What the Night Sky Teaches

    Is astronomy the key to our wellbeing? If we “learn the harmonies and revolutions of the universe,” Plato wrote in the Timaeus, we will attain “the most excellent life offered to humankind by the gods.” The pre-Socratic philosopher Anaxagoras was even more dramatic:

    And they say that when someone asked Anaxagoras for what reason anyone might choose to come to be born and to live, he replied to the question by saying that it was “to be an observer of the sky and the stars around it, as well as moon and sun,” since everything else at any rate is worth nothing. 

    For Anaxagoras, stargazing is the only thing worth doing. Without it, we would be better off not existing at all. These days, I’m sure, lots of people would be thrilled to gaze at the stars if the spectacle could offer them respite from what’s going on down here, let alone lead to “the most excellent life.” But can it?

    In 2020, the Nobel Prize in physics went to three astrophysicists — modern-day stargazers, if you like — for their work on black holes: Roger Penrose for showing that black holes, strange though they are, fit squarely with our theory of the universe; Reinhard Genzel and Andrea Ghez for discovering the black hole at the center of our own galaxy. The year before, the first-ever photograph of a black hole was published to great fanfare. Every newspaper showed the dark circle, surrounded by a ring of fire, on the front page. Eight interlinked observatories, from the South Pole to Hawaii to the Chilean desert, turned the earth into a gigantic telescope to capture the supermassive object five hundred million billion kilometres away. 

    Invariably such events are accompanied by a certain rhetoric celebrating mankind’s curiosity and how it pushes the frontiers of knowledge. But imagine how puzzled we would have been if the laureates had announced from the podium in Stockholm that life is worthless unless we study astronomy. Wouldn’t we have dismissed them as mad?

    In my own family, the enthusiasm for astronomy runs low. It took my son and me a couple of hours to screw together the telescope that he was given for his sixth birthday. After dinner we aimed it at the sky. We saw mostly darkness with a few fuzzy flashes. Finally we found the moon. On the pale, stained surface we made out craters. It held his attention for about a minute.

    “Did you see the man on the moon?” I asked.

    “That’s a fairy tale, dad!” he replied. But if I could get him on a rocket ship, he would have loved to jump around there, like the astronauts in a documentary he had seen. Then came his older sister’s turn. “Cool,” she said. “It really does look like cheese.” That was the end of our space exploration. Since then, the telescope has been collecting dust in a corner of the living room. Clearly we have not been heeding Anaxagoras’s and Plato’s counsel. 

    The only constellation I can identify is Orion, thanks to the belt. I wouldn’t make a Thracian maid or anyone else laugh the way Thales did. He was the first Greek philosopher, and Plato tells this story about him in the Theaetetus:

    Thales was studying the stars, and gazing aloft, when he fell into a well; and a witty and amusing Thracian maid made fun of him because, she said, he was so eager to know what was up in the sky, but failed to see what was in front of him and under his feet.

    “The same joke,” Plato says, “applies to all who spend their lives in philosophy.” Plato is keenly aware that ordinary people see philosophers as ridiculous stargazers. He, of course, thinks that the joke is on ordinary people. They don’t comprehend that stargazing is of much greater value than the things they desire: money, fame, pleasure, or, to take it down a notch, ice cream with friends or a night on the town.

    I have spent my life in philosophy: borrowing philosophy books from the local library as a teenager, writing a doctoral thesis in the discipline, and teaching it at a university for two decades. My parents were not enthusiastic. My mother would have preferred to see me become a doctor, a lawyer, or an engineer, like my cousins. My father proposed carpentry: doing something with my hands, he hoped, would ground me in the real world. “Philosophers,” he once explained to my daughter, echoing Plato, “always have their heads in the clouds.” “So are birds philosophers?” my daughter wisely replied. (She was three at the time.)

    More troubling, however, is that after all these years I am still in the camp of the Thracian maid. My head may be in the clouds on occasion, but I have no interest in dusting off the telescope to look at the stars. Does that mean that I’m doing it all wrong? Or is my world just so different from Plato’s world that we cannot conceive philosophy in the same way? The stakes are high: if stargazing is what makes life worth living, I’m living a life that is not worthwhile.

    A few years ago we took my daughter and her friends to a planetarium on her birthday. They were happily nibbling on their popcorn while the moderator explained the size, the age, and the composition of the universe, including, of course, the mysterious black holes. Then he said something about a “sense of wonder.” This provoked me. Whatever wonder this picture of the universe arouses, I thought, it is certainly not what philosophers felt in the past. Had they come across black holes, they would have been terrified. 

    Now imagine a planetarium show moderated by Plato. We would learn about an altogether different universe: a geocentric one with a system of nestled concentric spheres carrying the stars, planets, sun, and moon around the earth. Plato would point out the amazing mathematical precision with which ancient astronomers described the orbits of stars and planets. They turn with flawless regularity, like wheels of a celestial clock: “the moving image of eternity”! On earth things are messier, he would acknowledge, but they are still very predictable: the offspring of oak trees are always oak trees, of horses, horses, of men, men. The seasons follow each other every year. And everything is perfectly coordinated: the intricate order that allows the eye to see; the organs working together to enable all kinds of living beings to thrive; earth, water, air, and fire that furnish sustaining environments for them.

