came a long silence.

    One woman asked: “Do you think it’ll happen this time?”

    The other replied: “I think it has to.”

    After another silence, twenty or thirty seconds maybe, the first woman asked: “If they’re gone, what will you do?”

    The answer was unexpectedly domestic. The other woman paused, then said, “I’ll do a deep clean. After Mahsa’s death,” a reference to the 2022 protests, “I haven’t done any house-cleaning. The place is a total mess.”

    In Iranian tradition, house-cleaning before the new year is a ritual of renewal: clearing away dust and sorrow to make space for something new. To me, the exchange suggested a quiet insistence that a future beyond fear is possible and worth preparing for.

    And the world owes our people a collective, national house-cleaning.

    The Re-Animators

    If, as we are told in Genesis, God created form from formlessness, and gave spirit to blank matter, then it is the puppeteer whose powers achieve something like the divine. Manipulating fingers, strings, hidden voices, shadows, paper cut-outs, or carefully placed lights, the artist crouches beneath or behind the stage and transforms into a kind of demiurge, animating the inert and imbuing a previously inanimate figure with movement, character, and life. This process is a form of transference, a physical transmission of energy and dexterity from puppeteer to puppet. The puppet is a hollow vessel, to be filled with our life force. Hence why puppets are so creepy: they require our life to live out their own. Yet no matter how cheap, how threadbare, how see-through their mechanisms, they fascinate us. In some strange and ancient way, perhaps, we recognize ourselves in them.

    This is how I feel, anyway, watching the films of the Brothers Quay. Surrealists, junk collectors, fetishistic recreators of a mythical Middle Europe: since the early 1970s, these identical twins from the Philadelphia suburbs have co-created some four-dozen shorts and three full-length features, on top of music videos, commercials, stage sets, and installation pieces. They are like almost nothing else. But Stephen and Timothy Quay are known, above all else, for their work with puppets: those ragged, remaindered figures scavenged and repurposed into a run of dreamlike stop-motion films. 

    If a typical puppeteer uses their movements to simulate life, the Quays use theirs to question life, and the reality that contains it. Their mannequins dance to outside music, ascend through dream-towers, battle enemies and compulsions within plainly-artificial dioramas — all while under the sway of forces from the beyond. The Street of Crocodiles, from 1986, begins with a live-action man slicing a puppet free of his strings, loosing him into a district of mirrors and display cases. This quarter is home to a good many other puppets, automata who act according to their own desires, without anyone to direct them. Rather, each is at the mercy of its particular design, condemned to enact a particular purpose, without the freedom to search for more. Everything is shot very closely. The effect is uncanny and unforgettable.

    The Street of Crocodiles is adapted from a series of short stories by the Polish writer Bruno Schulz, and this clash — between constraint and desire — is as Schulzian as it gets. Born in 1892 in the provincial city of Drohobycz, Schulz spent the early part of his life trapped beneath his merchant father, unable to pursue his art, and unwilling to enact his expansive sexual fantasies in his life. So he channeled them into his illustrations and his stories, a short corpus of domestic myths which transformed his hometown, his family’s house, and his father’s shop into zones of mysterious and magical simultaneity. In Schulz, everything is at once self and opposite: the miraculous is also the cheap; the present is also the past; the dead can, through some magical suspension, hover still on the border of life. A kind of humdrum animacy hangs in the air, an immanent sense that secret and profound truths might express themselves on shop shelves, in mildewed attics, in cracked and rusted objects, and in the life that thrives and multiplies on junk heaps, or a hidden crevice in the garden wall.

    Schulz’s writing, alongside the illustrations of postwar Polish surrealists like Roman Cieślewicz, helped the Quays to unlock their art. Reading him taught the pair “that matter was never dead; that it contained infinite shades and nuances; that it was in a constant state of migration”— and that it might be manipulated into any number of potential forms. Their aesthetic — which, in its insistence upon the life force in dead matter, is a junk-shop coexistence of unlike things: flatness and depth, texture and artifice, paper cutouts and frogspawn. They salvage their puppets and sets from flea markets and sidewalk sales, discerning vitality in tawdry things that others have cast aside.

    The Quays work alone in their London studio. They have spent the past twenty years piecing together an adaptation of Schulz’s Sanatorium Under the Sign of the Hourglass, from 1937. In the story, a man travels by train to a town in the high mountains. His father, long-dead in our world, survives up there as a patient in a peculiar sanatorium where time is “late by an interval whose length is impossible to define.” Both dead and not dead, Father has reactivated past time, postponing the moment of his own extinction, living on in a liminal gap between what has already happened and the possibility of what might not. 

    It is a strange and strangely plotty story, a shapeshifting lethargic narrative where nothing can or cannot happen, and every development is eventually undone. The drowsing narrator has seemingly entered someone else’s dream, full of phantasmagoric symbols which belong to everyone except him. The Quays follow the story’s essential beats, beginning with a prolonged train journey, an encounter with the sanatorium’s odd director, a night spent with Father in his coffin of a bed. They mix this in with symbols of their own: a paper theater in a valise; an examination room viewed through a peephole; repetitive, stuttering footage of a woman’s leg projected onto a wall. Using a variety of optical and editing effects, the animators are attempting to capture the postponed, refracted time of Schulz’s sanatorium, tripling images within the frame or harshly running them back, like the skipping of a scratched DVD. 

    For the first twenty or so years of their career, the Quays displayed a musical virtuosity, bringing their surreal images to something approaching life. The Street of Crocodiles is a degraded ballet of twirling screws and unwound thread that enacts Schulz’s constituent animacy. Their adaptations of Robert Walser turn that graphomaniac’s microscriptic tales into fables of subconscious conflict, the yearning of an imprisoned mind to ascend to a realm of magic. Institute Benjamenta, or This Dream People Call Human Life, from 1995, dispenses with animation altogether, deploying its cast of prospective servants (including a young Mark Rylance) as a dour collection of anthropoid puppets, ordered about by their teachers and submitting body and soul to their future calling. It is their vocation, not their humanity, that gives them life. Without it, they dissolve, dissembling into a mob that wanders blindly through the halls of the Institute, prodded on by old dead forms. 

    The world of the Quays’ Sanatorium Under the Sign of the Hourglass is a similarly degraded and symbol-infested place, a set of dust-filled dioramas and odd digital effects. If their early work mirrored the industrial avant-garde of David Lynch’s Eraserhead, their latest reminded me of Twin Peaks: The Return. Here, the experiments are not physical but visual, manipulating chronology to deploy and distort images. Like the residents of the sanatorium, the film is relative, not linear. Scenes will proceed and then immediately retract, images repeat themselves with a harsh digital stutter. There is no movement here, and very little relation from part to part. We seem to be in a dream within a dream, alienated from cause and effect, and thus from the sense that anything might — or can — change. It is admirable, if not always enjoyable. It can be uncommonly chilling.

    The Quays give their film a framing device, where an auctioneer gazes into a series of lenses set in an antique device which display the final seven images recorded by a human cornea on November 19, 1942 — the day that Bruno Schulz was shot by an SS officer on the streets of occupied Drohobycz. Each image corresponds with a section of the story, giving access to the memories and stories of this dead man. Yet it comes with a cost: in order to view the image, the cornea must be damaged; in order to see all seven, it must be destroyed.

    The film thus ends as an elegy for Schulz himself, whose seemingly infinite fictions mask the plundered brevity of his life — a death recorded out in the world which has not yet snuffed out the life of the work. The Quays can manipulate his limbs, bending him into strange shapes, marrying his old words to new symbols. But without their fingers, the figure collapses. Like anything from the Street of Crocodiles, it is a tawdry miracle, a paper mirage. Humans create and mimic and quite often destroy life, but they can only pretend to resurrect it.

    The War Society

    Four years have passed from the start of Russia’s full-scale invasion of Ukraine. Twelve years have passed since the capture of the Crimea and the start of war in eastern Ukraine. In 2022 it became manifestly clear that this was a war undertaken in order to destroy the entire Ukrainian nation. Its genocidal character is not concealed in the Russian media, it is emphasized: Russia cheers the decimation of Ukraine’s vital infrastructure and Russia relishes the death of Ukrainian civilians.

    Yet Russian society — if there actually is such a unitary thing — exists in two aggregate states simultaneously. According to the official position, the society supports the war unconditionally and stands united and ready for sacrifice. In contrast, among the cultural dissidents who consider Russian society as a countervailing force to the Russian regime, the society is against the war but cannot express its disapproval for fear of punishment.

    Which group is correct? What is Russian society and what does it think of Russia’s bloodletting? I think that the truth is not simply somewhere in between, not in numbers, not in the image of a society divided or oppressed or reduced to hypocrisy or coerced into mimicking the signals of loyalty desired by the authorities. Something else has happened in Russian society. The mask has grown into the face.

    Two Marauders

    There are still many liberal émigrés who say, “When the war began in 2022…” But this is historically inaccurate and morally blind: the historical changes that led Russia to its present state regarding Ukraine began in 2014, with the Crimean euphoria and the hybrid invasion in Donbas. That was the beginning of the corruption — I cannot find a better word — of the society, its acceptance of a new and unprovoked war against a neighboring sovereign state. The proxy character of the military action before the participation of the Russian army was revealed — remember the unmarked green men? — offered excuses for one’s conscience, and held out the false hope that this was just a local conflict that could be resolved without fateful consequences and that one could live with it the way one does with an unpleasant but not fatal disease.

    Encountering no prolonged systematic protest from opposition forces, the invasion of Ukraine did more than untie Putin’s hands for further escalation. It changed the Russian map of the world, in which the West became the grand and definite enemy of Russia. It also altered the country’s moral climate. Moral climate is difficult to measure, but it can be felt.

    I felt it at the military parade on May 8, 2014 — May 8, the annual Russian celebration of the victory in World War II — just a few months after the capture of Crimea and the invasion of eastern Ukraine — a military parade in a country that was at war again and pretending that it was not. I went not to watch the parade but to feel the mood of the crowd. What mood would pervade the crowds of people looking at tanks, self-propelled artillery systems, and armored personnel carriers of the same models that were being used by Russian army units secretly brought into Ukraine? What would be the spirit of this parade, the parade of the army that treacherously attacked its brothers-in-arms who had fought with them and won the victory celebrated on May 8?

    It was a bright but cool day, and there were crowds along the parade route: families, couples, random passersby who stopped to watch, magnetized by the anticipation of the sight of armored monsters of war obeying their drivers. Saint George ribbons fluttered here and there: yellow and black, flame and smoke, the colors of the imperial Order of St. George, which had become the official symbol of growing militarism under Putin. Children running through the crowd were handing out the ribbons, and when asked the cost, they cheerfully replied: “It’s free! This is sacred, not for sale!” They did sell straw-colored World War II Soviet infantry caps with red stars pinned on them. A lot of people were buying them and then setting them on the heads of their children and their girlfriends and their elderly parents. Men of draft age were too embarrassed to wear them, I suppose.

    In previous years, the grass verges of the highway and the internal police troops posted along the parade route clearly divided the military from the civilians, the street where technology and uniforms reigned from the broad sidewalks filled with viewers in profoundly civilian dress. But now the caps with stars blurred the boundary; the crowd no longer looked completely civilian. Thanks to those straw caps, whose style was recognizable from dozens of Soviet films about the Great War, the crowd seemed to be responding to the parade. Without a surge of emotion, without hysteria, but echoing it. It wasn’t out-and-out approval, but a kind of passive self-portrait: it was enough for every fifteenth or twentieth person in the crowd to wear the silly grandfather’s cap to make the multitude as a whole look different and feel different. A new mood, a new community, arose that did not yet sense itself as one: a community in which the boundary between civilian and military, between peace and war, started to become less and less distinct. 

    That boundary began to dissolve first at the level of symbols. No one was making people buy and wear the military caps with Soviet stars or forcing the crowd to pin the St. George ribbons to their shirts. It was hard to understand: were they doing it only because a new sign of collective identity was on offer, or did they actually need it? I tried to remember how that significant ribbon first appeared in Moscow. It was at the start of the 2000s, at the peak of economic success, when Russia seemed to be searching for a visible image, a visible emblem that would express its renewed claim to superpower status. It was then that the ribbons first appeared, tying victory in World War II to the present, casting the present generation as heirs of the victory and its triumphalist spirit. 

    Like a shadow, like a rhyme, came an accompanying fad: stickers on cars. “At Berlin,” some of the stickers said — the slogan that Soviet soldiers painted on tanks and Katyusha rockets. Others showed a figure of a man with a hammer-and-sickle instead of a head sodomizing a man with a swastika. The caption read: “We can do it again.” It was the absolute antithesis of the European “Never Again.” At the peak of the sticker fad, around 2012, probably every twentieth car in Moscow bore that awful sticker. The stickers were like the acne of aggressive puberty. Unlike the St. George ribbons, they were not supported officially, but they spread like a rash, signaling the retirement of a taboo, the openly articulated need for violence directed outward, and the confirmation of national greatness restored through brutal action. The actions came quickly.

    But let’s return for a moment to May 2014. At the edge of the crowd, maintaining an ironic, mocking distance two or three steps away, were two young men, in their early twenties I would say, dressed well but not like Muscovites. (Residents of the capital notice these things right away.) They were smiling and squinting in the sun and enjoying expensive ice cream cones. A couple of pigeons flew over to pick up crumbs and squabbled at their feet. Ordinary, affable faces, short hair, good bearing: they were former or active military in civilian clothes. They spoke in loud voices, apparently about something pleasant and unrelated to the parade or to military service, and I moved closer to eavesdrop.

    They had just returned from the zone of Russian hybrid occupation in eastern Ukraine. They managed to smuggle out the automatic rifles and ammunition that they had been given as “volunteers.” They were discussing what to do next, as they crunched the waffle cones and licked chocolate from their lips. The conversation was full of innuendo and insinuations, but anyone who spoke the language would have understood exactly what they were talking about and what they meant, and they seemed to enjoy that. They were weighing the advantages of staying in Russia and robbing banks, armored cars, and businesses that dealt with cash or going back to Ukraine and committing robberies there. Well, not robberies exactly, but confiscations, requisitions, expropriations. They had a rich list of synonyms for illegal seizure. The discussion was ended by a short phrase spoken by the older man, the leader: “They have police here. It’s risky. Back there we are the police.”

    I wasn’t the only one to hear this conversation. There were other people within earshot. The thundering vehicles of the parade had not yet reached us and sound traveled clearly. And no one was outraged, no one distanced themselves, no one led their children away. The contrast was not as sharp as it should have been: the emotional parade celebrating the sacred victory, the military caps, ribbons, and stars honoring the memory of heroic ancestors — and the two thugs relishing their ice cream and their loathsome plans, two heroes of our new times, in which Russia has become a shameless marauder.

    There are moments that seem to prophesy the future, to delineate a new norm that has already arrived but not yet attained its full force, not yet become the final quotidian reality.

    Playing Luhansk

    When people claim that Russian society is somehow insulated from the war and able to maintain “normality,” I always want to ask how that is possible. War is a powerful moral stressor that demands an absolute choice, and always demands explanations: war needs to be integrated into the picture of the world that it is upending and tearing apart. War, near or far, finds its way into homes, minds, and hearts, especially if the main component of a society’s defense against it is absent — clear public condemnation protected and ensured by the freedom to speak out without fear.

    It was a late evening in early May, a little over a year after the invasion, a year after the parade. I decided not to stay in Moscow and went out to the countryside. There would be no shameful surge of militarism there; in the country people had other concerns — vegetable beds, planting, greenhouses. Well, maybe some idiot would loudly play military songs while grilling shashlik in a campfire, but it would be far away. My closest neighbors were never like that.

    Our dacha was located where the front stopped in the winter of 1941. The Wehrmacht did not get any closer to Moscow than here. Flooded trenches snaked along the edges of the forest. Dugouts with collapsed roofs and tank trenches filled with black water were hidden deep in the woods. The forest to the east was ours, the forest to the west was theirs, the Germans’. We, the children of the last Soviet generation, grew up in this topography. We played war games in those woods and trenches: naturally we played the Great War, too. 

    We had toy Nagant revolvers that fired stinky blue caps, homemade guns made from slats and pipes that replaced rifles and machine guns — the Soviet toy industry did not produce such toys, as if there was some kind of fear among the Party bigwigs — and also a rare wonder: a plastic Maxim machine gun half the size of the real thing, with a characteristic water-cooling jacket around the barrel and a red light that flashed in the muzzle when you pulled the trigger.

    Perestroika had started, there were long lines for groceries, but every spring and summer in that forest outside Moscow battles from the past were recreated. The “Germans” attacked and “our troops” defended themselves, and then we moved into a counterattack. Of course no one wanted to be a German. You were made one because you were in debt or broke a rule or lost a toss. That was our childhood’s unconditional understanding of good and evil, seemingly inalienable from the understanding of the country’s history, its moral right in the world.

    After the collapse of the Soviet Union, the war games wound down. As a teenager in the mid-1990s I noticed that the next generation of children was no longer interested in fighting in forest trenches. They weren’t interested in forests, dugouts, and tents. There were new movies, new screen heroes, and new toy weapons. The children who came after us enacted in the dacha streets battles between robots and people, fighting the Terminator and space aliens; humanity against the others, mechanical or animate.

    By then Russia’s first war against Chechnya was already raging. But as far as I can remember, it never became the subject of children’s games. Neither did the Second Chechen War, which began in 1999. Despite all the official propaganda glorifying the heroic actions of the Russian Army, especially after Putin came to power, there was some kind of psychological barrier against acting it out. Something kept children from seeing these two wars of Russia as a plain explication of good and evil, a clear reflection of the debased moral situation.

    One evening I was sitting on the porch in the twilight, listening to the fading sounds of the day. One side of the dacha property led to the forest, the forest with the trenches, the forest of the old games of pretend war. I was thinking about those innocent but not-so-innocent games, the purple splotches of squashed rowanberries on our shirts intended to show wounds — and suddenly I heard rustling in the woods, I saw the slanting lights of telephone flashlights, and someone said, “Three, I’m One, can you hear me?”

    “I hear you fine, One,” came a voice from the right.

    “Surround them, Three!” commanded One.

    “Kill the khokhols!” shouted another.

    It was so strange, so unimaginable, that — even though the voices obviously belonged to adolescents — for a moment I thought they were actual Russian soldiers. The voices and the lights vanished into the forest, melted into the trees. I experienced a cognitive confusion, when the mind refuses to believe the senses and considers what actually happened a fantasy or a dream.

    In the morning at the well I met a childhood friend who now works in a bank and has a thirteen-year-old son. I told her what I had seen and heard. She sighed, waited for a bit, and making up her mind, said: “Yes, my boy is also one of them.” It turned out that on weekends, all the dacha boys pick up toy guns and play Luhansk.

    “I’ve forbidden it and taken away his automatic weapon,” she said wearily. “We don’t watch TV at home, so where is this coming from? It’s like an epidemic. And no one tires of it.” We said our goodbyes. I had the feeling that despite the seeming triviality of the subject — children’s war games, what of it? — I had witnessed a transformation in historical eras. If children accepted the aggression against Ukraine as a good cause, then things were really terrifying. And for the immediate historical future, hopeless.

    “We Can Do It Again”

    My grandmother’s two brothers, my two great-uncles, lie in Ukrainian soil somewhere near Kharkiv. They died during the encirclement of the Red Army forces in 1942 and the precise location of their burial is unknown. As far as I can estimate from old maps of the battle, it is highly likely that the Russian soldiers invading Ukraine in 2022 walked over their unmarked graves.

    The Russian propaganda discourse claims that this war is being waged in their hallowed name: the old Russian heroes who had fought fascism and Nazism, which had now reared its head again. The new Russian heroes were “finishing” the glorious work of their grandfathers. How could such an explanation, such a caricature, coming from the mouths of people who were notoriously full of lies, seem at all credible?

    But it did and it does. I wouldn’t say that it is believed literally, that is, that the lies are accepted as facts. But the crusading moralistic mood does legitimize the war, and more, it elevates the war to a mythological sanctity. This is not accidental. Victory in World War II was the main generator of moral meanings in post-Stalin Soviet culture. It set the typologies of good and evil, high and low, unprecedented heroism and vileness. Most importantly, it conferred meaning to life and, conversely, was the antidote to meaninglessness. It was the universal answer to existential questions.

    Left without the “carcass” of communist ideology, Russia long sought a replacement. I believe that the new idea-free ideology is expressed in its most concise form by that car sticker: “We Can Do It Again.” It is the quintessential idea of historical revenge, of lethal nostalgia, of the sentimental longing for the lost golden age of the Soviet empire which birthed our contemporary monsters.

    When they say in Russia that we can do it again, they mean that everything may be repeated, not only select parts of the past. And so Russia falls backwards through time, plunging into Stalinism, into its worst episodes of mendacity, ruthlessness, violence, and evil. “Falling into the archaic,” into savagery, may seem like hyperbole, an emotional description that cannot be grounded and systematically confirmed by facts. But that is not so. Consider that for the last few decades various institutions of the Russian state have commonly used torture. During the wars against Chechnya, prisoners of war were tortured by the Russian army and state security apparatus in secret cells. The list of torture methods used has been recorded in detail by human rights groups. Arrested citizens and prisoners have been tortured by Russian police and Russian prison guards, and periodically videos from security cameras are leaked to the internet, proving the commonplace reliance on barbarism. 

    With the full-fledged invasion in 2022 and the swell of Ukrainian prisoners of war, torture grew from a feature of Russian policy into a system, a regular practice of a new level of violence. The bodies of Ukrainian prisoners bear gruesome testimony. Male and female Ukrainians who were released during mass prisoner exchanges returned with mutilated flesh. Their testimonies confirm that torture was a constant feature of imprisonment.

    As a rule, police torture is meant to leave no traces, only occasionally growing into extremes of sadism that cannot be hidden; thus the military and security agents who tortured their victims in Chechnya hid the bodies to cover up the torture. But Ukrainians in Russian prisons are tortured and mutilated for show, performatively, knowing full well that this evidence might someday be seen by the whole world. This is clearly not an excess on the part of the torturers, it is a state-sanctioned modus operandi

    It is true that this is a strategy of psychological warfare, an attempt to break the prisoners’ spirits and erase their identities. (Psychological violence is often utilized to accelerate Russification.) Mass torture is a tool of intimidation, state terror, a threatening message to all citizens of Ukraine: this will happen to anyone who dares resist. But there is something else taking place too, some less familiar evil, a shocking surplus of cruelty. People in Russia were tortured on such a scale and so viciously twice in the twentieth century: during the Civil War and during the Great Terror, when they beat confessions and false evidence out of people. And now the Russian worst has returned, and then some. Russia’s withdrawal in September 2025 from the European Convention Against Torture is just another humiliation of the victims. 

    This barbarity, this enthusiastic dehumanization, this surplus of cruelty — which includes posting videos of murdering relatives and strangers, bashing a head with a sledgehammer, slitting a throat on camera — does not only remove a moral taboo and destroy moral norms. In the totalitarian model of terror in 1937, the justification “we didn’t know” was possible, albeit dubious, but in the new iteration of Russian terror, the public aspect is not hidden in dungeons and files. On the contrary, the horror is publicized. Now nobody can protest that they don’t know.

    There are situations in which there can be no neutral position — in which neutrality is excluded. Such circumstances demand an urgent and unconditional reaction: intervene, stop, save. When the defenseless are tortured, neutrality is impossible. When high tech weapons are used to kill civilians, neutrality is impossible. A society that does not react to such moral emergencies — whatever the reasons — loses its future, ties itself up in bloody bonds that will eventually turn into a denial of any guilt, into a vast collective lie.

    We can argue to what degree Russians actually believe Putin’s propaganda and support Putin’s war, but the argument is in many ways pointless. By not reacting, by not recoiling, by not demonstrating a natural disgust, the society becomes damaged morally to such a degree that the question of supporting or not supporting the war becomes secondary. The absence of an instinctive horror, the mass unspoken rejection of a critical reaction, this chilling mass complacence, is the war itself, the expression of the war in people’s behavior. They may think that they are neutral, that they have nothing to do with it, that the war is far, far away, but the war is here, it has triumphed within every individual.

    Many Russian liberals tend almost unconsciously to reduce the zone of criminality to the line of fighting, and the territory under attack by drones and missiles to the deepest and most distant reaches of Ukraine. There is where the Russian army is committing crimes, there is where the chief evil is taking place. This is an attempt to separate the war from the society, the war from the country, to depict the war as a centrifugal force directed outward, to prepare a kind of psychological alibi for the Russian population.

    Over the four years since the invasion, the war has penetrated deep into the society, expanding and spreading the zone of criminality, not always in the legal sense of the word. The war has lasted so long and demanded so many expenditures that in one way or another tens of millions of people are involved actively and emotionally in its prosecution, either via family ties to direct participants, or by working in related industries, logistics, propaganda, and so on. The circle of involved people is expanding, creating a war society — a transformation which did not occur either during the conflict in Afghanistan or the conflict in Chechnya. Those wars were punitive colonial expeditions that did not demand enormous excitement or participation from the entire country.

    Today, by contrast, the palpable burden of war is spread over the population as a whole. It might one day lead to a protest, there is always hope, but given the present social configuration in Russia I think it will more likely lead to a growing involvement supported by the certainty that a total defeat, which would ensure retribution, is highly unlikely.

    Losses and Hyperadaptivity

    Over the last four years Russian military losses (killed, wounded, imprisoned) have been enormous and certainly not comparable to any previous altercation since World War II. One would think that, even for purely quantitative reasons, Russian society would feel the losses and reflexively turn against the war; after all, cemeteries with “heroes of the armed forces” are expanding next to every Russian city, which means that the scope of the losses on the local level is not hidden and will continue to be obvious unless they stop burying soldiers.

    But that automatic reaction is not occurring. The increase in losses has not provoked a growth of antiwar sentiment, as it did, for example, during World War I, when the Russian army disintegrated in four years. Why not? I think this is a manifestation of the main characteristic of Russian “society”: its hyperadaptivity. One could say that it has no other cause determining its qualities  — it is essentially protean, mutable, although it can somehow appear essentially Russian in each of its adapted states, and even fool itself.

    I consider this hyperadaptivity to be the chief legacy of the Soviet project, which created a human type that, while capable of a certain sincerity in personal life, became thoroughly accustomed to imitation and imposture in public life to the degree that blending in became an absolutely essential social skill. Even in their finest manifestations, contemporary Russians are people of fluid emotions and moods rather than of unconditional convictions; they can express hope for the future and feel the cleansing winds of historical change, but they can just as easily (easily is the operative word here) reject those hopes. Oh well, it didn’t work out, better luck next time, or never.

    This rule has exceptions, of course. Generalizations about many millions of people are always inadequate, and there are many people whose biographies and actions contradict this tendency to serial conformism. I am speaking only about mass behavior, about the fact that after 1991 almost no social structures were created for extended struggle, for resistance and protest in adverse circumstances. Even the large-scale street protests against the falsification of the election results in 2011–2013, which had become a noticeable phenomenon, were a symbolic representation of the struggle but not the struggle itself, stemming from the unconditional prospect of the return of totalitarianism to a country that had weak immunity to it, a country with an imperial complex, a country possessing nuclear weapons and capable of destroying the entire world. The same lack of historical seriousness could be traced in Alexei Navalny’s stubborn refusal to dwell on the Russian aggression against Ukraine as one of the principal crimes of Putin’s regime between 2014 and 2022. 

    The hyperadaptivity of the Russian psyche is imitation that does not realize it is imitation — that is allegedly a struggle, but one in which everyone has already given up, and capitulated prematurely. There are semi-actions, heartfelt desires for change, the use of props — white ribbons as distinguishing signs, the slogan “Russia Will Be Free”  — but these stirrings are attended by a catastrophic lack of understanding of the seriousness of the situation, and by an underestimation of the enemy. I recall some friends, young architects, who took part in the white-ribbon demonstrations and at the same time worked on projects for modernizing public spaces in Moscow, projects that were initiated by the authorities to preempt protests by giving disgruntled young residents a less alienating and therefore more pacifying environment. They sincerely did not see the contradiction.

    Today this hyperadaptivity — this insurmountable flexibility  — is the main resource of stability and endurance for the Putin system. To be sure, Russians have practical reasons to keep their heads down: the repressive apparatus is harsh, and arrests and trials instill fear and force the population into submission. But I do not believe that this is the end of the matter: the repressions are limited but effective precisely because they find the fertile ground of the collective hyperadaptivity, which causes the society to be drawn directly or indirectly into the war, to accept it as a new reality that has no alternative, and to discover in this new reality new personal roles, opportunities, and benefits arising from the war.

    Drones in Schools

    As a former journalist who covered education, I sometimes read local newspapers online — city and regional, the lowest level of the press. My collection of links goes back to my old reporting days at a newspaper that closed in 2014. It is like a magnifying glass on daily life in the Russian provinces. In the old days I used this as my method of finding interesting stories to report. Now I use this loop to watch how the war weaves itself like a red thread into the fabric of everyday life, imperceptibly changing administrative and public institutions.

    Labor collectives and enterprises collect money “to aid the front.” A human rights activist has a column for “Veterans of the SVO” in which he answers questions about benefits and payments. (SVO is the euphemism for “special military operation,” which is the official Russian term for the war in Ukraine.) Perhaps the most telling change is in education. Cadet classes are multiplying, offering military instruction and advice. Within the framework of the “Conversations About Important Things” state program, schools are now giving institutional access to former military personnel in the growing infrastructure of war glorification, with jobs like “advisor to the regional head on SVO issues” or “representative of the Committee of Families of Homeland Warriors.” This infrastructure has not yet been formalized nationally, it varies from region to region, but it is growing everywhere, like the below-ground branches of a mycelium fungus. 

    Officers, soldiers, nurses. We can argue about how much attention schoolchildren should pay to them, but they now have their place and their hours in the schools. In poorer areas, master classes are held on weaving camouflage nets, making stretchers, sewing balaclavas, and so on; in wealthier regions, they open UAV (unmanned aerial vehicle) control clubs or tank modeling clubs. These grassroots activities, which bring war into the lives of children, are difficult to track and to map, but their traces can be found in every local news feed. Moreover, special entertainment and support programs are often created for the children of Russian military personnel, setting them apart as a special “caste” with privileges that are significant against the backdrop of general regional poverty.

    According to an investigation last July by the Insider, a splendid independent Russian online publication, classes on the operation of drones are now part of the Russian educational system, reaching hundreds of thousands of students, some of whom — after passing a selection process — are already directly involved with the military-industrial complex and the armed forces. If we add local and decentralized initiatives such as drone lessons and classes, the reach of this training is even greater. This is no longer a Soviet-style basic military training lesson, where a military instructor shows kids how to throw a dummy grenade. It is a direct window into a large universe of cutting-edge technology, inaccessible to children and teenagers except through participation in government programs.

    We are witnessing the emergence of a somewhat intuitive, nonstandardized fusion of “classical” patriotic education and high-tech training. Ideological indoctrination, as was the case before, is gradually giving way to a de-ideologized futuristic training in the combat skills of a digitalized world, in which the enemy is conditional and vague, and where it is easier to dehumanize the opponent.

    In a situation where there is a lack of prospects and ideas about the country’s global goals, this contentless militaristic  futurism becomes a substitute for a vision of the future. This is, of course, a sop to the younger digitalized generation, but unfortunately it is a clever one. A true ideological fanaticism, a true party obsession, is no longer viable: after the collapse of communism in Russia, the human type capable of being its avatar has almost disappeared. But around the world we are seeing the emergence of a new type of fanatical technocrat (the sterling example is Elon Musk), who stands outside of parties, promises to transform the future for the better, and flirts with authoritarianism. Drones, AI — these technologies are synonymous with the future and are its material embodiment. They are already tangibly changing the present, including the practice of warfare, by injecting a glamorous high-tech dimension into the dirty reality of the trenches; the all-seeing eye of a drone hovering above the battle and looking for its victim..

    Russia has repeatedly tried to create a replacement for the Pioneers (the communist version of the Scouts), and the pro-Kremlin youth movements of the 2000s — Walking Together and Nashi — long ago faded into oblivion, stillborn from the outset and serving only as a springboard to power for hundreds of cynical young careerists. The creation of Yunarmiya (Youth Army) in 2016, the second year after the annexation of Crimea, followed by Dvizhenie Pervykh (Movement of the First) in 2022 was perceived as yet another attempt to continue this ideology-free training. But the semantic shift had already taken place: the word “Army” appeared in the name of this civil organization, and the ongoing war had changed the vector of its development from an anemic pro-government agenda with unclear goals to a militant patriotism and militarization. 

    Naturally, the official figures for these organizations — Yunarmiya, approximately 1.8 million members; Movement of the First, eleven million members — are just numbers on paper created for reporting purposes. But the danger is not in the token events, rallies, gatherings, patriotic song contests, and so on. The danger lies in the logic of a war of conquest, which requires ever more drones and accelerates military development and economic borrowing and imports technology, making the devices much more accessible, including for the purposes of the militaristic education of teenagers. Four years ago, the phrase “UAV class” would have been understood exclusively as a type of UAV, and the idea that Russian schools would include drone control in their curricula would have seemed absurd: why would they have included it, and where would the money have come from?

    Today, thanks to the Russian war industry’s current whirl into overdrive, UAV-equipped provincial schools have laser tag equipment in their classrooms. In 2025, a separate course on UAVs was introduced in schools with a textbook created by employees of Geoscan, a Russian drone manufacturer. This is part of the federal project called “Personnel for Unmanned Aerial Systems,” which is scheduled to run until 2035 and includes preschool, school, and university levels. Preschool!

    This reality has not yet been recognized by experts on Russia, and its consequences have not yet been described. And the Russian opposition, which insists that Russian society remains largely unaffected by the war, also does not want to recognize the militarization of the educational system. And while it may seem that I am focusing too much on drones and schools, that they are too narrow an issue, I think not. I think that they are the most important symbol of the current fusion of Russian society and Russian war. 

    The Ukrainians, too, have drones, and their drones attack Russian enterprises working for the war, and explosions and fires are recorded in virtually every region. But Russian drones are not only on the front lines and in the Ukrainian rear. They are in Russian classrooms, and everyone knows why they are there: the war brought them there. Everyone understands what kind of personnel the federal program should be cultivating for which kinds of unmanned systems. “The Movement of the First is a decent army,” Putin said in May of 2025. A very revealing description of a youth organization.

    From children who ten years ago played “Luhansk” in a forest near Moscow, shooting toy guns at imaginary Ukrainians and breaking their parents’ rules, we have arrived at a generation that will play the same game in school classrooms, controlling actual unmanned systems. The kids from 2015 may already be in the army. And this is still the same war. One war. One long war.

    Odious Art

     Is it possible to create an artistic masterpiece whose content is morally and politically loathsome? If so, what should we make of such art? I can think of one clear example: Birth of a Nation, the silent film directed in 1915 by D. W. Griffith. About its repellent message there can be no doubt. The story of two families, one in the North and one in the South, during and after the American Civil War, it is pure propaganda for the Ku Klux Klan.

    Based on two novels by Thomas Dixon, Jr., The Clansman and The Leopard’s Spots, Griffith’s epic movie paints an idealized picture of the antebellum South, where slaves lived in happy harmony with their white masters. This paradise of racial hierarchy is brutally disturbed by northern liberals, who not only win the Civil War but also give blacks the right to vote, thereby upsetting the “natural order.” Given their freedom, the blacks in Griffith’s movie start behaving like sex-crazed, power-hungry savages. White women are no longer safe. Chaos reigns. And only the heroic march of the white-robed KKK saves the virtue of white womanhood and the honor of white men.

     Many of the blacks are played by white actors, mugging and leering grotesquely in blackface. The most villainous character in the film is a venal mulatto politician who does the most unpardonable thing of all — he gets a law passed allowing mixed-race marriages. The horror of this is dramatized in the most notorious scene in the movie. A freedman named Gus is in love with a white girl named Flora. He follows her into the woods, declaring that he wants to marry her. Flora runs away from him, terrified. He follows her, shouting that he means her no harm. Standing on a cliff, Flora says she will jump if he comes any closer. He makes a move, perhaps to stop her. She jumps. He is duly caught by a posse of hooded Klansmen and lynched.