    Consider a random pile of driftwood, swept up on the beach. Then consider the complex mechanism of a clock. Both have causes, but the former’s causes are blind and the latter’s are intelligent. For Plato, the evidence was overwhelming that the universe is like a clock, not like a pile of driftwood. In fact, it is the most breathtaking piece of craftsmanship. He never even entertains the possibility that it could be the effect of blind causes. As a clock requires a clockmaker, Plato reasons, the universe requires a Maker. That Maker, he contends, is a Divine Mind, called Nous in Greek. “All the wise agree,” Plato writes in the Philebus, “that Nous is king of heaven and earth.” In short: for Plato the universe displays an intelligent designer’s intelligent design. And the first to figure that out, Plato claims, was Anaxagoras.

    Aristotle likewise posits Nous, a Divine Mind, as the cause of the universe’s rational order. In his De philosophia, he proposes a thought experiment: imagine people who spend their lives in comfortable caves under the earth. They have never seen the natural world. One day “the jaws of the earth open,” they emerge from their caves, and they are astounded by the spectacle of nature. They first see the earth, the seas, the clouds, and the winds. Then they behold the sun, the moon, the planets, and the stars — “their courses settled and immutable to all eternity.” What does this spectacle teach the cave dwellers? From the universe’s rationality and beauty, they immediately infer that “there are gods and these great works are the works of the gods.” 

    The Divine Mind, according to Aristotle, does not have a body. So how does it move the heavens, he ponders in the Metaphysics, with no arms to push or pull? It moves them “as a beloved” (hos eroton), he suggests in the most poetic passage of all of his writings. Love makes the world go round. The Divine Mind is the “Unmoved Mover.” Eternal circular motion is how the heavens — living, ensouled, and perfectly wise beings, for Aristotle — express their love for God and imitate his eternal and immutable existence.

    We can now see why astronomy was the intellectual summit: it is a gateway to God. By studying the stars, in the ancient account, we connect to the Divine Mind, just as we connect to the mind of the clockmaker by studying the mechanics of the clock. Moreover, the heavens are moral models: they live perfectly rational lives. The more our lives resemble theirs — unerringly loving and contemplating God — the better off we are.

    As we left the planetarium, I reflected on how physicists today would frown at Aristotle’s claim that the desire to imitate God determines the structure of the universe. Most black holes arise from the death of stars. Love of God must be the last thing that these star tombs experience. “Holes,” moreover, is an utter misnomer: they are the largest and most compact masses of matter in the universe. (The one in the 2019 photograph packs more than six billion suns.) Their gravitational pull turns them into the stuff of nightmares. They are often called “monsters” because nothing can escape them, not even light (hence their blackness). Nobody knows where things end up that pass the so-called “point of no return.” Physicists call it “singularity” because at the center of black holes the known laws of physics do not apply.

    If black holes cross my mind at all in day-to-day life, where the sun still rises and sets as if the Copernican revolution never happened, I chase them away with a shudder. Mostly I hope that they will not swallow the earth. They surely do not point to a Divine Architect—as the wheels in a clock point to the design in the mind of a clockmaker.

    I didn’t want to disturb my daughter’s birthday party, so I did my best to hide the gloom that I felt in the planetarium. Her birthday cake was decorated with the solar system. The icing on my piece included fragments of Saturn’s rings. “Isn’t it interesting,” I said to one of the parents in attendance, “that philosophers in the past saw the heavens as the most sublime expression of divine rationality?” She smiled politely but didn’t reply. I’m sure that she thought I was weird. Then she turned away to chat with another parent. The heavens may have fallen silent, but in our busy everyday lives we don’t care.

    Plato knew that his picture of the universe was not undisputed. In the Laws he mentions philosophers who argue that “nature and chance,” rather than “intelligent planning,” explain the structure of the universe. He has in mind, among others, Leucippus and Democritus, the ancient atomists. But the strongest case for the pile-of-driftwood-view was made by the Epicureans. The Epicureans did not deny that gods exist. But why, they asked, would the gods get their hands dirty and craft a universe if they are blessedly happy, as everyone agrees they are? Instead the Epicureans posit blind causes, both mechanical and random: the weight and the natural motion of atoms moving through infinite void, and the notorious “swerve” that makes atoms deviate from their natural downward trajectory. As Lucretius explains in On the Nature of Things: without the “swerve,” atoms “would all fall straight down through the depths of the void, like drops of rain, and no collision would occur … In that case, nature would never have produced anything.” The “swerve,” then, determines the universe’s structure. It takes on the role that Anaxagoras, Plato, and Aristotle assigned to the Divine Mind. 

    Yes, we can grasp the natural order, the Epicureans reassure us. But gazing at the stars no longer connects us to God. So why bother? Because science for the Epicureans is valuable as a means: it dispels false beliefs about the gods, and about death, desire, and pleasure. After studying nature we will not be terrorized by superstitions about vindictive gods, or by wrong ideas about dying and the afterlife. Nor will we be in the grip of baseless, culturally induced desires and the disruptive passions to which they give rise: greed, envy, frustration, anger. Science, then, is still key to a happy and unperturbed life. 