     It is a horrifying scene. Yet it also shows Griffith’s mastery of his art, for it is beautifully staged in a demonstration of cinematic realism that would change the medium forever. It is not just the innovative camera work, the clever use of music, and the dramatic cutting that lifts this scene and others from the level of squalid propaganda. There is real pathos in the characters. Griffith was too good an artist not to allow some ambivalence to seep into his film, despite his racist beliefs. The scene of Gus’ pursuit of Flora suggests more than the terror of rape. Gus strikes one less as a threatening figure than a pathetic one, who tries to express his love for a woman who can only see him as a wild beast. The intertitle says that it is better for Flora to die than to lose her honor. Griffith and much of his white audience might have agreed, but what he has shown is more complicated.

     It is hard to think of other masterpieces that are as repellent as Birth of a Nation. One might consider Jud Süß, the antisemitic propaganda movie made in Germany in 1940 by Veit Harlan — but Harlan, though perfectly competent, didn’t come close to the genius of Griffith. The film has its moments, but it is far from being an artistic masterwork. Consider also another example of a great artist with terrible ideas from the same period. Louis-Ferdinand Céline was indisputably an antisemite and a Nazi sympathizer. His pamphlets, such as Trifles for a Massacre in 1937, show him at his hateful worst in this respect. A typical passage: 

    When I was on the docks in London, I saw plenty of them, the Yids. These weren’t

    Hymie jewelers, these were vicious lowlifes, they ate rats together. 

    Or this:

    The Kikes that rule the Universe, they understand them, those secrets of public opinion. Hidden in the corners, they have all of the wires in their hands. Propaganda, gold, advertising, radio, press, the cinema. From Hollywood the Jewess, to Moscow the Yid.

     

    When Gallimard decided to republish some of his most odious texts in 2017, there was so much protest that the plan had to be suspended. But Céline’s best-known literary work, Journey to the End of the Night, from 1932, though filled with bile and pessimism about mankind, cannot be classified as extremist propaganda. That was not the purpose of his novel. There is great art in the book, which reflects the dark vision of human existence that Céline shared with other veterans of World War I, such as Ernst Jünger or Curzio Malaparte.

     Oscar Wilde said, as an aesthete would, that there is only good art and bad art — morality and the artist’s motives are completely beside the point. But it cannot be that simple. Aesthetics has a moral component. Art does not have to be uplifting or exemplary. But it is difficult to imagine great art that does not in some way express a sense that life is worth living. By implication — and I recognize the paradox — this suggests that some things might be worth dying for, too. But a simple death wish, for oneself or for others, is a poor basis for good art. We know that we can appreciate works of art even if we profoundly disagree with the beliefs or ideologies that they are meant to convey. An atheist can still be moved by a painting depicting the martyrdom of Christian saints. One mark of artistic quality is a degree of complexity. A good work of art (such as the suicide scene in Birth of a Nation) can be read in different ways. A Madonna and Child by Raphael was clearly meant as an expression of religious piety, but a secular person might read the image as a beautiful depiction of maternal love. This is even true of religious art, whether it is Christian, or Buddhist, or whatnot, that threatens hellish torments for sinners or unbelievers. We can recognize the human fear of death and retribution for our sins without believing in any particular religious dogma.

     Russian Orthodox icons are harder to read in a secular way, since they were themselves sacred objects. Devotion is both the subject and the purpose of these paintings. Devotees might not have considered them works of art, yet even that does not preclude other forms of appreciation. You do not have to be a believer in the Holy Trinity to be moved by the spirituality of Andrei Rublev’s famous picture (or moved by its reverential treatment in Andrei Tarkovsky’s great film about it); the yearning for transcendence is, after all, profoundly human too, and not confined to religion.

     Political ideology, moreover, can be detached from the enjoyment of art. Sergei Eisenstein’s films, such as Battleship Potemkin, are as propagandistic as Jud Süß. They were made to promote an ideology — communism — that would soon result in mass murder. Lenin’s secret police had already unleashed its Red Terror before Eisenstein shot Battleship Potemkin in 1925. The movie is technically at least as inventive as Birth of a Nation; the use of metaphorical images in Eisenstein’s montage, such as the baby carriage bumping down the Odessa Steps, has influenced film directors and artists ever since.

     Triumph of the Will, Leni Riefenstahl’s carefully staged quasi-documentary of a spectacular Nazi rally in Nuremberg in 1934, is similarly full of technical brilliance. Her use of multiple camera setups, her masterful editing, and her grand operatic effects were as influential as Eisenstein’s montage techniques: Hitler’s plane descending from the clouds to Wagner’s music, or his entrance into the stadium walking through the mass of uniformed men like Moses crossing the parted Red Sea. And yet, unlike Battleship Potemkin, Riefenstahl’s Nazi propaganda does not rise to the level of great art. Technical brilliance is not enough. There is nothing of human interest in Triumph of the Will, no intimacy, no psychological insight, no pathos, and certainly no complexity. A spectacle is all it is, and an odious one at that — a sinister version of Busby Berkeley patterns.

     A part of the difference between Riefenstahl’s work and Eisenstein’s may lie in the ideologies that they promoted. Even though communism led to dictatorship and the mass murder of millions of people, it contained ideals that were in themselves not reprehensible. It went on to betray those ideals, and to deceive people with the fine Enlightenment words that it employed, but Eisenstein’s films are at least made in praise of human solidarity against oppressive rulers. His revolutionary ideal was still full of hope. Battleship Potemkin exposes the violence of authoritarian government, while Triumph of the Will celebrates it. The promise of social equality can be the basis of artistic creation, whereas celebrating racism does not lend itself to good art. Nazi ideology, with its worship of the Aryan super race, is inherently a form of murderous kitsch, a cult of death. There were artists who made their compromises with the Nazis — such as Richard Strauss — or were drawn to Nazi ideals — such as Emil Nolde. But neither Strauss nor Nolde celebrated Nazi ideology in their art. Racism is the basis of Birth of a Nation, of course, but Griffith’s film has moments that escape from its crude message. Riefenstahl’s film never does.

     Eisenstein’s greatest achievement, to my mind, is Ivan the Terrible, from 1944, a film in two parts, commissioned by Stalin during the war to raise the morale of the Russians. This epic masterpiece depicts the rise of a sixteenth-century tyrant with whom Stalin personally identified. So the film was meant to be an ode to Stalin, too. Ivan uses his terrifying power to defeat foreign enemies as well as domestic ones, especially the Russian aristocrats. The second part, even stronger than the first, is about real and imagined plots against the Tsar, and the murders that are necessary to crush them.

     Communist propaganda was not the purpose of Eisenstein’s movie. It was an appeal to Russian nationalism and made in praise of a dictator. But like Griffith, Eisenstein couldn’t help but inject ambivalence into his portrait. He hints at the peculiar madness that comes with absolute power. His Ivan, no matter how terrible and stylized, is fully human. He shows real fear. He hesitates. There are even intimations of a conscience. Stalin, no fool, banned the film. Not because of the despot’s cruelty — on the contrary, he thought that Eisenstein’s Ivan was not ruthless enough, not fully a man of iron. His ban was perhaps the greatest compliment he could have paid to this extraordinary film.

     There is no fascist artist of Eisenstein’s stature. But there were some good fascist works of art. Fascism is not the same as National Socialism. In its early stages, fascism outside Germany, and possibly France, lacked the vicious racism of the Nazis. To the Italian Futurists, such as Filippo Tommaso Marinetti and Gino Severini, fascism represented youth, speed, and a glorious future untethered by the oppressive burdens of the past. One can appreciate the dynamic beauty of Severini’s cubist paintings without being drawn in any way to Mussolini’s grandiose and often brutal politics. The most famous fascist sculptor was Arturo Martini. His neoclassical sculptures of angular athletic figures were perhaps conceived to promote the glory of Mussolini’s New Rome, but they are beautiful in the way Arno Breker’s nudes of Aryan heroes are not. The difference must have something to do with the racist stereotypes that were clearly present in Breker’s work but not in Martini’s. But even racial prejudice does not always preclude artistic quality.

     For art to lift itself up from dubious or even repellent ideological sources, it has to be something more than propaganda. There are qualities that can be extracted from communism, most religions, and even fascism that do not stand in the way of good art. Nazism may be an exception. German films produced during the Third Reich are mostly mediocre, frothy, and sentimental, or they are works of Jew-baiting propaganda. Japanese wartime films, made under the strict auspices of an authoritarian militarist regime, are much better. Even though they had to pay lip service to the harsh politics of the time, some of these films are even excellent. The best war movies, such as Five Scouts, from 1938, or Mud and Soldiers, from 1939, both directed by Tomotaka Tasaka, are superior to most propaganda pictures because they do not focus on military glory but on the hard lives of men in combat. The stress is not on heroic deeds but on self-sacrifice. This can be moving, even if we view these films without any sympathy at all for Japanese war aims. But then, even though official wartime propaganda promoted a sense of racial superiority, racism does not taint the best Japanese war films. The enemy is never really seen. He is an off-stage abstraction, and beside the point, since the wickedness of the enemy is not the subject; the subject is the beauty of Japanese sacrifice.

    But even where racial stereotypes do occur, the art in which they appear cannot always be dismissed as rubbish. Richard Wagner was an antisemite. That is clear from his writings. He believed that Jews corrupted German culture, even though he worked with Jewish musicians to get his operas performed. (His conductor at Bayreuth was Hermann Levi, the son of a rabbi.) Wagner has frequently been accused of drawing on antisemitic images for some of his operatic characters. The pedantic Sixtus Beckmesser in Die Meistersinger von Nürnberg, for example, with his jerky speech, his lack of creative talent, and dry critical spirit; or the deceitful dwarf brothers Alberich and Mime, guarding the Nibelungen treasure in the Ring cycle: they cringe and crouch and mutter and screech in the way Wagner is supposed to have thought that Jews behaved. Not everyone agrees that antisemitism was intended. Marc A. Weiner, an American Wagner expert, thinks that it was — but he also claims that “Wagner’s racism led him to create some of his most complex, rich, and enigmatic dramatic figures, as well as some of his most haunting, iconoclastic, and beautiful music.” And even if Wagner projected certain antisemitic clichés into his characters, they were not identified as Jews. Jewishness plays no part in the Ring stories, or indeed in Die Meistersinger. Wagner’s writings about Jews are disturbing, and should not be dismissed as trivial, but his operas are not the obedient vessels of those views, and their musical beauty is not marred by them.

     Imaginary Jewish types do of course appear in some famous novels and plays. Shakespeare’s avaricious, vengeful Jew of Venice is the most famous example. Then there is Fagin in Dickens’s Oliver Twist, the petty thief with the huge nose who, in George Cruikshank’s illustrations and Alec Guinness’s performance in David Lean’s movie, cringes and whines just like Alberich, and corrupts the boys he picks up from the streets. But unpleasant though such antisemitic fantasies are, neither Shylock nor Fagin are merely villains. Shakespeare and Dickens quite likely shared many of the antisemitic prejudices of their time, but the Jews in their fictions are complicated figures, twisted inside by their fate as persecuted outsiders. Shylock is both an antisemitic stereotype and a very human and many-layered character. It is this ambiguity, this openness to different possibilities, that makes The Merchant of Venice not only upsetting but also great.

    Another kind of ambiguity lies in some of T. S. Eliot’s most controversial poems. Much worse than Shylock or Fagin is Bleistein in Eliot’s poem “Burbank with a Baedeker: Bleistein with a Cigar,” first published in 1920 and retained in all the editions of his poetry. Like Shakespeare’s play, the setting of the poem is Venice, the urban symbol of beautiful decay. Spiritual civilization — Christian, in Eliot’s mind — is doomed to collapse under the crass materialism of modern life. Bleistein is the face of that impending disaster:

    But this or such was Bleistein’s way:

    A saggy bending of the knees

    And elbows, with the palms turned out,

    Chicago Semite Viennese.

    A lustreless protrusive eye

    Stares from the protozoic slime

    At a perspective of Canaletto.

    The smoky candle end of time

     

    Declines. On the Rialto once.

    The rats are underneath the piles.

    The jew is underneath the lot.

    Money in furs. The boatman smiles,

     The antisemitism is undeniable and — especially in post-Holocaust hindsight — repulsive. Eliot’s most hateful passages are part of his pessimistic worldview. But as George Steiner observed, “Eliot’s uglier touches tend to occur at the heart of very good poetry.” They are blemishes that have tainted the poems, without disqualifying them as great art. One can marvel at the poetry, I think, without subscribing to his worldview or his antisemitism. The critic Michael Wood put this very well in an essay about Eliot’s prejudices: “But then I also find that the horror I feel at moments when I read these poems has very little to do with my response to the wit and dry splendor of the rest; and that I can’t use one response to trash the other, either way.”

     That Eliot expressed his deeply conservative vision in a fragmented modernist style is important. If there is one thing that right-wing ideologues, as well as Stalinists, hate, it is modernism. Populists agitating against the elites invariably accuse modernist and experimental artists of duping the common man. Hitler, Stalin, and Mao banned modernists, and sometimes killed them. The avant-garde was associated with liberals and Jews and other enemies of the people. Totalitarian art is designed to be instantly understood. Eliot’s poetry could not be further removed from the sentimental romanticism and coarse socialist realism that marked both Nazi and Stalinist art. 

    Is there such a thing as a fascist or totalitarian style? The similarities between official Nazi and Stalinist and Maoist art would suggest that there is. The totalitarian style is often realistic, in the manner of those bad nineteenth-century paintings of wholesome peasants toiling the German soil at sunset that Hitler liked. But the main inspiration of the totalitarian style is the nineteenth-century grandiosity known as Neoclassicism, or, especially in Germany, Romanticism. Hitler’s architectural fantasies are an outsized, grotesque version of the classical style. So are Arno Breker’s huge nude sculptures.

    Leni Riefenstahl’s movies, beginning with the mountain films in the 1920s, in which she scales lonely Alpine mountaintops exulting in the wild elements of nature, borrow a great deal from German Romanticism. Even in Olympia: Festival of Nations, a film about the Berlin Olympics in 1936, one of her less objectionable staged documentaries, there is a mood of pagan ecstasy: the adoration of athletic bodies (black as well as white, it must be said), and of hero worship. Like far greater Romantics, such as Caspar David Friedrich, she preferred the light of dusk or dawn, the intimations of doom or a new age.

     The same doom-laden skies are often a feature of paintings of the 1920s and 1930s in the Magical Realism style. The phrase was coined in 1925 — long before the Latin-American fiction with which it is usually associated — by Franz Roh, a German critic, historian, and photographer. He was in fact describing a return to realism after the flourishing of expressionism in German art. Roh was not a Nazi. On the contrary, he spent time in prison during the Third Reich. But artists with a sympathy for fascism or National Socialism, such as Franz Radziwill, or the Dutchman Pyke Koch, were drawn to this style. They shared T. S. Eliot’s sense of civilizational decadence, which only an appeal to strong leadership and militant order might halt.

    Susan Sontag famously drew a straight line from Riefenstahl’s earliest mountain movies through her films of Nazi rallies to her photographs of naked Nuba wrestlers taken in the 1970s: the same love of beautiful physiques, of warriors and heroes. It was Sontag who decided that this was the style of fascism. But she was perhaps drawing with too broad a brush. Western art is full of paintings and sculptures that celebrate physical beauty and glorify human and animal combat. Just because Riefenstahl applied this aesthetic sensibility to Hitler’s jamborees does not make the style itself inherently fascistic.

     The closest thing in art history to Riefenstahl’s esthetic is some of Jacques-Louis David’s paintings. David was a friend of Robespierre and he was involved in the Reign of Terror. He, too, was a hero worshipper, and a keen painter of naked warriors. While in prison, in 1795, he painted a violent tableau of the Romans attacking the Sabines. The Intervention of the Sabine Women is a scene of extraordinary violence: babies trampled underfoot, naked soldiers about to murder one another, women cowering in terror of being raped. The style might easily have qualified for Sontag’s category of fascist art — but this does not fit the intended meaning of the picture at all. For in the center of the painting is a woman in white, named Hersilia, trying to separate her husband, the Roman leader, from her father, the chief of the Sabines. David’s picture was painted in homage to his wife: love triumphing over war.

    There is, in short, no inherently fascist or totalitarian style, just debased versions of older styles put to nefarious purposes. This leaves subsequent generations of artists with a problem. Sometimes a style can become so debased that it has to be decontaminated, as it were. In his essay “Silence and Language” in 1986, George Steiner analyzed the roots of Nazism in German culture, but also in the German language itself. He believed that there was a “rasping cadence, half nebulous jargon, half obscenity” that Hitler exploited, and by doing so he debased the language of Goethe, Heine, and Mann. I am not sure this is entirely convincing: any language — Russian, Japanese, Chinese, or indeed English — can become in malevolent hands “the language of hell.” But Steiner was right to say that German had been so corrupted by Nazi jargon and obscene euphemisms for collective sadism that postwar writers had to reinvent a literary language. In Steiner’s words: “[Günter] Grass has understood that no German writer after the Holocaust could take the language at face value. . . . It is as if Grass had taken the German dictionary by the throat and was trying to throttle the falsehood and cant out of the old words, trying to cleanse them with laughter and impropriety so as to make them new.”

    Leni Riefenstahl certainly never did anything of the kind. She was too old and too obtuse. But other artists, such as Anselm Kiefer, did for visual art what Günter Grass had done for words. They tried to make something new, sometimes literally from the ashes. Debased styles, such as German Romanticism, had to pass through the post-Nazi sensibility of a filmmaker such as Werner Herzog to become acceptable again.

    But if styles and languages can be successfully decontaminated, the same is not true of tainted works of art. We cannot wish Bleistein or the Ku Klux Klan away. They will continue to sully the masterpieces that contain them. It is a blessing that such works are actually quite rare. Yet we should continue to pay attention to them, not just to recognize the artistic qualities that to some extent redeem them, but also to sharpen our awareness that artistic genius can be perfectly compatible with some of the worst impulses of the human heart.

    WE SHALL ALL BE CHANGED

    Locked in the vault of the cathedral

    the rubies, emeralds and sapphires

    of stained glass in their upright coffers.

    Locked in my throat the shards of tears.

    I was one among the audience

    who rose for the Hallelujah chorus

    and sang our hearts out when we came to

    And He shall reign forever and ever

    just before intermission, which

    feels each year like the time to leave—

    the heavenly overtones not over,

    ringing in the ear. But now

    Behold, I tell you a mystery

    asserts the manly solo voice,

    within the ups and downs a bass

    line of authority: the dead

    shall be raised incorruptible

    and we shall all be changed.

    Every time, that’s when I cry

    or almost cry: the threat or promise 

    of alteration from on high,

    I who was once a first soprano

    in a men’s choir running short on boys,

    settling for us girls because

    our voices wouldn’t break like glass.

    Not all at once; not in the twinkling

    of an eye; just the daily sinking

    [stanza break]

    of girlishness, unperceived, into

    the depth of a woman’s seasoned alto,

    destined not to remain the star

    but to end as harmony, the friend. 

    No harm in that; my tears held back 

    are of gladness, mostly, an amen

    for everything I’ve already been,

    all versions vividly retained 

    or forgotten; and a buried prayer

    that when next year’s last trumpet sounds

    I will not be so much changed

    as not to sing my range.

     

    DEAD FAMILY MEMBERS

    Billy Collins, in an interview 

    I read today (duly “edited

    for brevity and clarity”)

    said, “I believe that family members

    can burden a poem, especially

    if they happen to be dead.”

    He went on, “So if I come across

    ‘Daddy’ or ‘Mommy’ I’m out. ‘Grandma,’”

    he added in fairness, “gets a pass.”

    I laughed, which clearly must have meant 

    I thought he had a point.

    Half of poetry is Oh Dad, Oh Mom,

    or half of what I like—

    take James Merrill’s “The Broken Home”

    or Paradise Lost. Think of Robert Hayden’s

    father stoking the fire before dawn.

    Sylvia Plath chanting Daddy, Daddy

    so many times that bad became good.

    And what to do about Seamus Heaney

    helping his mother peel potatoes—

    are you telling me out it goes?

    What about epitaphs for children?

    You’re saying you can’t take the time

    to read Ben Jonson’s brave twelve-line

    immortal burial of his son?

    Sorry to complain, Billy;

    I really ought to thank you. So few

    poets these days are truly funny.

    Besides, you’ve written elegies

    for your bloodline, like the rest of us.

    Admit it. Your poem “The Death of the Hat,”

    which seems to be only about that

    for stanza after stanza, is really

    [no stanza break]

    a lament for your dead father, whether

    or not you knew it when you started.

    Part of the charm is finding out.

    Charm. Charm us please, don’t scream.

    Maybe that’s what you’re asking of poets.

    My father too wore hats with his suits

    until JFK stopped doing it.

    A poem in charming tribute to us,

    those who remember mid-century

    dads in hats, when “mid-century”

    still referred to the twentieth, might

    be in order sometime when we’re gone.

    Today, though, I’ll attempt again

    to write the poem I’ve failed to write

    for six years, ever since he died.

    My father. Jittery, somber, bored,

    we whispered above his sleep until

    midnight, when we all went back 

    to the hotel and bed. The call

    came an hour after that, of course. 

    We dressed, drove over, and the nurse

    gave us a little time in his room.

    One by one we took our turn,

    but nobody who preceded me

    thought to tell me they were shocked

    by how the old man looked:

    eyes open wide now, terrible

    enough, above his open mouth

    locked in a silent scream—

    proof that slipping into death

    at last could not have been, for him, 

    anything like peace.

    They shouldn’t have let me see this, I thought.

    They shouldn’t have let me come.

    I actually thought that, as if to shield

    a part of me long dead, a child.

    I’m writing about the shame.

     

    NOSTALGIA

    The pang for home: your roots in some other language.

    Saudade, as it’s said. The happy/sad of nostos

    the dumb tail-thumping dog; her hand-me-down

    cameo ring on your own hand, evoking

    a buried joy, her treble flights of laughter.

    Her delight in you. You who were very young.

    But you’re still living, aren’t you? Isn’t that home?

     

    You don’t actually want to be back there, no.

    There was bickering sorrow, more than you credit now.

    You heard them behind the walls, his drone, her tears,

    felt your own doubt and fear. What would become 

    of you when you left them? How could you find out?

    Being young was what there was and took forever.             

    But if you did get old, could you start over?

     

    But that’s not it, either. Not why your worldly-wise

    eyes fill at movies, why the corny score

    rising in volume raises finale goosebumps 

    against your will when Dad pulls into the driveway.

    Accommodation. As in home, and forgiveness.  

    With a basketball hoop above the big garage 

    and a hug with the uneasy teenaged son  

     

    who ducks away; he wants to dribble and shoot,

    so that’s how they’re bonding as the credits roll.

    It’s not the basketballs. Not even the people.  

    Your pain is that again you understand

    the shifting, slippery, benighted present

    is what the past was and is; and that you’ll find

    that shimmering insight instantly forgotten.

     

    The Life and Death of the Book Review

    Book reviewing, it would seem, has been in crisis from the start. As early as 1757, a contributor to Britain’s Literary Magazine complained that “critic is no longer an appellation of dignity,” because book reviewers had turned into “Visigoths,” “critical torturers” who took “malicious pleasure” in tearing authors apart. A century and a half later, in the very first issue of The New Republic, Rebecca West was sounding an equally pessimistic note, although for opposite reasons: “There is now no criticism in England. There is merely a chorus of weak cheers, a piping note of appreciation . . . a mild kindliness that neither heats to enthusiasm nor reverses to anger.” And in 1959, Elizabeth Hardwick famously said much the same thing about reviewing in the United States: “Sweet, bland commendations fall everywhere upon the scene; a universal, if somewhat lobotomized, accommodation reigns.”

    But now book reviewing faces more serious threats than blandness. I first started to worry about it sixteen years ago, thanks to one of those minor academic scandals that generate such malign delight among British literary people. Orlando Figes, a prominent historian of Russia, was discovered to have posted under a pseudonym favorable reviews of his own books on Amazon, and to have rubbished the books of rivals. A feeding frenzy followed in the upscale British dailies, with one of the rivals, Robert Service, calling Figes’ actions “contaminant slime.” The incident cast a new and depressing light on the faux-cheery emails I was by then regularly receiving from colleagues and friends asking me, “if you feel so inclined,” to post favorable notices of their own books on Amazon. 

    Sixteen years on, Amazon controls over half the American book market, and its user reviews exert ever more influence compared to serious criticism. I will admit to checking my own Amazon reviews from time to time. One of them gives my book The First Total War just one lonely star. It reads, in its entirety: “to be frank a boring book.” Another one-star review, this time for my Napoleon: A Concise Biography, is worrisomely titled “a hopeless situation,” but turns out to be a complaint that Amazon overcharged the purchaser. I am happier with the reviewer who gives Napoleon a much-coveted five-star notice. “I enjoyed reading this book,” he writes. “Lots of history.” Well, yes. 

    The rise of Amazon reviews has reinforced a larger pattern of populist impulses challenging older cultural norms. The book clubs and reading circles that do so much to fuel book sales today generally pay little attention to professional critics, instead taking their lead from celebrities like Oprah, or online influencers. The authoritative middlebrow cultural figures who once instructed Americans on what to read from perches at the Saturday Review and the New Yorker no longer exist (Adam Gopnik does not dictate American reading habits). The very idea of such cultural authority is widely dismissed as elitist.

    Meanwhile, mainstream venues for book reviewing continue their long-running magical disappearing act, with falling subscriptions and ad revenues acting as financial Ozempic on their budgets and page counts. The New Republic and the Nation, for instance, used to publish weekly, and included four or five excellent and carefully crafted reviews in each issue. Now they are each down to ten issues a year, with perhaps five or six reviews in each. In February of this year, as part of his evisceration of the Washington Post, Jeff Bezos killed its book section, leaving the New York Times as the only major American newspaper with a stand-alone weekly book review. And the Times’  book coverage is not exactly adventurous or comprehensive. It overwhelmingly favors famous authors and the “big five” publishers whose ads appear in its pages. In 2024, eight of its “ten best” books of the year came from a single press: Penguin Random House. Two years earlier, of the sixteen history titles that made its “hundred best,” no fewer than ten likewise came from Penguin Random House — and not a single one from a university press. The novelist Reynolds Price noted in his memoir Ardent Spirits that in the 1960s, even a first novel might get as many as 90 reviews in American and British newspapers. Today, a hopeful debutant author would be very lucky to get five.

    Newer online-only publications such as the Los Angeles Review of Books have picked up some of the slack, sometimes running terrific reviews. But they suffer from a problem that afflicts nearly all online publishing. One of the most important functions of a review is to alert readers to the existence of books they might not have an obvious interest in. Paper publications provide this experience naturally, thanks to those ultra-sophisticated search technologies known as “tables of contents” and “flipping pages.” But readers mostly come to online reviews from links in social media or email, with the all-powerful algorithms efficiently directing them to topics they were already curious about and authors they already knew. Often they do not even notice the name of the publication. Of course, they could navigate to the publications’ home pages, but relatively few readers do this, and emailed tables of contents, even if they escape the spam filters, usually end up lost in the ever-flowing mudslides of our inboxes.

    The decline of the book review might seem like a minor tragedy, compared to all the other tragedies afflicting us at present. Yet it is symptomatic of a larger change. The modern book review was born with the Enlightenment and it expressed key Enlightenment values: a commitment to the exploration of new knowledge and new forms of artistic expression, free of censorship; a belief in open, passionate, critical debate; and, above all, a dedication to making the results of this exploration and debate accessible to a broad general public. It is no coincidence that the book review, as a cultural phenomenon, is in steep decline, at the moment when the last gleams of the Enlightenment itself increasingly recall the unsteady flickers of a guttering candle.

    In the beginning there was the Republic of Letters: the name given to the sophisticated networks of scholarly correspondence that thrived in early modern Europe, in large part to report on and debate new books. In the mid-seventeenth century, with the birth of the periodical press, various entrepreneurs saw the advantages of moving these networks into print. France’s Journal des Sçavans and England’s Philosophical Transactions of the Royal Society were born in 1665, soon followed by Rome’s Giornale de’ Letterati, the Leipzig-based Acta Eruditorum, and the Dutch Boekzaal van Europe.

    The Acta Eruditorum, published from 1682 to 1782, remains one of the most remarkable book review enterprises ever undertaken, although since it was published in Latin it is today largely forgotten (every issue is now available online, but as yet untranslated). For much of its history, every month it published ten or more detailed reviews totaling fifty or sixty closely packed pages, on subjects ranging from modern and ancient history to theology, philosophy, law, literature, astronomy, physics, mathematics, anatomy, medicine, logic, architecture, language, and rhetoric. Just in the year 1721, books under review included a new edition of Leibniz’s Monadology, Jean-Baptiste Dubos’ important early Enlightenment study of poetry and painting, a collection of John Locke’s miscellanea (including his Constitutions of Carolina), and Alexander Pope’s English translation of the Iliad, which the reviewer praised for its “elegance of diction, and above all the fervent heat of an impassioned poetic spirit.” Among other works discussed were a history of Cambridge University, a report on the recent outbreak of bubonic plague in Marseilles, and a Latin lexicon of the Hebrew Psalms compiled by a British colonial magistrate in far-off Charleston. The reviewer wrote that the last of these had “carried the principal language of the East to the farthest region of the West,” creating a “most precious treasure that has now come forth from the New World.” While the Acta printed its reviews anonymously, the editors kept records of authorship. I once considered myself reasonably prolific in the genre, having published some 157 book reviews over the past forty years, but my pride crumbled when I discovered that the German philosopher Christian Wolff, over an only slightly longer period, contributed nearly six hundred reviews to the Acta Eruditorum.

    Yet despite its dazzling range, the Acta was not exactly accessible. Besides publishing in a language principally used by scholars and clerics, its reviews often turned forbiddingly technical, with mathematical equations, long citations in Greek and Hebrew, and detailed anatomical diagrams. It and its sister publications, despite their broad coverage, resembled modern learned journals more than general interest magazines. Their readership remained largely limited to scholarly networks. And the authors usually put more of their effort into summarizing the books under review than into critically evaluating them.

    Then, in 1684, a brilliant, free-thinking, wildly opinionated French exile in Amsterdam named Pierre Bayle began publishing a new sort of periodical entitled Nouvelles de la République des Lettres. Although its format resembled those of the earlier journals, Bayle boasted that it would benefit from the press freedom that prevailed in the Netherlands, and that he aimed to please what he called “the public.” Bayle wrote much of each issue himself, and the Nouvelles quickly distinguished itself for its style, dry wit, and accessibility. One early review praised the historian Louis Maimbourg as “highly entertaining . . . because he has found the secret of writing history that seems like a novel, or perhaps a novel that seems like history.” And Bayle did not hesitate to dip his pen in acid. Reviewing the biography of a Turkish Grand Vizier, he commented that “if we speak of this book, it is only to warn readers not to trust the fables it contains.” And in the same issue, he savaged an author who had sought to refute the philosophy of Baruch Spinoza: “the insults and bitterness that characterize this book are not the worst things about it . . . Anyone who can believe suppositions so opposed to common sense has no right to criticize others.” (Not that Bayle meant to defend Spinoza, whom he called “equally false.”)

    While Bayle’s journal only lasted for a few years, it opened new possibilities for the book review, and as the periodical press exploded in size in the eighteenth century it had many imitators. Britain proved an especially exciting locale, owing to the end of censorship there and the spread of venues that provided free access to reading material (pre-industrial paper was an expensive commodity). By the mid-century, visitors to coffee houses and reading circles had several dedicated book-centric publications to choose from, including the Literary Magazine, to which Samuel Johnson contributed some thirty reviews in its short life. In an environment shaped by magazines such as the Tatler and the Spectator, with their artful mixes of fiction, news, travelogues, criticism, and gossip, British reviewers increasingly saw their work as entertainment, which could easily devolve into book reviewing as blood sport. As the dyspeptic contributor to the Literary Magazine complained, “every defect is represented with all the malice of exaggeration, and every beauty diminished with all the artifice of envy.” In France, the draconian censorship apparatus limited the possibilities for reviewers. Still, following Bayle’s example, French-language reviews sprang up in the Netherlands, with smugglers sneaking copies across the French border. The illustrious Correspondance littéraire, philosophique et critique, to which Diderot and many other philosophes contributed, circulated in manuscript only to avoid the censor’s attention. Its reach was small but select, with Catherine the Great and several other crowned heads among its subscribers. Eighteenth-century book reviews could have surprisingly profound political effects. Montesquieu published his masterpiece, The Spirit of the Laws in 1748. Although he made not-so-veiled criticisms of the French monarchy and the Catholic church, and arranged to have the book printed outside of France to avoid censorship, he did not expect any personal repercussions. He was a high-ranking noble, a former magistrate, and already one of the most famous authors in the world. The book became an immediate bestseller, going through twelve editions within a year, and receiving extravagant praise (“the best book ever written,” said Horace Walpole — a pity the blurb was not yet invented). But in October 1749 an underground French newspaper published by Jansenists (a dissident strain within the Catholic Church) published a scathing, 6,000-word review that called The Spirit of the Laws heretical for daring to suggest that a people’s religion was shaped by their physical environment, and that Christians should therefore tolerate practices such as polygamy and idolatry in certain parts of the world. The review also scolded the powerful Jesuit Order for being too tolerant of such heterodox ideas. 

    Various elements within the church and the French government were already coming to see Enlightenment writings as a threat to public order — the woke mind virus of the day. The review prompted leading bishops to fall over themselves denouncing Montesquieu, and Montesquieu himself was driven to publish a pamphlet in which he responded to the criticism and cringingly protested his devotion to Roman Catholicism. While he escaped formal prosecution, the controversy marked the moment at which uneasy official toleration of the French Enlightenment shifted into persecution. In 1752, the state formally suspended publication of Diderot and d’Alembert’s revolutionary Encyclopédie (although it was eventually allowed to continue).

    The reception of The Spirit of the Laws also showed how deeply book reviewing could influence reading practices. One of my favorite documents from the eighteenth century is a long manuscript letter to a friend written in 1749 by a young Parisian lawyer with the ponderous name of Claude-Rigobert Lefebvre de Beauvray. He had just finished reading Montesquieu’s book and could not control his excitement. He called the author “a genius who sees everything and sees it well.” But much of the letter was sharply critical, in the spirit of the day’s most popular book reviews. Lefebvre took Montesquieu to task for the book’s excessive detail and compared the final chapters to a man showing signs of senility in old age: “the author dreams, he talks drivel.” Unlike the Jansenist reviewer, the free-thinking Lefebvre de Beauvray scolded Montesquieu for excessive caution on religious matters, and he grew so animated on the subject that he started addressing the author directly: “How many more serious prejudices would you not be capable of freeing us from, Monsieur de Montesquieu, if you had dared to speak seriously and forcefully?” At the end of the letter, Lefebvre de Beauvray apologized for going on at such length, and added, so as to revive his friend’s attention, a short obscene poem of his own composition about another bestseller of the day, the pornographic Theresa the Philosopher.

    It was no coincidence that the book review flourished in tandem with the Enlightenment. Far more than any set of intellectual predecessors, Enlightenment writers deliberately targeted their writings at a large general public. That public — mostly but not entirely urban and well-off — in turn demanded more than ever of their books. In the eighteenth century, Europe and its principal colonies were awash in an unprecedented volume of consumer products: coffee, tea, sugar, spices, ceramics, textiles, home furnishings, musical instruments, religious paraphernalia, engravings… and printed matter. Merchants started to lure customers to their establishments with artfully presented displays of their wares, including especially in shop windows, giving rise to a new cultural practice to which Londoners gave the name “shopping.” Fashion was ceasing to be a preoccupation of the aristocracy alone. Empowered consumers purchased far more books and periodicals than before and no longer treated them as authorities to be studied with reverence. This new breed of readers demanded entertainment and engagement, as well as guidance to help them navigate their brave new world of choice. “Commonplacing” became a widespread habit, with readers copying out or literally cutting and pasting favorite passages from their reading into what amounted to books of their own composition.