    But if we held no false beliefs, the Epicureans insist, we would have no reason to investigate the universe: “If our suspicions about heavenly phenomena and about death did not trouble us at all … and, moreover, if not knowing the limits of pains and desires did not trouble us, then we would have no need of natural science.” In line with this insouciant attitude to science, the Epicureans offer a range of different explanations to natural events—eclipses, rainbows, clouds—without trying to settle between them. Any mechanical explanation will do, as long as it does not refer to divine agency and is consistent with sense perception.

    The Platonic sage gazes at the stars to get from the intelligent design to the intelligent designer. Knowledge, in this view, has intrinsic value. As Nous, God is the sum-total of knowledge. Every truth that we grasp — the nature of horses, Jupiter’s orbit, the essence of justice — strengthens our bond with the divine and increases our share in the best life. The Epicurean sage gazes at the stars, by contrast, to remove the superstitions that disturb our peace of mind. Knowledge only has instrumental value. The link to the divine has been severed. Indeed, the Epicurean gods, whose bliss does not require dispelling falsehoods, do not possess knowledge! What joy could they get out of contemplating the random configurations of swerving atoms which make up the Epicurean universe?

    The Epicureans didn’t stand a chance in antiquity. The core intuition underlying the Platonic view was too powerful to be seriously challenged. The universe was like clockwork, not like driftwood. And the heavens remained the chief proof for that. Here is how the Stoics, the arch-rivals of the Epicureans, put it (in the words of Balbus, Cicero’s spokesman for Stoicism in On the Nature of the Gods): “What can be so obvious and clear, as we gaze up at the sky and observe the heavenly bodies, as that there is some divine power of surpassing intelligence by which they are ordered?” Consider again how absurd it would be if the Nobel laureates in 2020 had made such a statement. So, then, what changed? 

    Max Weber described the reversal in a lecture in 1917. Stressing the “immense contrast” between science in Plato’s sense and modern science, he declared:

    Who still believes that the insights of astronomy, biology, physics or chemistry can teach us something about the meaning (Sinn) of the world? … If anything, the sciences are suited to completely eradicate the belief that the world is a meaningful place. And science as a path to God? Given its distinctly atheistic nature? That this is its nature nobody today will call into doubt. Deliverance from the rationalism […] of science is the basic condition for living in community with the divine.

    But how, exactly, did the reversal come about? One popular narrative pins the blame on Copernicus. The French philosopher of science Alexandre Koyré offered a classical formulation. The Copernican revolution, he explained in 1957 in From the Closed World to the Infinite Universe, led to 

    the destruction of the Cosmos, that is, the disappearance, from philosophically and scientifically valid concepts, of the conception of the world as a finite, closed, and hierarchically ordered whole (a whole in which the hierarchy of value determined the hierarchy and structure of being, rising from the dark, heavy and imperfect earth to the higher and higher perfection of the star and heavenly spheres), and its replacement by an indefinite and even infinite universe which is bound together by the identity of its fundamental components and laws, and in which all these components are placed on the same level of being. This, in turn, implies the discarding by scientific thought of all considerations based upon value-concepts, such as perfection, harmony, meaning and aim, and finally the utter devalorization of being, the divorce of the world of value and the world of facts.

    The thesis was neat and influential, but it was wrong. Yes, the clockwork-view of the universe was shaken. The heavens, as Koyré noted, ceased to be special: before Copernicus, their perfect circles around the earth were the paradigm of God’s craftsmanship. After Newton, gravity ruled everything from planets to apples. The universe also got a lot more unwieldy; whatever wisdom was manifest in its structure became harder to discern. What, for example, did the Divine Mind need so much empty space for? Yet the clockwork-view wasn’t anywhere close to collapsing. Newton, for one, had no doubt that God set up the laws of the new physics. And Kant, in the Critique of Practical Reason, still extols “the starry heavens above me” as one of two things that “fill the mind with always new and ever-growing admiration and awe, the more often and more intensely we reflect on it.” (The passage was inscribed on Kant’s tombstone when he died in 1804.) 

    But even if astronomy after Copernicus was no longer as reliable a route to the intelligent designer, biology still was. In his Parts of the Animals, Aristotle already noted that while plants and animals may not be as exalted as celestial bodies, they are much easier to study because “we live among them.” They, too, bear witness to purposeful design—to “what is not random but for the sake of something.” The “nature that crafted them provides extraordinary pleasures to philosophers who are able to know their causes.” As he dissected cats and squids, Aristotle quoted Heraclitus: “for there are gods here, too.”

    When Hegel equated “the rational” and “the real,” in his Elements of the Philosophy of Right in 1820, he continued to maintain the ancient belief that reality is a manifestation of the Divine Mind. He called the Divine Mind Geist, and, in the Encyclopedia of the Philosophical Sciences, he explicitly connected it to Nous, the deity of Plato and Aristotle. In the early nineteenth century, in other words, we were still watching God think when we grasped the universe’s rational order.