    And Enlightenment authors responded to these changes, pushing readers to engage with them. They chose to write in accessible language. They embedded their philosophical arguments in prose fiction and poetry (think of Candide, or Mandeville’s Fable of the Bees), or in reference works that readers could flip through at will (the Encyclopédie). They adopted a dialogue form (a favorite of Diderot’s) leaving uncertain which point of view they favored. They delighted in writing puzzles and paradoxes (a habit of Rousseau). They addressed the reader directly in parenthetical asides (Sade, most notoriously, when his narrator was in flagrante delicto). They did not invent any of these strategies, of course, but they made greater collective use of them than any previous group of authors. As Montesquieu remarked in The Spirit of the Laws, “You should never so exhaust a subject that readers have nothing left to do. The point is not to make them read, but to make them think.”

    Book reviews formed part and parcel of this new social and intellectual universe. They guided readers through the book market. Indeed, reviews made readers aware of a far greater range of books than they could hope to come across in any single bookstore or by word of mouth. They provided divergent points of view, encouraging book readers to come to their own conclusions. They turned every prominent published work into the centerpiece of a wide-ranging, multi-sided discussion; the imperative of consumer guidance comported comfortably with serious analysis, polemic, and style. Or almost every prominent publication — because sometimes the critical enterprise faltered. In 1739–40, for instance, David Hume published his philosophical masterpiece A Treatise of Human Nature. British reviewers largely ignored it, and the one exception mocked the book with strained sarcasm: “What a prodigious Stretch of Invention is here? How vastly do these Speculations exceed in Fineness the finest of the Aristotelian Cobwebs!” A review in a German periodical, meanwhile, grumped that “the author has peculiar thoughts about certainty and probability, and a great talent for obscuring what others might have said clearly about these subjects.” The poor reception contributed to the Treatise’s miserable sales, and Hume himself later lamented: “Never literary Attempt was more unfortunate. . . . It fell dead-born from the Press; without reaching such distinction as even to excite a Murmur among the Zealots.” Among philosophers and thinking people the book has been exciting Murmurs to this day.

    Although the general-interest book review had already assumed its mature modern form during the Enlightenment, the nineteenth and twentieth centuries brought major changes, notably thanks to the explosive expansion of book publishing itself. In 1749, the newly founded Monthly Review claimed it would report on all new books and pamphlets published in Great Britain, but already this goal was impossible to meet. By 1800, the expansion was forcing reviewers to specialize, which reduced the marvelously cosmopolitan range of the early review publications. (By 1800, no one in Europe other than a professional cleric was likely to come across reviews of a lexicon of the Hebrew psalms published in South Carolina.) In 1890, the British editor W. T. Stead could complain that there were not only too many books to read, but too many book reviews as well. He proposed a solution in the form of a publication called the Review of Reviews that provided capsule summaries of reviews published elsewhere. Meanwhile, the pressure on reviewers to keep up with the volume of new books grew so great that it became conventional wisdom among disgruntled writers that, as Anthony Trollope put it, “books are criticized without being read.” In New Grub Street, one of George Gissing’s characters declared that “I got up at 7.30, and while I breakfasted I read through a volume I had to review. By 10.30 the review was written — three-quarters of a column of the Evening Budget.”

    Yet even with these pressures, book reviewing remained a key element of the literary and intellectual scene around the Western world, and the Enlightenment ideals connected with it survived. It also served a democratizing function by providing an avenue for young and unknown authors to establish a reputation and meet editors and publishers. George Bernard Shaw got his start in this way, earning two pounds for every thousand words that he published. In 1905, the editor of the recently-founded Times Literary Supplement in London commissioned a review from an unknown twenty-three-year-old known as A. V. Stephen — the future Virginia Woolf. Over the next three years she wrote fifty brilliant and witty articles for him: she was on her way. In 1934, my uncle Alfred Kazin, then just nineteen years old, the college-student son of poor Yiddish-speaking immigrants to Brooklyn, paid a cold call on the daily book reviewer of the New York Times, impressing him with his intelligence and his strong opinions. Within little more than a year Kazin’s own reviews started to appear in the Times, the New Republic, and other papers.

    And the key elements of the Enlightenment review survived, including what Rebecca West memorably called “the duty of harsh criticism.” Enlightenment authors had fulfilled this duty with gusto, and rightly so, for ideas do matter and there are such things as bad books. As Montesquieu wrote in Persian Letters, “nature seemed to have wisely arranged for men’s follies to be fleeting, but books immortalize them.” Some bad books condemn themselves, so to speak, by their obvious errors and fallacies, and do not even require a mercy killing to fall silently into the oblivion of remainder piles and off-site library storage. But in other books the badness is harder to spot and does more damage. The fallacies come cloaked in elegant prose. The errors perch atop vast piles of footnotes. The hammering assertions compel assent, while the false assumptions slither unnoticed into the brains of unwitting readers and take up permanent residence. With these books, harsh criticism is indeed a duty. As West wrote so brilliantly in 1914: “Now, when every day the souls of men go up from France like smoke . . . we must lash down humanity to the world with thongs of wisdom. . . . And that will never be done while affairs of art and learning are decided without passion, and individual dullnesses allowed to dim the brightness of the collective mind.”

    The tradition of the finely savage book review flourished above all in Great Britain, and great examples are almost too numerous to choose among. My own favorite practitioner of the art was the English historian Hugh Trevor-Roper, who could give the “critical torturers” of the eighteenth century a run for their money. Here he is, for instance, on Arnold Toynbee’s Study of History: “Although every chapter of it has been shot to pieces by the experts, and although it is written in a style compared with which that of Hitler or Rosenberg is of Gibbonian lucidity, it has been hailed by the unprofessional public, at least in America, as ‘an immortal masterpiece’… [and] as a dollar-earner, we are told, it ranks second only to whisky… Surely this phenomenon requires some explanation.” Trevor-Roper mauled the young historian Lawrence Stone so badly that Stone’s mentor, R. H. Tawney, protested that “an erring colleague is not an Amalekite to be smitten hip and thigh.” But even the Marxist historian Christopher Hill confessed an admiration for his Tory colleague: “His wit is never kindly when dealing with what he believes to be Error . . . but always the manner is grand, the range enviable. . . . It is not for his philosophy that we read Professor Trevor-Roper. We read him because energy is eternal delight. He never writes boringly, because he is never bored. And how he can write.”

    Alas, in recent decades the tradition of reviewing as blood sport has waned, even in its one-time arena par excellence, the Times Literary Supplement (although enjoyably dyspeptic exchanges still regularly populate its Letters to the Editor section, especially over minor points of Shakespeariana). And the reason is most assuredly not a decline in the production of bad books, which remain as mephitically numerous a species as ever. But even as the public sphere as a whole has turned more brutal and crude with the rise of the internet and social media, its more genteel precincts sometimes seem to have embraced the intellectual equivalent of anti-vivisectionism, allowing mediocrity to breed uncontrollably.

    Throughout the modern history of the book review, one source of this anti-vivisectionism has come from publishers. Occasionally, a devastating and prominent review, by spurring an entertaining controversy, can spur book sales. More often it sentences books to the fate of Hume’s Treatise, falling “dead-born from the press.” The problem is not necessarily that publishers bring overt pressure to bear on reviewers — although book review publications depend on book advertisements for support. But publishers and book review editors travel in the same circles as the authors of the books they assign and review, rubbing shoulders at places such as London’s Reform Club and New York’s Century Association. Editors understand that their own livelihoods depended on a thriving book business, and they too easily justify cheap praise as a way of encouraging a love of reading. These problems seem especially to have afflicted the New York Times Book Review. Forty years after Elizabeth Hardwick zinged it for its “unaccountable sluggishness” and compared it to a “provincial literary journal,” Jacob Weisberg offered much the same indictment in Slate, calling the Book Review’s by-now century-long history “100 Years of Lassitude,” and warning of its “quietly reverential attitude toward books in general.” Garrison Keillor’s evisceration of Bernard-Henri Lévy’s pretentious American Vertigo on its front page in 2006 stood out as much for its rarity as for its humor: he called the author “a French writer with a spatter-paint prose style and the grandiosity of a college sophomore.” During the pandemic, Pamela Paul, then the editor of the Book Review, remarked in an interview: “We love the publishing industry, and we support what they do, but really we are here for readers.” It was a revealing remark. Are journalists supposed to “support” the industry they cover?

    Unfortunately, a quarter of the way into the twenty-first century, the challenges to the book review go far beyond the inadequacies of any particular publication. The internet has disrupted the world of letters more profoundly than any innovation since the rise of the printing press itself, and early irenic hopes that it would lead to the democratization of knowledge now look as pitifully naive as the notion that social media would generate richer forms of human connection. Publishers genuflect to the Amazonian colossus, and if book reviews still matter to them, they do so mostly just as one less and less important form of publicity. To be sure, the art of the book review still flourishes in publications such as the New York Review of Books, the Times Literary Supplement, Bookforum, the Literary Review and the London Review of Books. But in our world of intellectual climate change, what were once grand peaks towering over the landscape now often seem more like islands in a rising and roiling sea. Reviews now count the most in those corners of academic life where professional advancement still depends on the publication of books rather than journal articles (history and literature, for instance, but not philosophy, economics, or any of the natural sciences). In these niches sheltered from commercial pressures, a laudatory review can still help make a career; a devastating review can destroy one. Most such academic titles, I should add, sell at most a couple of hundred copies in print, and have prohibitively high prices. (Oxford University Press and Cambridge University Press books routinely cost $100 or more.) They are also available electronically, but only to those lucky enough to have access to the portals of major research libraries, and the same is true of book reviews in academic journals. These barriers to entry certainly represent the antithesis of the Enlightenment and its commitment to free discussion, open to all.

    But beyond these economic and technological issues, what future does the well-reasoned, learned, witty, engaging book review have in a world of howling identity politics, 280-character hate posts, and raging populist anger against anything deemed elitist — in sum, our post-Enlightenment world? A book review can be corrupted by demagoguery and ideology as much as any other literary genre. I do not doubt that the book review will survive in some form, among like-minded people in small, sheltered corners of the electronic universe, but it will no longer have the same centrality to the culture it once did, or the same power to disrupt or reverberate through intellectual life, or the same ability to promote the values of intellectual audacity and freedom, critical debate, and public education. It will no longer do what it once did to help readers come to informed judgments about books, and, more broadly, to help them think for themselves about the subjects in question. Judgments about books are very often nothing less than judgments about life. So a great deal is at stake in the fate of this seemingly humble activity. But just as the last remnants of the Enlightenment appear to be flickering out, so, too, does this small but fundamental component of our once-grand intellectual enterprise.

    Stopping by Milton

    I.

    In 1888, as a young man, William Butler Yeats found himself in a novel predicament. Having come to his first séance in the hope of making contact with spirits, he felt a tremor, a spasm, a convulsion that flung him into the wall. The circle thought he must be a medium. He steadied himself and sat back at the table. Awaking from mesmerized sleep, the medium leading the circle warned of great danger and began trying to ward off the spirits. Yeats convulsed and broke the table, his friend prayed to the Virgin and the Father. Knowing no prayers in the moment, Yeats declaimed the opening lines of Paradise Lost — and all was still. 

    No episode better illustrates the changing climate of faith for English-language poets near the turn of the century. Yeats’ experience is of a world animated by mysterious forces unmediated by the old institutions. His explanation afterward is agnostic between faith in the spirits and the suspicion that they might have been imagined. And yet, when beset by bad spirits, his recourse is to formal invocation of a divine figure, not the Father summoned in the Lord’s Prayer but the heavenly muse summoned in the first lines of Milton’s epic. Faith, once widely received, had become an uncertain inheritance. The same would shortly happen to Milton.

    Those of us who have not made a study of our literature might find it hard to imagine Milton’s stature as of the late nineteenth century. In Milton, a popular biography of 1879, Mark Pattison pronounced Milton’s first collection “the finest flower of English poesy.” That book, from 1645, contained Milton’s inimitable elegy “Lycidas,” for Pattison the singular “high-water mark of English Poesy.” A year after the appearance of Pattison’s volume, Matthew Arnold, the most eminent critic at the time in England and for later generations the hollow donkey to blame for most every excess of “Victorianism,” declared Shakespeare and Milton the two “poetical classics” of English literature, the standards against which other verse might be judged. Arnold went a step farther in the year of Yeats’ séance, praising Milton expressly at Shakespeare’s expense, as “by his diction and rhythm the one artist of the highest rank in the great style whom we have.” The great testament to Milton’s centrality is Arnold’s assurance in pronouncing his style the better of Shakespeare’s: “This I take as requiring no discussion, this I take as certain.” (Arnold was like that.) Such was Milton’s authority that Arnold saw no need to argue the point that Yeats would invoke it to set the room still.

    The regard professed by Arnold and revealed by Yeats is in line with the reception of Milton that had prevailed for over two centuries. The tradition was reverential but far from uncritical. Yeats’ father held with Arnold that Milton dealt in abstract opinion to the detriment of his verse, and Arnold was far from first or last to entertain doubts about the theology and the probity of Paradise Lost. Still, two hundred years after Milton’s death, an elderly Robert Browning was representative of the tradition’s esteem in keeping a portrait of Milton in his study, just as a younger Browning had been representative in slighting an elder poet by contrast with the heroic example of Milton. “Shakespeare was of us, Milton was for us,” Browning wrote in 1845 in “The Lost Leader,” his broadside against an unnamed poet whom everyone understood to be Wordsworth, accusing Wordsworth of abandoning the cause of British freedom in a rough paraphrase of the latter’s famous encomium to the cause from a sonnet of 1815:

    We must be free or die, who speak the tongue

    That Shakespeare spake; the faith and morals hold

    Which Milton held.

    In the same year in which Browning wrote “The Lost Leader,” his beloved Elizabeth Barrett, soon to be Elizabeth Barrett Browning, wrote him a letter with the purest distillation of the reverence that Milton inspired in his heirs: “Our inferiority is not in what we can do, but in what we are. We should write poems like Milton if [we] lived them like Milton.” His superiority as a poet was tied inextricably to the faith that he embodied and lived. Robert Browning, given a lock of Milton’s hair, placed it with a lock of Elizabeth’s.

    Across the Atlantic, Emerson celebrated “Shakspeare and Milton” in a breath as emblematic of English poetic genius: “its poetry is common sense inspired; or iron raised to white heat.” This last phrase may have served as inspiration for Dickinson (“Dare you see a soul/ at the White Heat?”), who in any case knew her Milton profoundly. His work had been a fixture of New England literary culture as long as it had existed and shows up in the poetry and prose of every canonical author in the mid-century American Renaissance. Longfellow’s short poem “Milton” praised the poet, “England’s Mæonides” (that is, England’s Homer), for the “mighty” song that “floods all the soul” like the resounding waves that leave the sand gold. Preceding this in England by a dozen years was Tennyson’s short poem “Milton,” which praised the poet, “O mighty-mouth’d inventor of harmonies . . . God-gifted organ-voice of England,” for the distant echoes of his thundering song quietly felt in the sunset on an “ambrosial ocean isle.” As Longfellow echoed Tennyson’s rather mawkish mellifluousness, Whitman echoed Shelley and Blake in numbering Milton’s Satan among the immortal types of world literature. For Shelley, Blake, and every English poet of the Romantic generations beginning in the late eighteenth century, their own achievement is inconceivable without the example of the man Wordsworth called “That mighty orb of song,/ The divine Milton,” the “voice whose sound was as the sea” — “our great Poet.” 

    The epithet had also been applied to Milton in the most influential work on aesthetics from the British eighteenth century, Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, in 1757. The young Burke quotes passages from Paradise Lost to illustrate the sublime in several aspects, such as “the light and glory which flows from the Divine presence; a light which by its very excess is converted into a species of darkness.” Dr. Johnson echoed Burke’s esteem for Milton’s distinctive sublimity while carping at the great poet for his republican politics and his prolixity. In a fine literalization of tradition, Dr. Johnson received a lock of hair from Joseph Addison, Milton’s great critic of the early eighteenth century, before handing down the lock until it reached Leigh Hunt, who showed it to Keats and in his final years gave it to Browning. 

    No English poet of the eighteenth century escaped Milton’s shadow. Perhaps that helps to explain why the most memorable poetic encomia of the century, Alexander Pope’s, are less fulsome than those of Pope’s predecessors, Milton’s younger contemporaries. Pope qualifies, albeit with reverence, the figure whom John Dryden and Andrew Marvell evangelized. If Dryden’s “Epigram on Milton” is perhaps the most superlative praise ever written of Milton by a major poet, outdoing even Wordsworth in proclaiming Milton a fusion of the highest in Homer (loftiness) and Virgil (majesty), Marvell’s verse preface to Paradise Lost would prove the most unwittingly prophetic:

    That majesty which through thy work doth reign

    Draws the devout, deterring the profane.

    The good Marvell could have hardly imagined the profanations of one so undevout as Ezra Pound. In 1910, Pound proclaimed Paradise Lost “conventional melodrama.” In 1915 he declared that “Milton is the worst sort of poison.” Our great poet had lost his authority.

    Histories tend to credit Pound and his coadjutants with the regicide, and surely their role was outsized. Pound, the prime mover of English-language Modernism, the most influential tastemaker in English poetry for the first half of the century, told all who would listen that Milton’s influence was malign. Pound’s charges had a parrot in the poet William Carlos Williams, also influential, and elaboration in the prose of T. S. Eliot, whose critical authority was unrivaled for decades. They charged, variously, that Milton had debased the language with Latinisms and stultified the meter of English poetry with a bland and hegemonic pentameter. If he had been the presiding genius of the nineteenth century, then he was to blame for the nineteenth century in its sonorousness and sentimentality, its vagueness and hollow idealism. Eliot ingeniously traced these sins of the Victorians to Milton’s “dissociation of sensibility,” his supposed alienation of his ideas from his experience. 

    If Pound and Eliot differed on the details of their charges, they were at least consistent in setting up Milton as the opposite of what the age demanded for its poetry. Pound saw the age demanding the “definiteness” of Dante in contrast to the “rhetoric” of Milton, elsewhere the enemy of “the image” and later an “abominable dogbiscuit.” The age demanded “a renaissance, or awakening,” whereas what Milton offered was “decadence.” While Eliot avoided the crudity of Pound and the buffoonery of Williams, his use of Milton was the same until it was too late to matter: counterexample to the example that he intended to set, standard foil to the standards that he worked to impose. And here was the rub. Their standards had much to recommend them, their examples much to love. There really was much to outgrow in the long shadow of Wordsworth and Tennyson, much fluff and piety that demanded a new dexterity of thought and expression, demanded a new difficulty to stir readers from the complacency of outworn experience. And there was much to admire in their new examples, from the modernized Yeats under Pound’s tutelage to Marianne Moore and Robert Frost (briefly, ironically, soon acrimoniously). There was of course also the poetry of Pound and Eliot themselves, signally The Waste Land in 1922, the poem of the century, authored by Eliot and edited with genius by Pound. They stood for Joyce, Hemingway, Ford Madox Ford (who helped to harden Pound’s anti-Miltonic animus). Though few can now recall the fine points of the Modernist case against Milton, he is cast still in the role of slumber from which the movement struggled to awake.

    Yet this story can tell of no more than the proximate cause of Milton’s desacralization. It remains to be seen not only why Milton was cast in the role of Adversary but why audiences found it believable. Something had changed between 1888, when the invocation of Milton had the force of prayer and exorcism for Yeats’s circle of spiritualists, and 1910, when Pound could feel no more than “conventional melodrama” in Milton’s epic and Ford Madox Ford (then surnamed Hueffer) could find Paradise Lost “dull and pompous,” for which he imagines that “all men with their accepted ideas on a literary hierarchy will exclaim against the impertinence or the very atheism of the critic.” Hueffer’s imagined conventionalists would have been close. What mattered was not the atheism of any given reader, which Shelley shared and Hueffer did not, but the secularism of the age, which Hueffer shared with Pound in 1910 but not with the bad spirits who had beset Yeats’s circle. Yeats published his first book of poems in 1889, beginning his first lyric poem with a lament over the ascendant “Grey Truth” of secular materialism. By 1910, a world raised on grey truth had come of age.

    This account follows the framework and general chronology of Charles Taylor’s monumental history A Secular Age. Taylor tells the history of secularism not by numbering believers and unbelievers but by inferring the received standards of belief at a given time and the range of normative beliefs in a culture. Taylor dates the modern norm of secular materialism in Europe to the late nineteenth century, roughly as Yeats did. That first lyric, voiced by a shepherd out of an old folk tale, grieves over a world in which dreams had lost their reality for so many. One could hardly give a date when English literary culture grew secular. But in 1888 Yeats can feel himself thrown against a wall; in 1658 Milton, blind like Mæonides, can summon a muse from heaven to guide him through Genesis, a vision that inspired poets of varied faith for a quarter of a millennium and that in 1910 strikes two of the best literary minds of the age as mere dullness, having failed to speak to them. 

    Hueffer and Pound issued their dissents of 1910 more as proclamation than as argument. They took their cause to require no discussion, as Matthew Arnold had thought of his laudation thirty years earlier. The Poet’s assailants charged an unlocked gate.

    “I can conceive that this is the essence, of which almost all other poetry is the dilution.” So wrote Virginia Woolf of Paradise Lost in her diary of 1918, an entry that shows the immense potential of secular regard for the epic as well as the probable limits of such admiration. 

    He deals in horror & immensity & squalor & sublimity, but never in the passions of the human heart. Has any great poem ever let in so little light upon one’s own joys and sorrows? I get no help in judging life; I scarcely feel that Milton lived or knew men & women; except for the peevish personalities about marriage & the woman’s duties.

    The very essence of poetry, its subject the fall and redemption of all mankind in depth of horror and height of sublimity, was for Woolf utterly removed from her own sorrow and joy, and no help in judging life. “The figures are majestic; in them is summed up much of what men thought of our place in the universe, of our duty to God, our religion.” What men thought, not what she might think, or believe, or imagine taking on faith.

    Woolf uses “majestic” much as Dryden and Marvell had, referring to that which makes divinity sensible (or imaginable) to humanity. If majesty makes legible the divine will, it shows us rather a lot about “our duty to God, our religion.” It is this that Marvell meant in writing that Milton’s majesty would draw the devout and deter the profane, and this quality of moral and religious emulation that distinguishes the reverence for Milton in the tradition from the narrowly aesthetic evaluations that tended to follow. Elizabeth Barrett Browning wanted to live poems like Milton. Wordsworth distinguishes his civilization not by its regard for Milton’s art but by its holding to Milton’s “faith and morals,” the phrase given its best presentation, as so often, in the elaboration of Coleridge, who quotes Wordsworth’s sonnet to distinguish Shakespeare’s and Milton’s imaginations as Wordsworth had their supreme gifts to Britain. Where Shakespeare is Proteus, Milton is a realm: “While the former darts himself forth, and passes into all the forms of human character and passion, the one Proteus of the fire and the flood; the other attracts all forms and things to himself, into the unity of his own ideal.” Coleridge understood the epic as the embodiment of an ideal we might live by in the blind poet’s “sublime listening to the still voice in his own spirit.”

    This sublime listening invokes a pillar of English cultural tradition: the liberty to trust the still small voice in one’s soul. More than any other, this principle marks the emulative reverence for Milton from what followed. Blake and Shelley and Wordsworth hardly shared Milton’s theology but lived for their visions of liberty and an eternal realm beyond sense. They could read Milton’s “apostrophe to light” (Coleridge’s phrase), in the beginning of Book III, with its culmination in the prayer “that I may see and tell/ Of things invisible to mortal sight,” and feel that he might well have seen and told them. Rarer to credit these visions in a secular age. What had struck generations as majestic came to feel merely imagined. As Woolf wrote famously in 1928, “there’s something obscene in a living person sitting by the fire and believing in God.”

    Woolf’s subject was her friend T. S. Eliot. He was as sensible to religious vision as anyone, but had this to say as to the voice in one’s head:

    The possessors of the inner voice ride ten in a compartment to a football match at Swansea, listening to the inner voice, which breathes the eternal message of vanity, fear, and lust.

    Bombast aside, Eliot makes the sensible point that the inner voice in a secular age tends not to be the still voice of spirit. Such considerations made the young Eliot at once conservative and radical, his aim both to conserve tradition and to restore the roots from which it deviated. And the deviation was Milton. Where Milton embodied the Protestantism that had softened from the Puritans of Plymouth Plantation to the amorphous Unitarians of Eliot’s youth, Eliot idealized the Catholic worlds of Chaucer’s England and Dante’s Florence — order, not liberty. Milton was the great English enemy of priestly interposition between man and God; but Eliot played the priest.

    The prelatical station that he assumed was Matthew Arnold’s, a literary eminence pronouncing upon works in part for their effect on public morals and social order. Eliot’s early charges against Milton often read as overstated reactions against Arnold’s own inflated claims for the poet, such as Arnold’s case that Milton purified English with the diction that Eliot held largely responsible for gradually alienating our poets’ thoughts from their feelings. Less conspicuous but more fundamental was Eliot’s agon with another conservative and an earlier eminence, Coleridge, over the power of imagination, which for Coleridge was a transcendental faculty, distinct from other operations of the mind, a voice and vision in the spirit that might be of majesty. Eliot denies the distinctness. Coleridge’s Milton haunts the whole of The Use of Poetry and the Use of Criticism, from 1933, a book that Eliot would come to regard as an authoritative statement of his critical position, his animus the assertion from Coleridge that “Milton had a highly imaginative, Cowley a very fanciful mind.” Eliot would elevate fancy — the creative recombination of memory, as in daydreams — to the plane of imagination, as his earlier writing had drawn out the subtle importance of wit, another aesthetic quality deprecated by Coleridge and the tradition. Eliot’s vision was all or nothing, an aesthetic analogue to his vision of culture writ large — not a part of experience conserved but the whole of experience radically reordered to restore its lost roots.

    The grand artistic expression of this vision was The Waste Land, an epic of collective experience and a great provocation upon its release in the winter of 1922. Among the reactions it provoked was the finest short poem in the Miltonic tradition from the twentieth century.

    II.

    A quarter of a century earlier, in the fall of 1897, Robert Frost walked into a lecture on Milton. Frost, twenty-three, a Harvard freshman on his second shot at college, adored the lecture, a brilliant exposition of Milton’s “On Time,” but attended no more of the course. He could not abide the other students’ frantically recording the professor’s every word.

    Frost had first attended college at a conventional age, matriculating to Dartmouth at eighteen and lasting almost the whole fall semester. The reasons he offered for leaving were, as often with him, a little suspect, perhaps even to himself. He had domestic concerns — a mother who needed him, a girlfriend he desperately missed — but also an abiding sense that he was an odd fit with his peers. On a working scholarship, he felt poor; as a poet, he felt stuck. He thought of himself at the time as an unacknowledged legislator of the universe in the lineage of Shelley. The homework and hijinks of college seemed an impediment to the real work of writing. He spent the half-decade between schools in towns and small cities north of Boston, working a variety of jobs — lightbulb trimmer at the factory, teacher at his mother’s school — publishing poems here and there, feeling provincial and aimless.

    As a consequence of spending these years as he did, he was late to encounter a secular milieu. Had he spent these formative years in the university, he might have talked and thought as a Dartmouth man for the rest of his life. Though his mother worried that Harvard would render him godless, what happened was close to the opposite. Cambridge left him shocked by the blithe irreverence with which peers and professors talked of things of the spirit. Their influence made him more reticent to speak of faith but no less inclined to it. One gets a hint of the difference plausibly made by age and environment from the journal of the younger Wallace Stevens, Frost’s former classmate at Harvard, who had this to say after having Paradise Lost read to him in the fall of 1900 as he sat in a shaft of sunlight: “The sun was better than the poetry — but both were heavenly things.” By the next year, Stevens was in New York City for law school and Frost was raising hens in Derry, New Hampshire.

    Stevens had fallen under the spell of George Santayana, the philosopher who most repelled Frost in his two and a half semesters at Harvard. Santayana, the charismatic Spaniard, held that there were no religious truths, only illusions, more or less true according to circumstance. An aesthetic hierarchy of illustrious illusion would be the heart of Stevens’s poetry, some of the best of the century, none of it in the Miltonic tradition. Stevens’s regard for Milton was as aesthetic as his understanding of imagination, the poetry of holy light no better than the sun. But Frost could hardly speak of Milton except in reverential terms. He thought the sound of “Lycidas” alone would bring something close to perfection. He called the character of his beloved New England “the residue of Cromwell and Milton.”

    Frost and his family set sail for England after thirteen years in rural New Hampshire, settling in a suburb of London near the grave of Edmund Burke and the cottage where Milton wrote Paradise Lost. (Frost’s wife, Elinor, said as much in one of her first letters back to America.) Having come to make his name, Frost succeeded in short order, publishing his first book, A Boy’s Will, to an enthusiastic misreading by Pound that made Elinor cry. Pound pronounced Frost simple, sincere, and artless; whereas Frost was subtle, cunning, and complex, if as understated in complexity as any poet since George Herbert. Yet Pound was not wrong to see an affinity. A Boy’s Will exemplified much of what he was urging of poets — a concreteness of description and a thoroughgoing lack of the verbal ornament and vague piety that had tended to plague poetry since the late Victorians. The language was plain for its time, and the language of Frost’s second book, North of Boston, would be plainer still. What Pound missed was Frost’s surpassing complexity, hidden as it was under an unassuming surface. Frost’s poems tend to offer a dual aspect, a surface of plain sense with tumults of mind underneath and trials of spirit. Frost’s portraits of nature intimate the prospect of majesty for those inclined to take the hint. Pound was not. He urged difficulty but had an eye for difficulty of surface, as would his young protégé of whom Frost jealously heard as he began to displace Frost in Pound’s eyes in late 1914 — Thomas Stearns Eliot.

    Frost’s jealousy is telling. He had fallen out with Pound in buried fury, comparing him to a self-appointed high priest in an unpublished poem. He later drafted part of a play in which Pound’s alter ego operates in the art world as if he were an old machine politician, a “poetical boss.” Frost bemoaned Pound’s influence on Yeats, calling him “a kite with a one Pound tail.” But for all of Frost’s conviction that Pound’s authority was illegitimate and wielded corruptly, he was distressed to feel Pound’s favor shifting to Eliot. Frost’s newfound success rested on validation from the literary establishment, which Pound bestrode like Boss Tweed, and Eliot, fourteen years younger than Frost, had needed no years in the wilderness before attaining an eminence that Frost would mock soon enough. 

    The form of The Waste Land was singular, its four-hundred-odd lines of highly irregular verse, mostly blank, bestrewn with unattributed quotations and, in book form, footnotes, the poem speaking elliptically of the present from the vantage of a mythic past. Frost published a poem the next year that was his first of that length, his first with such irregular meter, his first with footnotes and unattributed quotations everywhere, his first that dealt elliptically with the present as if from a mythic past, with a strangely hysterical intellectual making gloomy pronouncements about modernity and quoting Matthew Arnold from his “intellectual throne.” Frost never admitted that the poem, “New Hampshire,” was a response to The Waste Land, pretending to have written it the summer before and not in midwinter, when he was driven to a reactive pique upon seeing The Waste Land and its immediate reception as the herald of a new age in literature. However implausibly Frost dated the composition, there is good reason to trust the heart of the story he told of it, in which he wrote all night and then, on stepping out to see the sun rise on his farm in Vermont, heard as if in a trance the words that would become “Stopping by Woods on a Snowy Evening.”

    Milton speaks variously through Frost’s poems. In a poem of Frost’s from the early years of the century, “Pan With Us,” titled at first “Pan Desponds,” Frost tells of the lost music of pagan poetry as Milton had in his “Ode on the Morning of Christ’s Nativity,” in which the nativity makes a music of the spheres far greater than Pan ever made. More subtly and more exquisitely, “Lycidas” supplies structure, myth, and meter for the sense of transcendence just under the surface of “Birches,” as well as inspiration for that poem’s companion, “After Apple-Picking.” If “Birches” tells of worldly experience with an intimation of spirit, “After Apple-Picking” offers a Judeo-Christian cosmology with nothing deeper than sensation to sate it. In every instance, Frost borrows phrases and sounds of stunning grace as well as a realm to hint at — the supersession of Pan, the fall and transcendence of “Lycidas,” itself an alchemical blend of music Pagan and Christian, sublime heights of gods and transcendence of God.

    Most of Frost’s allusions to Paradise Lost are clustered in a relatively brief stretch of the epic. Wordsworth’s are much the same, recurring to Milton’s direct invocations of the divine in the beginnings of Books I, III, and V. Frost’s references span the middle of Book II through Book IV — Satan’s escape from hell and flight to earth, Milton’s address to Light and God’s speech on man’s condition and fate, Satan’s first sight of paradise, the temptation of Eve. In “Fire and Ice,” Frost speaks with unnerving calm about the end of the world, recalling the fallen angels’ composed debate on “Fix’d fate, free will, foreknowledge absolute,” the angels all brought perpetually “From beds of raging fire to starve in ice” as Satan resolves to intrude upon paradise and bring about the destruction of humanity. Frost’s echoes of the epic all bring such richness of context, as of Satan’s flight out of hell in Book II (in Frost’s “Bond and Free,” “Birches,” “Desert Places,” this last about the void of the heavens, Frost’s “The loneliness includes me unawares” recalling Satan’s encounter of “A vast vacuity: all unawares”); Milton’s apostrophe to Holy Light and God’s subsequent speech in Book III, respective inspirations for Frost’s late major works on religion, his Masques of Reason and Mercy (inspired also by Milton’s masque Comus); and Satan’s beholding of the “imparadis’d” Adam and Eve in Book IV, once more in “Bond and Free.” The same stretches of the epic to which Frost alludes in “Bond and Free,” Satan’s escape in Book II and his spying in Book IV, recur in Frost’s “For Once, Then Something,” a poem as representative of Frost’s mind and Miltonism as anything he ever wrote. 

     Others taunt me with having knelt at well-curbs

     Always wrong to the light, so never seeing

     Deeper down in the well than where the water

     Gives me back in a shining surface picture

     Me myself in the summer heaven godlike

     Looking out of a wreath of fern and cloud puffs.

     Once, when trying with chin against a well-curb,

     I discerned, as I thought, beyond the picture,

     Through the picture, a something white, uncertain,

     Something more of the depths — and then I lost it.

     Water came to rebuke the too clear water.

     One drop fell from a fern, and lo, a ripple

     Shook whatever it was lay there at bottom,

     Blurred it, blotted it out. What was that whiteness?

     Truth? A pebble of quartz? For once, then, something.

    The poem offers its readers something of the epiphany of which it speaks. Hard as it is to resist a sense of triumphal discovery in reading the poem, that sense is no less hard to sustain on rereading. The optical epiphany declared in the end had been slipping into uncertainty for the better part of the poem, leaving us readers to wonder what to make of the poem’s crescendo, final and titular, alpha and omega with seemingly little support in between. We are thrust into an uncertainty similar to the uncertainty that the poem describes. 

    One can resolve the uncertainty by appeal to a pair of allusions familiar enough to make the poem cohere almost into a parable. Democritus taught that truth was not to be found because it lies at the bottom of a well. Jesus taught in the Gospel of Luke that signs of revelation will never be so clear as to be beyond doubt because a sign beyond doubt would not demand the exercise of faith, always issuing “rebukes” to his disciples for asking him to clarify his parables much as “water came to rebuke the too clear water.” The poem responds to the empirical charge of Democritus, from its first six lines, with an experience of Lukan revelation, as if to impress that any momentary sense of revelation, in the world as it is, would feel no clearer than this, an indefinite memory, redescribed and reinscribed, fading in sense but preserved by a last declaration of faith. 