    The clockwork-view also persuaded the young Charles Darwin. In his Autobiography, he writes how much the “old argument of design in nature … charmed and convinced” him when he was a student in Cambridge. He had encountered the “watchmaker analogy” in William Paley’s Natural Theology, or Evidences of the Existence and Attributes of the Deity Collected from the Appearances of Nature, from 1802, which was required reading for Cambridge undergraduates at the time. Even Richard Dawkins—today’s noisiest atheist—admits that he would have accepted the proof from design if Darwin had not come up with the theory of evolution. But Darwin did come up with it. And once he found “the law of natural selection,” Darwin writes in the Autobiography, the “old argument of design in nature” went down the drain: “We can no longer argue that, for instance, the beautiful hinge of a bivalve shell must have been made by an intelligent being, like the hinge of a door by man. There seems to be no more design in the variability of organic beings and in the action of natural selection, than in the course in which the wind blows.”

    Random causes—the mutations driving natural selection—play a key role in generating what appears like design in living beings: plants, animals, humans. If Copernicus removed divine craftsmanship from the heavens, Darwin did the same for the earth. That was when the pile-of-driftwood-view really came into its own. The nineteenth century, then, marks the great rupture, not the Copernican revolution and its consequences, as Koyré believed, or the new philosophies of the seventeenth century—Descartes, Spinoza, Locke—or the eighteenth-century Enlightenment. 

    Between Hegel and Nietzsche, God dropped out of the philosophical picture. From a universe chiseled by a Divine Mind we move into one without metaphysical meaning. Nietzsche, in The Gay Science, captures the shift:

    The total character of the world is […] in all eternity chaos—in the sense not of a lack of necessity but of a lack of order, arrangement, form, beauty, wisdom, and whatever other names there are for our aesthetic anthropomorphisms. […] Let us beware of saying that there are laws in nature. There are only necessities: there is nobody who commands, nobody who obeys, nobody who trespasses.

    Note that Nietzsche’s universe remains governed by causal necessity that scientists can grasp. (Consider again the pile of driftwood: if you know the laws of physics and the particular causes at work, you can explain exactly how it came about.) What Nietzsche denied is that the universe displays the intelligent design of an intelligent designer: “order, arrangement, form, beauty, wisdom.” Instead it is random—in the sense of “purposeless,” not in the sense of “undetermined.” The downfall of the Divine Mind, moreover, knocks down the human mind as well. Knowledge no longer forms the bond between God and man. This is what Nietzsche means when he writes “how miserable, how shadowy and transient, how aimless and arbitrary the human intellect looks within nature.”

    At the end of the nineteenth century, the idea gained traction that science and religion are at war with each other. Two books in particular popularized it: John William Draper’s History of the Conflict between Religion and Science, in 1874, and Andrew Dickson White’s A History of the Warfare of Science with Theology in Christendom, in 1896. Galileo’s trial and Christian condemnations of the theory of evolution were routinely adduced as evidence for the alleged war. This is not the place to discuss the flaws of the conflict model, which are considerable. Here I am describing something completely different: a rupture within science—reason turning against itself. “All the wise agree,” Plato wrote, “that Nous is the king of heaven and earth.” Following the lead of Anaxagoras, Plato, and Aristotle, biologists, physicists, and astronomers studied the structure of animals, the laws of motion, and the trajectories of the stars as the gateway to the Divine Mind. That framework was still in place in the nineteenth century. And then it fell apart. Darwin’s scientific career is emblematic of the shift: it was sparked by the Platonic framework and ended up sounding the death knell for it. Today “all the wise agree” that intelligent design is outside the boundaries of science. The idea is kept alive mostly by the anti-modern resentment of the fundamentalist Christian fringe.

    Did we bury the Divine Mind prematurely? After all, the greatest scientist of the twentieth century seems to agree with Plato that Nous governs heaven and earth. Einstein called his view of the universe “cosmic religion.” To sign up, he thought, we need to accept only necessity and intelligibility: that universal laws determine everything and that the human mind can comprehend them. But that much even Nietzsche was willing to concede. Did he, unwittingly, leave a door open to bring the God of the philosophers back from the dead? Einstein speaks unforgettably of the “mysterious comprehensibility of the world,” and claims to find God in “the sublimity and marvelous order which reveals itself both in nature and in the world of thought.” Echoing the ancient astronomy fan club, he even celebrates the human mind’s ability to “grasp the mysterious force that moves the constellations.” 

    I am not convinced. For one thing, there is the empirical objection against Einstein’s determinism: the randomness at the heart of quantum mechanics. If God doesn’t play dice, quantum mechanics — which Einstein opposed to no avail throughout his life—suggests that God does not exist after all. But even if we can defend necessity and intelligibility, I don’t see how, on their own, they can ground a cosmic religion. Let us grant that the pile of driftwood is completely determined and completely intelligible. That hardly implies that it is God’s work. Einstein insists time and again that his God is not the personal God of traditional faith “who concerns himself with the fate and actions of human beings.” Fine, but that was also true about the Divine Mind of Anaxagoras, Plato, and Aristotle. Even if God has more important things on his agenda than caring about petty human worries, there still must be an agenda that we can discern if we are to give the name “religion” to such a theism.

    In his Exhortation to Philosophy, Aristotle proposes a thought-experiment: what would we do if we were on the “Isles of the Blessed,” a place where all our material needs — hunger, thirst, shelter, health — are taken care of, so that we would not have to worry about a thing? Would the freedom that we would enjoy in such circumstances be a blessing or a curse? How would we spend all the time on our hands? Hang out idly on the beach until we die? Isn’t a life without purpose a nightmare, even if it comes with every comfort?

    For Aristotle, the answer is plain: if we pay money to watch sports and theater, he argues, all the more should we be keen to contemplate the rational order of the universe. It is the best show on offer, and it’s free. On the Isles of the Blessed we would devote our life to theoria, or contemplation. That is Aristotle’s idea of paradise. It is easy to see the attraction of such a paradise if the universe is like a clock. But what if it is like a pile of driftwood? Even if it is in principle intelligible, why make the effort? What sublimity would we be contemplating? The obvious answer is the one the Epicureans give: knowledge may not have intrinsic value, but it has great instrumental benefits. It is good as a means to other things that we value: controlling nature, finding medical treatments, developing technologies, grounding good social policies, resisting ideologies, fake news, and the lies of demagogues. 

    Unfortunately, things aren’t quite so simple. We may cheer science for making our lives safer, more comfortable, and less vulnerable to decay and manipulation. In this sense, modern science is arguably a stunning success. But there is an existential price to pay. Let me explain.

    After my children were born, my wife and I started to compile photo albums. I have no illusions about them. They are kitsch, as the four of us cry “cheese” for the camera. But they are dear to me anyway, because they are documents of what has become the emotional center of my life. The meaning of photo albums is a paradox: they are treasured by the people whose happy memories they hold, but utterly meaningless to the rest of the world. Would you ever display your neighbor’s photo album on the coffee table? The paradox tells us something: that the meaning our children have for us is distorted, or rather created, by love.

    If I were to take such an explanation to an evolutionary psychologist, he would thoroughly disenchant its emphasis on love. He would explain that what I call “love” is actually an attachment that evolution has selected for, because it increases the chances of my offspring’s survival and thereby of the perpetuation of my genes. Do I want to know this? I feel conflicted. I have no doubt that there is a basis in biological reality for the evolutionist’s disenchanting account. And in general I am all for scientific progress. But in my personal life? There, I feel, I must protect the magic from the truth. Is it anti-intellectual or irrational to draw boundaries around the explanatory power of science in our understanding of our inner lives? Or can we, whatever the impact of our genes upon our inner lives, carve out a space for a different — yet likewise legitimate — way to understand love?

    The same wish for protection from the idea that science should have the last word grows exponentially when I consider the universe at large. In this instance I seek protection not from biology but from astronomy and astrophysics. I cannot detect evidence in the cosmos of divine craftsmanship. I see a vast, mute, dark, mostly empty space that burst into existence fourteen billion years ago, where I spend a short time on a small planet in one of countless galaxies, living a life of no cosmic consequence. That life, moreover, emerged from the primordial soup by means of amoebae, apes, and all the chance encounters of my ancestors.

    Contemplating the universe in this way is a powerful antidote for vanity; and so, to keep myself honest, I look up to the heavens once in a while, briefly, from the corner of my eye. Yet its lesson of humility notwithstanding, what I see in the night sky or through a telescope cannot give my life value and purpose. On the contrary, it threatens to obliterate my mortal and terrestrial reasons for getting out of bed in the morning: family, friends, writing, teaching, a cup of coffee, a glass of wine, a concert, a noble cause. From the cosmic perspective, my goals and my projects seem trivial and pointless. If I want to hold on to what gives my life meaning, therefore, I must shield myself from the universe rather than contemplate it — the exact opposite of what for Plato yields “the most excellent life.” The cosmos as we now understand it is no longer useful for my soul.

    But is the universe not reasserting, at this very moment, its power to dazzle people around the globe, as the James Webb telescope reveals it to us in ways we had never seen it before? Who is not amazed by the spectacular pictures of galaxies dancing and cartwheeling, stars glimmering like jewels in the dark, or Jupiter and Neptune’s enigmatic glow? There is beauty in the light, shapes, and colors. There is mystery as we look at cosmic landscapes such as the “Pillars of Creation” or cosmic cliffs such as the “Carina Nebula” — structures unimaginably far away in place and time. We have no clue what happens in them (or happened in times immemorial). Yes, the pictures may even inspire awe — a secular awe — if we let them pull us out of our human-all-too-human concerns and dare to lose ourselves for a moment in the universe’s vast expanse. 

    But what are we to make of these emotions that quickly fade as we return to our daily lives and our (by cosmic standards) trifling worries, joys, and sorrows? If the Webb telescope does not point to an intelligent designer (or at least the possibility of one), does it point to something meaningful at all? The mystery that we experience is not religious, as when we recoil in the face of an inscrutable divine will, manifest in the universe’s design. The mystery reflects, to put it bluntly, our ignorance. The more that ignorance is lifted — through even more powerful telescopes, new forms of space travel, and so on — the more intelligible the universe becomes. But intelligibility, as Nietzsche stressed, does not translate into meaningfulness. The universe we glimpse through the Webb telescope may be visually mesmerizing, but unlike Plato’s universe it cannot provide us with a purpose in life.

    Plato thought that studying the stars can replace the things that we commonly desire with something much better. If stargazing could lift us out of our mortal existence and put us in touch with something eternal and divine, there would be nothing ridiculous about it, no matter how much a Thracian maid may giggle. But if the stars are not a springboard to the divine, then staring at them for too long risks leaving us with nothing to care for at all. In a universe punctured by black holes, the Thracian maid may have the last laugh.