    One might also suppose that this is only more elaborate fulfillment of a wish by the speaker to feel a sense of spirit in an obdurately physical world. He is, as others taunt him to be, looking in the well and seeing a heavenly image where he ought to discern his reflection. He is Eve in Book IV of Milton’s epic as she mistakes her reflection, in a clear lake that looks like the sky, for a transcendent other. It is a grave accusation, charging him with an error like that which led to her temptation by Satan and the consequent fall of humanity. Yet the poem pairs the accusation with a graver one against those who would so accuse him, putting them in the situation of Satan. 

    In Milton’s revision of Genesis, birth and death have parallel origins. As the mother of humanity encounters the gleam of her “smooth watry image” shortly after emerging fully formed from Adam’s rib, Satan fails to recognize the creation who had sprung from his head entire, Sin, with whom he bred Death, who stands sentinel with Sin at Hell’s gate. Sin recalls Satan’s first impression of his own creation: “Thyself in me thy perfect image viewing.” How much like Frost’s “Me myself in the summer heaven godlike” — the same meter, rare in English, and much the same phrasing and ravishment. While the risk of doctrinal error is like Eve’s, projecting your own image into your preconceptions of divinity, the possible error of the skeptical empiricist is like that of Satan forgetting his creation, the empiricist forgetting preconceptions that might obstruct present perception — demands for clarity that might draw a rebuke, self-certainty that might be its own form of destructive self-love.

    An epiphany and its erasure; the faith of Galilee and the reason of Athens. Frost inscribes depth upon depth without imposing the least erudition, leaving readers to follow him in a tension between experience and reflection for which Milton is both an inspiration and an astonishingly intricate precedent. The reader is left to judge and imagine the prospect of the slightest revelation and to feel the stakes of their own judgment. The weight of the choice may be heavy for those who happen to see, however blurred and blotted out, the echoes of divinity or evil in their very choice. 

    The caricature of Eliot drawn by Frost in “New Hampshire” is defined by his denial of the uncertainty at the heart of human experience. In his “terror of the flux,” of whatever lies beyond or beneath the reach of human perception, Eliot’s stand-in, unnamed, is acutely phobic of trees. His curious phobia exemplifies an intellectual retreat to erudition and high-minded preconception. For him “The only decent tree had been to mill / And educated into boards” — as if there were no limit to what education could change. Having approached “a grove of trees,” he turned to flee, repeating passages from Matthew Arnold and Macbeth, shielding his refined conception of human nature from an encounter that might leave it unsettled:

    He knew too well for any earthly use

    The line where man leaves off and nature starts,

    And never over-stepped it save in dreams.

    Like the students frantically annotating their professor’s words on Milton, Eliot’s stand-in takes refuge in study at the expense of apprehension. 

    Frost’s “Stopping by Woods on a Snowy Evening” is a figure of such apprehension. It takes place at precisely the kind of line fled in “New Hampshire,” a grove of trees that serves as threshold between humanity and nature, approached with understated awe.

    Whose woods these are I think I know.

    His house is in the village though;

    He will not see me stopping here

    To watch his woods fill up with snow.

     

    My little horse must think it queer

    To stop without a farmhouse near

    Between the woods and frozen lake

    The darkest evening of the year.

     

    He gives his harness bells a shake

    To ask if there is some mistake.

    The only other sound’s the sweep

    Of easy wind and downy flake.

     

    The woods are lovely, dark and deep,

    But I have promises to keep,

    And miles to go before I sleep,

    And miles to go before I sleep.

     

    Many a reader has seen a longing for death in the draw of these ethereal woods. A more spiritual age might have recognized a guise of the sublime, that which allures and forbids in its evocation of power vastly beyond us. Lovely, the beautiful; dark and deep, the sublime, the majestic. 

    Burke had catalogued the effects of language pairing great things and small, annihilating and hospitable, delimited and imperceptibly immense, as well as the distinctive genius with which Milton rendered the darkness of Hell and pictured God as a surpassingly bright darkness. Burke was speaking of God in Book III of Paradise Lost, shortly after Satan’s emergence from Hell in the end of Book II, out of Night and Chaos, into the glimmer of dawn at the farthest reach of Nature. Satan’s travels bear a strange resemblance to those of the unnamed speaker of the poem Frost recalled hearing at dawn after writing all night about the horizon of Nature. Like the snowflakes in “Stopping by Woods,” Satan flies with quiet and ease. He pauses his flight to gaze at his erstwhile home, then turns his gaze to our world, to him as small and luminous as a distant star (as, to us, a snowflake). Then he proceeds with his long journey to our world, as promised, in the last pair of lines in Book II, whereupon Milton moves the epic to Heaven with his extraordinary apostrophe to Light.

    Hail, holy Light, offspring of Heaven first-born!

    Or of th’ Eternal coeternal beam

    May I express thee unblamed? since God is light,

    And never but in unapproached light

    Dwelt from eternity, dwelt then in thee,

    Bright effluence of bright essence increate!

    Or hear’st thou rather pure ethereal stream,

    Whose fountain who shall tell? before the Sun,

    Before the Heavens, thou wert, and at the voice

    Of God, as with a mantle, didst invest

    The rising world of waters dark and deep,

    Won from the void and formless Infinite!

    After the threshold of pending destruction, the threshold of creation recollected. Milton speaks to a light he reveres but is unsure how to make sense of. Amid the rapture of mysterious light, “dark and deep” appears for the only time in the epic — holy light falling on (rising) waters dark and deep, much like the light of falling snow on woods dark and deep. One might also see a vestige of “the rising world of waters” in Frost’s frozen lake, might hear the “pure ethereal stream” in the hush “of easy wind and downy flake.” 

    If Frost walked out to dawn after his night of writing “New Hampshire” and heard what would become his masterpiece of form — with its intimations of evil and the light of divinity, with its abiding awe at the majesty won from “waters dark and deep” and “formless Infinite,” with its singular distillation of Milton into what looks like a simple story of nature — he was surely following the calling of the blind poet, who ends his long apostrophe with the great promise of his own creation if granted light of the spirit:

    So much the rather thou, Celestial Light,

    Shine inward, and the mind through all her powers

    Irradiate; there plant eyes; all mist from thence

    Purge and disperse, that I may see and tell

    Of things invisible to mortal sight.

    The eyes were planted. 

    Variations of Uncertain Significance

    Gentlemen, I am tormented by questions; resolve them for me.

     Dostoevsky, Notes from Underground

    As the blood drips into the vial, I rue how little of genetics I remember. It is April 2017, an eternity since I stared out the window in high school biology. Now I stand here holding Misha’s sweaty palm and relying on a platoon of metaphors to contemplate the secret of my son’s nature. The doctor compares the genome with an instruction manual. Proteins are the syllables that activate the genes. Nucleotides are the letters that carry the code. Think of chromosomes, the object of today’s inquiry, as numbered pages. Once the doctor ships Misha’s sample to the laboratory, a microarray analysis will count them. Are the pages of his manual all present and accounted for?

    The doctor slightly unnerves me. His toothsome smile and pigeon chest remind me of the pitchmen in commercials for breakfast cereal. In reality, Brian Skotko is Professor at Harvard Medical School and Director of the Down Syndrome Program at Massachusetts General Hospital. Down Syndrome is one of the neurodevelopmental diagnoses attributable to a discrete chromosome variation. I have come to find out whether Misha’s autism diagnosis is likewise attributable. Such genetic variations, as Dr. Skotko explains, may come to roost in a newborn either via inheritance or interactions between egg and sperm. The latter cases, spontaneous occurrences of combined “germline” cells, are “de novo,” new. I remember enough Latin to stay in the conversation.

    Lo and behold, the microarray discloses a variation in chromosome 11q. The extra letters on that page run along a belt of seven-and-a-half million nucleotides. Neither his mother nor I, nor his sister Niusha, share the duplication. His is de novo, from the germline. All it took for him to draw this lottery ticket was one errant bounce of the buttocks. 

    The standard algorithm classifies variations from “benign” and “likely benign” to “likely pathogenic” and “pathogenic.” Misha’s is a “variation of uncertain significance,” a classification not uncommon in a young field chockablock with reports of de novo variations. Dr. Skotko will consult medical research published on 11q. I will consult rarechromo.org, a global repository of parent reports. If 11q is inculpated in autism, those sources will tell us. When we reconvene, however, we break the same news. The repository contains no reports of 11q. In the published medical research, Dr. Skotko chimes in, “there are no cases that we are aware of that are the same size as Misha’s.”

    Is the duplication, new to Misha, new in nature as well? Or does a dearth of reporting account for his matchless status? Dr. Skotko cannot say. “Your son,” he does say, “is on the far edge of science.”

    For the next four years, I take Misha to Boston’s most distinguished hospitals and clinics in search of ballast. He acquires more diagnoses. An occupational therapist at MGH ascribes his wobbly motor control to sensory processing disorder. Margaret Bauman, renowned neurologist at the Integrated Center for Child Development, orders metabolic tests to find out whether mitochondrial DNA disease can explain his puny musculature. It does not. Timothy Buie, equally renowned as a gastroenterologist at Boston Children’s Hospital, orders antibody tests to find out whether he has inflammatory bowel disease or celiac disease. Negative. A neuropsychologist at the Lurie Center for Autism diagnoses Misha with mixed-expressive-receptive language disorder. Does an impairment in his bilateral hearing explain it? Nope, rules out an audiologist. 

    Barry Kran at the New England College of Optometry diagnoses cerebral vision impairment, a neural kink in the process by which objects in the environment become subjects of perceptual discrimination. A neuro-ophthalmologist at Boston Children’s conducts a structural MRI of Misha’s brain. “The MRI was normal,” reports Dr. Gena Heidary. The images reveal no evidence of abnormal anatomy, no signs of injury or stroke or trauma, no underdevelopment of the regions that host executive function. Where is the neural kink?

    “It is the case that some of our children with CVI have clear injuries to the visual pathways, and we can see it,” Dr. Heidary responds. “We also have children with no clear injuries.”

    “It seems impossible that Misha has a normal brain.”

    “We don’t have the sophistication to really tell at the level you’re asking.”

    Perhaps it is time to revisit the meaning of the 11q duplication. Could his chromosome variation be lurking in the matrix after all? Lineagen, the laboratory that analyzed the microarray, makes a genetic counselor available in October 2021. As we delve in, a strange ambivalence permeates my thoughts. The intellectual historian Mark Lilla breaks out the polarities of my condition in his book Ignorance and Bliss: “How is that we are creatures who want to know and not to know? How is it possible for both desires to inhabit the mind?” 

    BC Emily Palen’s opening statement takes me aback. “It’s very likely the explanation for his diagnosis of autism,” she states. Variations of uncertain significance fall between −0.89 and 0.89 on the algorithmic scale. The likely pathogenic start at 0.90. Initially, Misha’s was scored 0.88. Emily offers that, just before our call, Lineagen’s analysts had rescored his duplication to 0.90, bumping him over the threshold. On what basis and for what reasons the analysts had undertaken to do so? Emily does not say.

    “Okay, but if we all have some variations, and if Misha’s duplication has never been reported before, then how can you think Misha’s duplication is ‘very likely the explanation’ for his autism?”
    “What we know about these types of genetic changes — pretty sizable duplications or extra sections of DNA — is they tend to have an impact on brain development, and we know there are several genes in this region that we call ‘highly expressed,’ or more active in brain development, so that’s why I’m suspicious that this is likely related to the developmental difference that we know about in Misha, likely related to that diagnosis of autism.”

    “But autism isn’t definitively correlated with any genetic conditions, is it?” 

    “So, there’s a handful of particular genes and a handful of other copy-number changes like the one that we saw in Misha that we know are more common in individuals with autism, developmental delays, and other differences in brain development. So, there is — I don’t want to use the word ‘list’ — a group of genetic changes that we know are more common in those individuals and not common in the general, typically developing population.”

    “You keep saying ‘autism and other developmental delays.’ I’m specifically interested in autism as it is diagnosed in the DSM. From that diagnosis, his treatments ensue. You’re saying there are genes that are definitively and specifically linked with autism?”

    “Yes.”

    “And some of those are found within Misha’s duplication?”

    “Not that we know of, at this point.”

    “So, you haven’t discovered genes that show up specifically in Misha’s sample and that are definitively correlated with autism.”

    “Right.”

    “But you infer, based on the fact that some genes are definitively linked with autism, that some genes within Misha’s region may also be associated with autism? I’m just trying to figure out the basis for your inference that because you have found some genes that are correlated with autism in other regions, you conclude that other genes, duplicated in Misha’s region, are ‘very likely’ to be correlated with autism.”

    “So, I think I’ll back-track and rephrase how I presented that information. Within this duplication there are genes that we know are more highly expressed in the brain and seem to be pretty critical for brain development.”

    “Okay, got that.”

    “Since the body has them turned on more often in the brain’s tissue, we suspect they play a pivotal role in brain development. So, historically, those types of genes — those that are highly expressed in the brain and that we suspect are critical for brain development — we can consider a category of genes. We know that, in other individuals with autism, that category of genes tends to be more common for mutations or maybe deletions or duplications involving those genes.”

    “So, the relevant category is ‘genes that are more highly expressed in brain development.’”

    “Yes.”

    “Help me understand the incidence of duplications in that category.”

    “In Misha’s duplication, there are eleven genes out of sixty-six that we would put into that category of highly expressed in brain tissue, probably important for brain development. Of all of our genes — we have 20,000 — there are many, many, many genes that are important for brain development. What we know about Misha so far is that those eleven genes that we identified in his duplication out of the sixty-six we know, we suspect are important for brain development based on their expression. This is what we know of him so far, from the microarray.”

    “Got it. But the genes that are important for brain development, presumably they are suspects in developmental disorders other than autism, right?”

    “Yes, and that’s why I was using the canned language of ‘autism and other developmental disorders.’ We know this is just one genetic factor. We know that there are many other genetic factors at play in each individual. So, sometimes we meet with families, and the child has a diagnosis of autism and other diagnoses. So that’s why I used the group language.”

    “The more I observe Misha and learn about autism, the less I understand autism and the more I learn about Misha. That’s why I’m trying to drill down to the relationship, if any, between the cluster of genetically-linked behavior that support the diagnostics of autism.”

    “We don’t have enough research or information to say Misha’s duplication is pathogenic. That’s why we say it is ‘likely pathogenic.’ But I think based on the size of the duplication and based on the fact that there are genes within that duplication that we know are expressed in the brain tissue, I think it’s likely — I know it’s frustrating for both you and I that I cannot be more concrete — that it’s the answer to his diagnosis of autism. I think it’s likely based on what we know about, at this point in time.”

    “But he doesn’t talk. He doesn’t have language.”

    “Right, and that’s related to his diagnosis of autism, correct?”

    “You tell me! Why do some kids with autism have language and others don’t? As far as I have been able to tell, nobody knows the answer to that question.”

    “Yeah, that’s my understanding as well. I think if you and I could figure out that question, then we’d be millionaires.” I think then Misha might speak.

    BC Emily’s “canned language of ‘autism and other developmental disorders’” irks me. Autism is a spectrum disorder, a junk-drawer diagnosis. Any two children may receive it without sharing a behavioral symptom. Given that only the diagnosed undertake microarrays in the first place, how can Linegan adequately detect and sub-sort their samples? The difficulty is not that such researchers are not finding de novo variations. The difficulty, as I understand it, is that they are finding too many — and trumpeting matching incidences as statistically low as a fraction of a percentile.

    “Genetics is an exact science, isn’t it?” 

    “It is and it isn’t. Even though we have these results and find them ‘likely,’ the explanation for the behavioral diagnosis of autism, unfortunately it doesn’t provide us with a guidebook or a rulebook of what therapies or what strategies might be most effective.” 

    “It sounds like these results don’t provide us with the answer to the question of ‘how likely?’ That’s a matter for probability, and a pretty crucial one, no? One in a million carries a different implication than one in ten. You say the duplication is ‘likely pathogenic.’ Can you answer the question of ‘how likely?’”

    “Um, not exactly.” 

    “Okay, but you still think, based on these results, that scientifically speaking 11q is the key to Misha?”

    “I think so, yes. My gut feeling — if that’s okay with you — my intuition, is that 11q is the key to Misha. This is likely the piece of the puzzle as to what makes Misha Misha.”

    “Even if you’re correct, how do you know you will still be correct in a few years? He will change, right? One of the implications of your discussion of highly expressed genes in early brain development seems to me that those may become less relevant as he becomes older and therefore that his profile might change. I sometimes hear about children ‘growing out of autism.’ Which gives me pause. But it sounds like there’s no way of having a hunch about that, at this point, given how little we know about 11q and what the specific genes in his duplication may represent — beyond the general category of seemingly important for brain development because they are highly expressed.”

    “Yes, that’s right. Based on this result, based on what we know of it right now, I expect he’s going to continue to make progress. He will continue to show us his strengths and where he needs support.” Boo! Emily retreats to cliché. 

    “Well, he may show us where he needs support, but the efficacy and potential harm of that support will depend on how his clinicians are looking at him and listening to him in relation to his genetic profile. If they look and listen only through the diagnostic lens of autism, then they might miss a lot. I’m sorry, but I simply don’t understand your confidence. I understand the utility of the diagnosis, but I am still searching.”

    “Yes, for some families, they need a name for what’s going on. It sounds like in your case that’s not the situation. I’ve worked with other families who have said ‘I just needed to know what to call it, what label to call my child’s behavioral diagnosis or their challenges.’ For some families, they just need that term, to have something to call it. And other families don’t.”

    After we hang up, it occurs to me that Emily misunderstood my motivation. I do not want a name because I crave an illusion of perspicacity. I had put her through her paces because I crave objective truth, and I had persisted over the course of an hour because I sought to reconcile discrepancies in her testament. Genetics “is and is not” an exact science? In one breath she conceded “we don’t have enough research or information to say Misha’s duplication is pathogenic,” and in another propounded her personal intuition that it is “the key to Misha.”

    My own posture had not lacked for contradiction. I had requested genetics counseling, yet when the occasion for it presented itself I had turned it into an agon. I might as well have barged into a church to palaver with a priest. In shifting the burden onto Emily, was it knowledge that I had sought, or the grounds to resist knowledge? 