    Frau Freud

    In memory of Michael Porder

    I

     

    September 29, 1939, 20 Maresfeld Gardens, Hampstead, London: on the first Friday after Sigmund Freud’s death, having accepted more than a half-century’s imposed impiety at her husband’s insistence, the seventy-eight year old Martha Freud started to light the Sabbath candles again. Licht-bentshn, as the ceremony is called. You light a pair of candles just as the sun goes down; circle your hands in a sweeping motion three times to gather the light and savor the candles’ warmth — the spirit of restfulness that they are meant to convey — and then you cover your eyes with your hands while reciting the blessing in which God is thanked for sanctifying us with the commandment to light these candles.

    Enter Shabbat the Queen, as the Sabbath is known in Jewish tradition, a presiding feminine presence in a patriarchal environment where most of the active, time-specific commandments, such as the wearing of tefillin or phylacteries (a pair of small black leather cubes, containing pieces of parchment inscribed with Biblical verses, one of which is strapped around the left arm, hand, and fingers and the other is strapped above the forehead) for the morning prayers, fall on men, since women are presumed to be busy with other priorities, such as housekeeping and childcare. And now here was the widow of one of the most formidable enemies of religion fulfilling one of the few obligations incumbent upon women under Jewish law. It was, surely, a form of poetic justice — or perhaps a testament to the hold of the past, however abjured it may be. 

    She was born Martha Bernays on July 26, 1861 in the German port city of Hamburg, into a highly regarded and intellectually advanced Jewish family to whom such recurrent observances meant a great deal. With her performance of the act of lighting candles at a prescribed moment on the Jewish calendar, one might argue that Martha Freud was being more than assertive: she was being defiant. In doing so, she was re-establishing her autonomy by renouncing a pattern of submission to her husband’s wishes. She was taking a deliberate step backward, toward her family ethos and the traditionalism of her origins before she became the compliant, devoted caretaker that Freud desired her to be, the “adored sweetheart in youth” who became “the beloved wife in maturity.” And she was also taking a step forward, towards the post-spousal woman she would become after the death of her husband, and reclaiming a small part of the ancient ritual-laden religious tradition that had been instilled in her while growing up. 

    It was a tradition that her fiercely anti-clerical husband, whom she always referred to as “Professor,” as though she were his eternal student, ridiculed, forbidding her to light the Sabbath candles when they set up their own home. A cousin of Martha’s once recalled “how not being allowed to light the Sabbath lights on the first Friday night after her marriage was one of the most upsetting experiences of her life.” And Isaiah Berlin, who visited the couple at their house in exile in London, recalled that husband and wife were still arguing the issue of lighting candles, however playfully, as late as 1938: “Martha joked at Freud’s monstrous stubbornness which prevented her from performing the ritual, while he firmly maintained the practice was foolish and superstitious.” 

    The Freuds’ fifty-three years of marriage are reputed to have been exceptionally harmonious — one of their few disputes was said to have been about the correct way to cook mushrooms — but the couple’s divergent attitudes toward Judaism remained a source of underground conflict. On the face of it, they were wholly deracinated Jews in a golden age of Jewish deracination. They celebrated Christmas and Easter, and their son Martin, in his memoir Sigmund Freud: Man and Father, testified that none of the six children had ever entered a synagogue. Freud, a confirmed atheist whose work was dedicated in part to the debunking of the monotheistic worldview as a neurotic illusion, delighted in ribbing Martha about her religious attachment, pretending not to know the Hebrew name for “candelabrum,” for example, in a note he wrote her in 1907 after visiting the Roman catacombs: “In the Jewish [catacombs] the inscriptions are Greek, the candelabrum — I think it’s called Menorah — can be seen on many tablets.” 

    As if he didn’t know that it was called a menorah! He had learned the Bible as a child, after all, and it is doubtful that he lost his grasp of basic Hebrew or religious objects. Freud never denied his Jewishness, and went so far as to credit his religion for his own lack of prejudice and his uncowed single-mindedness. Yet he was always highly ambivalent about his Jewish identity. He demanded that Martha not fast on Yom Kippur, arguing that she was too thin to fast, and the only one of his books in which he referred overtly to his Jewish connection was Moses and Monotheism

    In this regard he maintained a firm distance between his public and private allegiance — insisting, for instance, that psychoanalysis was not in any way a “Jewish science,” or judische Wissenschaft, which is how the Nazis and earlier anti-Semites had disparaged it. In a letter to Ferenczi, Freud wrote that “there should not be such a thing as an Aryan or Jewish science. Results in science must be identical, though the presentation of them may vary.” His awareness of the danger in having a specifically Jewish quality attached to his work, which could lead to antisemitic resistance to the psychoanalytic movement and render it less universally applicable, led him to court the Swiss psychiatrist Carl Gustav Jung, despite Jung’s very different ideas about psychoanalysis — and more curiously, despite Jung’s own anti-Semitism and racial theories. Freud put all his hopes into Jung, whom he called his “son and heir,” until they had a disagreement about the uses of mythology which led to a permanent estrangement. 

    Yet the story of Freud’s Jewishness, the myth of his complete alienation from his patrimony, which is based largely on his non-observance of even the most fundamental of Jewish rituals, is more complicated than has been implied in most of the writing about him. (This misapprehension about Freud’s complete ignorance of Judaism was recently invoked yet again in Adam Kirsch’s essay “Freud as Talmudist” in the Jewish Review of Books). In contrast to the general image of Freud as an am ha’aretz, an ignoramus, severed from his Jewish roots, we have a letter that he wrote to the chief rabbi of Vienna in 1931, for example, in which he passionately declared: “I am a fanatical Jew. I am very much astonished to discover myself as such in spite of all the efforts to be unprejudiced and impartial.” And more fully a few years earlier, in 1926, accepting an award from the Bnai Brith on his seventieth birthday, he told his audience in a letter that he had joined Bnai Brith because 

    I myself was a Jew, and it always seemed to me to be not only shameful but downright senseless to deny it. That which bound me to Judaism—I am obliged to admit it—was not my faith, nor was it national pride; for I was always an unbeliever, raised without religion, although not without respect for the so-called “ethical” demands of human civilization. And I always tried to suppress nationalistic ardor, whenever I felt any inclination thereto, as something pernicious and unjust, frightened as I was by the warning example of the peoples among whom we Jews live. But there remained enough other things to make the attraction of Judaism and Jews irresistible—many dark emotional forces, all the more potent for being so hard to grasp in words, as well as the clear consciousness of an inner identity, the intimacy (die Heimlichkeit) that comes from the same psychic structure. And to that was soon added the insight that it was my Jewish nature alone that I had to thank for two characteristics that proved indispensable to me in my life’s difficult course. Because I was a Jew I found myself free from many prejudices that hampered others in the use of their intellects; and as a Jew I was prepared to take my place on the side of the opposition and renounce being on good terms with the “compact majority.”

     “Raised without religion”? Hardly. A complicated case, clearly.

    [INSIGNIA] To better understand the Freuds’ respective positions on Judaism, one need look no further than their individual backgrounds. “I was born on the 6th of May [18]56 in Freiberg/Moravia,” Freud wrote in a letter to his colleague Paul Federn in 1912. “My father and mother came from Galicia. My mother, née Nathansohn, from Brody, of very distinguished ancestry (the Nathansohn-Kallir family), my father of the merchant class. According to tradition, as he once reported to me, the Freud family is said to sometime have left their hometown of Köln [Cologne] during a period of persecution of Jews and then to have migrated eastward.”

     Throughout his lifetime, Freud, who was born Sigismund Schlomo Freud, went to great lengths to portray himself as having grown up in a deeply assimilated Reform Jewish family, steeped in modernist values and Viennese culture. (His family moved to Vienna when he was four.) It was a family, or so he led his colleagues and relatives to believe, in which Jewish holidays were minimally observed, and his own religious education was scanty, leaving him with but the vaguest understanding of Hebrew or Yiddish. A large part of our idea of Freud as a “godless Jew” — the term coined by the historian Peter Gay, himself an assimilated Jew who translated his last name from “Froelich” to “Gay” after becoming an American citizen and wrote extensively about Freud — derives from Gay’s insistence that Enlightenment values had completely displaced religious and ethnic ones. (This was consistent with Gay’s simplistic view of the Enlightenment itself.) Gay’s description of Freud’s father Jakob’s position on Jewish matters shows how the notion of total secularization was absorbed unquestioningly by Freud scholars: “Jacob Freud had emancipated himself from the Hasidic practices of his ancestors; his marriage to Amalia Nathanson [his second wife and Freud’s mother] was consecrated in a Reform ceremony. In time, he discarded virtually all religious observances….”

    It is worth pointing out that ritual observance is hardly the only measure of Jewishness. The truth about Jakob Freud’s relationship to his religious background is richer, as was his son’s. The father, too, was a complicated case. The Freud family consisted of transplanted Eastern European Orthodox Jews — Ostjuden, or Eastern Jews, looked upon with disdain as primitive and uneducated by German and Austrian Jews — who were only slightly assimilated, if at all. According to Emanuel Rice, a psychiatrist who closely examined this subject in his book Freud and Moses: The Long Journey Home, Jakob had studied for years in a yeshiva in Tysmenitz, Galicia and was referred to in his youth as a “yeshiva bocher,” a yeshiva student. Rice also cites a granddaughter of Jakob’s who lived with him toward the end of his life and remembered him “reading the Talmud (in the original) at home.” If that is so, then Jacob possessed a considerable degree of Jewish literacy and cultivation. 

    Then there is the famous and much debated issue of the Phillippson family Bible — a German translation of the Tanakh — that Jakob gave his son on his thirty-fifth birthday, with an inscription in Hebrew that included a skillful pastiche of ancient quotations composed in the traditional manner from various Jewish sources. The inscription — “To my dear son Shlomo” — is written in a hand that is clearly comfortable with writing Hebrew. Although this dedication has been parsed by hoch analysts who assumed that Freud could not read Hebrew (an impression fueled by Freud himself), scholars such as Rice and Yosef Hayim Yerushalmi, in his Freud’s Moses: Judaism Terminable and Interminable, have shown that Freud had a considerable Jewish education and would have understood the inscription. (And indeed, one might ask, why would his father have inscribed such an important gift in a language that his son could not read?) Similarly, Freud’s insistence that he could not understand Yiddish — the “jargon” of the Ostjuden — is dubious, because his mother Amalia regularly spoke Yiddish. In addition to which, Rice argues, based on the testimony of one of Freud’s grandsons, Sigmund’s mother remained religiously observant until her death in 1930. This would go some way to explaining why Freud arranged for his mother to have a strictly Orthodox funeral and burial — although it would not explain why he chose not to attend it, sending his daughter Anna in his stead. 