    BC An opportunity to find out comes unbidden three months later. Linegan’s Allison Ortega solicits me with a request to enroll Misha in a research study. Molecular sequencing, the methodology, would “read through letter by letter, nucleotide by nucleotide, to see if there are any differences in the spelling of particular genes that could impact how those genes are functioning in the body.” The microarray counted Misha’s chromosomes, inspected their structure. Molecular sequencing targets particular genes, detects anomalies in their functionality.

    Allison elaborates the institutional context. Lineagen is broadening the forensic scope of molecular sequencing from physical deformities to intellectual and developmental disabilities. “We hope to generate data and to publish that data in order to help other families who are looking at those types of symptoms and want to know if they’re related to a genetic diagnosis,” she says. Allison offers to send a “mobile phlebotomist” to our doorstep to collect a vial of Misha’s blood. In exchange, Lineagen would pay us sixty dollars.

    “And what would be the benefit to Misha?”

    “It’s hard to say,” Allison answers. I ask her to try. The purpose of the study, she eventually discloses, revolves around Optical Genome Mapping (OGM), a new machine-learning model that Lineagen hopes will identify genetic diseases “faster, easier, and cheaper.” That night I find myself flipping through the Annual Report of Bionano Genomics. The company has recently acquired Lineage for the sake of its signature innovation, which is called Saphyr. Bionano has reaped $350 million from investors banking on Saphyr to operationalize the OGM model. If the research study in which Allison wants me to enroll Misha winds up validating Saphyr, then Bionano may obtain a medical license. In that event, the company can begin selling to hospitals, clinics, and labs. 

    “Your new owners want to sell Saphyr for prenatal autism screening, correct?” I put to Allison during our next call. “The tool would be useful to families who would want to abort children like Misha. I won’t even ask you to deny that.”

    Allison does not deny that. “There is an arm that is looking at prenatal testing,” she confirms. Still, she stipulates, there are reasons other than abortion for parents to elect prenatal genetic screening. Saphyr could help estimate the odds of a child developing cancer, heart disease, immune deficiency, or epilepsy. Parents forewarned could plan for more robust and refined monitoring and mitigation than currently available.

    The humanitarian motive calms my conflict, even inspires me. What if his contribution cures legions of cancerous children? A Henrietta Lacks of our time! I amuse myself with the notion of a counteroffer. Sixty dollars seems low.

    Then the bait and switch dawns on me. Allison had baited me with the idea that Misha’s duplication could help parents of infants with his duplication get a jump on cancer, heart disease, and epilepsy. Yet she knows as well as I do that Misha has never evinced symptoms of any such diseases. Linegan had turned up no predisposition for disease, no principle of degeneration. Bionano’s investors have their switch set on his autism diagnosis. “The Last Leaf,” by Oliver Wendell Holmes, Sr., serves as my answer to the solicitation. 

    And if I should live to be 

    The last leaf upon the tree

    In the spring,
    Let them smile, as I do now,

    At the old forsaken bough

    Where I cling.

    BC Dr. Skotko is partial to Emily Palen’s interpretation. It is May 2022, five years since the microarray. Despite myself, I have returned for more. A new developmental pediatrician has bestowed upon Misha yet another diagnosis. Intellectual disability brings the number to seven. His 11q chromosome duplication remains the sole reported case. 

    “It leaves us with a sense that this may very well be the answer,” Dr. Skotko asserts, “that this might be the explanation for everything.” I relate why I demurred over Bionano’s research study in molecular sequencing. I ask the doctor to think with me about the clinical value of the same, a distinction that would at least allow me to control applications of any new knowledge. He offers that autism genetics has made rapid strides in the last five years. “There are several hundred genes that we now know, when changed, can lead to some of the characteristics of the diagnosis,” he announces. Moreover, Gene DX has developed a “state-of-the-art” Autism Spectrum Panel to zoom in on those very genes. Molecular sequencing can “bring an end to your diagnostic odyssey.”

    Do I want the odyssey to end? Is a fear of conclusory evidence why I allow Dr. Skotko to irritate me with his desultory sprinkling of “cause” and “determine” in sentences otherwise strewn with “heterozygotes” and other jargon? Does he expect me to take it on faith that he is privy to the mechanism of action vouchsafing Misha’s symptoms to his nucleotides? An inferential leap of such enormously indeterminate proportions is virtually a divination. “We always start with the diagnoses,” he avers, “and then we, together, as detectives, see what genetics has to say.” What if we are starting with a diagnosis liable to breed false positives? 

    My reasoning begins with the particulars of Misha and then searches out generalities. Dr. Skotko, reversing my sequence, begins with the Diagnostic and Statistical Manual, as though the point of the investigation were to validate an artifice of nouns and verbs. For Sherlock Holmes, molecular sequencing is elementary, just a method for the most efficient application of means to a logical symmetry of causality, explanation, and prediction. Method plus model plus technique equals end-in-itself. Dr. Skotko deals in know-how. I want to know who wants to know, even if I am still not altogether certain that I myself want to know.

    I cite a history of breakthrough technologies that have never actually broken through. Once autism became a checklist diagnosis in the third edition of the DSM, the same edition that heralded a “biological revolution,” a vanguard of researchers went forth armed with electroencephalography, computerized axial tomography, positron emission tomography, magnetic resonance spectroscopy, and magnetic resonance imaging. The technology freed neurobiologists from having to section postmortem tissue — live brains, unlike other organs, cannot be biopsied — and set the field on a mission to network their anatomical, electrical, and chemical functions. The inward searchlight of the revolution was to have discovered correlations between neurodevelopmental phenotypes and brain hemispheres and subregions, perhaps even to have validated the “localization” thesis that had been kicking around since the 1880s.

    Forty years later, the biological accountants of neurobiology have advanced treatment options in autism not one jot. Misha, for his part, has been pictured by a neurobiologist, neuroimmunologist, neuropsychologist, neuro-ophthalmologist, and neuroradiologist. When the latter, Dr. Richard Robertson, pronounced his structural MRI normal, the tension between my will to know and my will to not-know generated some questions. I emailed Dr. Robertson requesting the size of the data set plied by the algorithm. I said I assumed the concept of a normal brain derived from the nineteenth-century’s vision of the “average man” and the concomitant birth of inferential statistics. I questioned whether mechanical instrumentalism could see Misha. No reply. I downloaded the images. I thought I might frame a souvenir. Scanning a dozen of the 1,431, I closed the file. In their spectral mystery I perceived no beauty.

    Dr. Skotko, too, brushes me off. He exhibits no appetite for debating the empirics of methodology or the metaphysics of inference. If I reject molecular sequencing, he will chalk it up to impudent subjectivity. If I elect to proceed, I will fall into line with the conventional justification for such ventures: scientific investigation ripens in the fruits of its discoveries. “If we find this gene,” he claims, “it might come with a medical playbook. We might learn, for example, that at age twenty-five Misha will be prone to bone cancer.” Bone cancer?

    That October, five months after I swallowed the bait, the data extracted from the buccal swabs comes in. Gene DX has sequenced Misha’s genes against “all the genes that we know are associated and causative of autism spectrum disorder,” Dr. Skotko confirms. Roll of the drum . . . “They are all programmed typically in Misha.” Having undertaken the microarray and the sequencing, “you’ve done all the latest and greatest testing for autism.” We have discovered nothing. I am pleased. 

    BC Although Gene DX found no hits for autism (or bone cancer), the sequencing did reveal another de novo variation. This second variation, a deletion, is located in Misha’s RASA-2 gene. Like the chromosome duplication, it is classified as a “variation of unknown significance.” Also like the duplication, it has never been reported in medical genetics.

    Two weeks later, we are consulting with Dr. Amy Roberts, a cardiovascular geneticist at Boston Children’s Hospital. RASA is the pathway that cells take as they multiply. “If you’ve altered the pathway — the cell-multiplication pathway — to the point that it’s down-regulated, then you can have growth issues, cognitive issues, narrowing of the heart valve, blood-clotting problems,” Dr. Roberts explains. Variations causing down-regulation in the RASA-2 pathway, she continues, have been associated with Noonan Syndrome. We are in good hands. Dr. Roberts is “the super-duper expert on Noonan,” according to Dr. Skotko’s referral.

    Misha does appear to have some features “that could potentially be consistent with Noonan,” she remarks during the examination. His eyes do slant downward a little. The spacing between his nipples is indeed a mite wide. Language impairment and developmental delay are also characteristics of Noonan. At the same time, his neck is not webbed. His stature is not stunted, and his testes are not undescended. He is a tall boy, with balls.

    Noonan often implies congenital heart disease. Dr. Roberts orders an echocardiogram, plus bladder and renal ultrasounds and a blood clotting screen. Everything checks out normal. She cannot diagnose Noonan Syndrome. “We don’t have information about his particular deletion,” she concedes of RASA-2. “And he’s a boy who has a chromosome change as well; understanding how those two things do or don’t interact is impossible for me to really know.” 

    How is it possible that a boy laden with so many diagnoses is impossible for the diagnosticians to explain? At ten years old, Misha carries autism, speech and language disorder, cerebral vision impairment, intellectual disability, sensory processing disorder, and two genetic mutations. No disagreement about his profile has emerged between his clinicians. Yet among his hodgepodge of therapies and treatments — behavior modification, homeopathy, immunotherapy, yoked prism glasses, sensory clay, weighted blankets, augmented communication devices — nothing works better than chance. Misha himself is blithely unimpressed with the rigamarole. Steven Pinker, the Harvard psychologist, once took a kindly interest and referred us to a clinical trial of Google Glass directed by a neuroscientist in Cambridge. On a tiny screen, embedded in the “World’s First Augmented Reality Glasses for Autism,” a gem was to have appeared as Misha’s reward for recognizing a correct emotion. He slipped on the glasses, crinkled his nose, and slipped them off. That was that.

    How should I think about diagnoses with no detectable biological provenance, seven diagnoses from which nothing follows? “I’m having a hard time pinpointing Misha,” once said Karen Barrows, his vision therapist at the Perkins School for the Blind. “I’m looking at him and going ‘ok, where’s my next step,’ and then I go home at night thinking ‘what’s my next step with Misha?’ He doesn’t fit your standard anything. He doesn’t strike me as a kid with autism.” After a second neuropsychological examination, Dr. Kirstin Birtwell of the Lurie Center for Autism reaffirmed his autism diagnosis. As we walked together toward the front door, however, she confessed “we don’t even know whether ‘autism’ is the best word to describe your son.” 

    What kind of game are they playing? Are they making him up? In what material sense can he be said to have the disorders they allege when the sum total of what he yields is a couple of genetic variations of uncertain significance? I admire Misha’s fortitude in the face of absurdity. He is a student who does not talk in a classroom of students who do not see. I swell with pride for my uncaused cause, my unicorn.

     

    BC Dr. Amy Roberts, the cardiovascular geneticist, has a friend and collaborator who happens to be a super-duper expert on RASA-2. Her name is Maria Kontaridis. She directs the Masonic Medical Research Institute, in Utica, New York. 

    Dr. Kontaridis describes her research to me over the telephone. The genetic modeling she conducts in her laboratory should enable her to determine whether Misha’s variation is pathogenic — whether it is downregulating his pathways, inimical to the functioning of his proteins and thus his cells. Her methodology, called iPS (“induced pluripotent stem cell”), improves on both the old postmortem sectioning and the newer imaging that lights up brains like Christmas trees. If I deliver her two tablespoons of Misha’s blood, Dr. Kontaridis will induce his brain cells to devolve into their embryonic state. She will manifest a three-dimensional “brain organoid” in vitro. iPS, less than five years old, bestrides a vanguard alliance of neurobiology, molecular genetics, and biomedical engineering.

    When I queried Dr. Roberts about the benefit to Misha of involving him in her friend’s research, she had cited a need for “long-term monitoring of his heart and any blood-clotting issues” — despite that he does not show any signs of heart or blood-clotting issues. Dr. Kontaridis is franker. Her study would yield no conceivable clinical benefit to him. Still, “this would be the first time that this particular genetic variation has been characterized.” She would create a special assay just for him. She invites me to visit her laboratory in Utica. She sounds excited. 

    My own brain boggles over the juxtaposition between reverse-aged “cerebral organoid intelligence” and the Freemasons, an age-old fraternal society. The anti-Masonry crusade of the 1820s and 1830s promulgated a ghastly lore about the secret doings supposed to be taking place in the lodges. Masons were alleged to dabble in the occult, to drink wine from human skulls in their rituals. Two centuries later, Masons actually are wheedling brains out of thimblefuls of blood.

    The will to know and the will to not know are desires, according to Mark Lilla’s Ignorance and Bliss; reasoning vibrates with emotional and aesthetic impulses. Lilla’s insight explains why the brain organoid illustrating the Annual Report of the Masonic Medical Research Institute looks to me like an Edvard Munch painting. My emotions are getting out of hand. What happens, I wonder, if our little frankenstein were to get a headache? I ponder the philosophical questions re-raised by iPS. Masonic membership requires affirmation of a Supreme Being. So what would be the metaphysical status of Misha’s mini brain in the laboratory? Would he/it exist as a moral being, or not-exist as a tool of research? iPS technology can clone unlimited cellular tissue. Am I to anticipate his mini-brain developing sentience? Consciousness? At what level would he merit the status of personhood? Would his doppelgänger then become a Mason? Poor Dr. Kontaridis. She must be comparing me with the primitives who guarded their souls from the invention of the camera.

    “The purpose of this study is to understand the causes of autism spectrum disorders,” reads the informed consent document I received. That looks on the level. As I scan the document, however, a sentence in paragraph four stops me: “Your child’s cell lines will be stored indefinitely in locked freezers in the Molecular Genetics laboratory.” Paragraph five, curiously, suggests otherwise. “If you decide to withdraw from the study, we will discard the DNA and/or the cells.” Further down, I feel my blood pressure rising once more: “We may use your child’s samples as de-identified control samples for other studies. Samples may be shared with collaborating research laboratories.” Prometheus got his liver eaten for such brazenness.

    “Thank you for being the first to catch this and point it out,” responds the manager of the Institutional Review Board. Dr. Kontaridis has taken my objection to the pooh-bahs. “Samples may be shared with collaborating research laboratories” has become “Data may be shared with collaborating research laboratories.” The document, thus revised, now sits on a desk beneath my trembling hand. 

     

    BC Am I willing to stand athwart the scientific future due to a few sketchy lines in an informed consent document? Will I deny the world the profit of enlightenment and understanding? Perhaps so. Perhaps I am listening to the voice of Dostoevsky’s underground man. Perhaps I agree with him that “two times two is four is a most obnoxious thing” because “then there’s nothing to seek out.” The underground man’s self-consciousness stems from his dividedness. His perversity of will is both irreducible and non-negotiable. “This caprice of ours, gentlemen, may in fact be the most profitable of anything on earth for our sort because it preserves for us the chiefest and dearest thing, that is, our personality and our individuality. This profit is remarkable because it destroys all classifications.”

    Temporizing, I relish my power to spite medical genetics. On the wall above my daughter Niusha’s kitchen chair hangs an issue of Collier’s magazine. Black letters spell out the title of the May 20, 1939, cover story: “Legalize Mercy Killing!” Inside, Dr. Robert Foster Kennedy argues for euthanizing “nature’s mistakes” under the color of benevolence. “To these unfortunates we surely might be allowed legally to grant a dreamless and unending sleep.” The following year, the American Neurological Association elected Dr. Foster Kennedy its president. Invited to address the American Psychological Association, he behooved scientists of good faith to cooperate in the extermination of every “retarded child over the age of five.” Meanwhile, over in Germany, nurses and doctors obligingly began murdering children with disabilities, gassing, starving, and mutilating the black flowers of civilization. In the pediatric killing wards, the Nazis perfected the technologies of a race science urged upon them by two generations of distinguished Americans.

    Is Dostoevsky turning me paranoid? The year is 2022 and we live in Cambridge, Massachusetts, not in the St. Petersburg of 1864 or the Berlin of 1939. Foster Kennedy died in 1952, his eliminationist dreams unfulfilled. The Masonic Medical Research Institute started out in 1958 with a mission to eradicate rheumatic diseases. Dr. Kontaridis has been studying RASA-2 for a quarter century. I can think of no reason to impeach her auspices. She sounds motivated by what Richard Feynman called “the pleasure of finding things out.” I like her. I should be careful not to turn Misha’s mystery into my personal fetish. I should sign the consent. I have to make dinner.

    “Don’t do it,” Niusha interjects.

    “Why not?”

    “Because if Misha wasn’t here, we’d be different people. He’s helped us. I’d be a lot less nice.”

    The scientists have wagered that genes explain the mystery of “what makes Misha Misha.” I have played both accomplice and accuser in a dance of imputation whose corollary we have all abdicated to a fourteen-year-old girl. Say her brother’s variations do determine his impairments and aberrant behaviors. How can anyone be sure they do not also determine his sanguinary traits — his private jokes, his rapture for music, his aureoles of sensory hallucination? What Niusha intuits is that being with him, as opposed to acting on him, allows his unique biology to engender no less unique relationships. The farragoes that make Misha Misha, in other words, make Niusha Niusha. In The Trouble with Being Born, Emil Cioran places her existential affirmation into an aphorism. “The only way to reach another person at any depth is to move toward what is deepest in yourself.” 

    Where does that leave my decision? I reckon up probabilities between the unrestrained telos of natural science and the legal fiction awaiting my signature. I reckon the Sherlock Holmeses of genetics will continue to flog the diagnostic junk drawer of “autism and other developmental disorders.” I reckon they will accuse more genes of associating with the DSM. I reckon rounded-up scores and dread diseases foretold will gaslight prospective parents into selective abortion, striking untold artifacts from the human family. If that is so, then the God’s-eye view, the view from nowhere, will progressively purify the species of variations of uncertain significance. Will the mini-brains of the neverborn repose in the eternal winter of a freezer in Utica?

    I reckon so. But a future in which two plus two always equals four shall not have my consent. I refuse to sign, come what may. Out of spite, out of ignorance, out of love, I cling to my forsaken bough on the far edge of science.