    Martha Bernays’ background, on the other hand, was indubitably Orthodox (“frum wie ein Stecken,” or “religious as a stick,” as my mother, an observant German Jew, used to say), one in which hidebound observances were scrupulously maintained. Her mother, Emmeline, wore a sheitl, or wig, which was required by the rabbinical tradition to preserve the modesty of married Jewish women, and kept a strictly kosher house. Hers was a tenacious and domineering personality, though outwardly she came across as mild and soft. These traits would antagonize her future son-law; he described her as “alien” and wrote his fiancée that “I seek for similarities with you, but find hardly any.” (At the same time he conceded that Emmeline was “a person of great mental and moral power standing in our midst, capable of high accomplishments, without a trace of the absurd weaknesses of old women.”) 

    Martha’s family was renowned in the Jewish community for their scholarship and their leadership. Isaac Bernays, her grandfather, was the chief rabbi of Hamburg in the 1830s and 1840s, and was respected for his combination of secular and religious knowledge, expressed in his sophisticated philosophical views, his linguistic skills, and his superior grasp of Torah, Midrash, and Talmud. He was a distant relative of Heinrich Heine; he appears often in Heine’s letters, and upon his death in 1849 he was acknowledged by Heine to have been an extraordinary personality. Bernays served in this important pulpit in the early years of the Reform movement and opposed it bitterly, formulating in response an approach in which it was possible to live, with certain limits, in both the religious and secular worlds. Bernays’s conception greatly influenced his student Samson Raphael Hirsch, the rabbi and theologian who provided Modern Orthodoxy with its guiding principle of Torah Im Derech Eretz, or Torah and the way of the world. (Hirsch was my great-great-grandfather.) 

    Despite Bernays’ strict commitment to Orthodoxy, he was also considered to be something of a religious modernizer, known for his innovative sermons given in German, and for bringing secular subjects — German, natural science, geography, and history — into the curriculum of the Talmud Torah charity school, which had formerly been limited to Hebrew and arithmetic. Hirsch and Bernays became acquainted when Bernays, after attending the University of Wurzberg and studying at the yeshiva of Rabbi Abraham Bing, the chief rabbi of Wurzburg and a well-known Talmudist, became a private tutor in the house of Hirsch’s father. Hirsch followed Bernays’ practice of fusing the Jewish and secular realms with the hope of keeping the tidal wave of Reform Judaism at bay. (Family lore has it that at the Hirsch school in Frankfurt boys did not wear yarmulkes during secular classes.)

    Two of Bernays’ sons were university professors. The eldest, Jacob, was a prominent philologist and classicist, a man of prodigious learning who was one of the pioneers of Quellenforschungen, or source criticism, according to which the primary method of classical studies was the intense study of the surviving texts of the ancient world for the purpose of coaxing from them knowledge of all that did not survive. He was famous for a controversial interpretation of Aristotle’s concept of catharsis, which he read not in moral terms but in medical ones — thereby making himself a kind of precursor to Freud’s own approach to the subject. His adherence to Jewish religious convictions prevented him from becoming a full professor at the University of Bonn, and so in 1853 he helped to found the Breslau Jewish Theological Seminary, which became one of the great institutions of modern Jewish scholarship. There he taught classics, history, German literature, and Jewish philosophy. In 1866 Jacob was finally appointed an assistant professor and chief librarian at Bonn, but he remained involved with the seminary at Breslau. His younger son, Michael, was a Goethe and Shakespeare specialist who was professor of German literature at the University of Munich. He converted to Christianity (as did Isaac Bernays’ brother Adolphus) in 1856 and was baptized, which led his family to break with him at the same time as it furthered his career. 

    Isaac’s other son, Berman Bernays — Martha’s father — was a merchant, as were the parents of his wife; Berman later became secretary to the well-known economist and constitutional law expert Lorenz von Stein, a great liberal who may have been the earliest theorist of the welfare state. When Emmeline (née Philipp) married him in 1886, his profession was given as “journalist.” One of four children (three older ones died in quick succession), Martha was born in 1881 and grew up in Hamburg in fairly modest circumstances. When she was six years old, her father served a stint in prison for bankruptcy; she is said never to have spoken of this incident. Freud’s uncle, meanwhile, was imprisoned for trading in counterfeit rubles and rumor had it that his father was implicated in the scandal. The writer Jenny Diski suggested, in a review of a biography of Martha Freud by Katya Behling, that Martha and Sigmund were united by a shared legacy of public shame. 

    Martha’s family moved to Vienna when she was eight, but she, as well as her mother and sister Minna, never lost their attachment to Hamburg. “Neither she nor Minna ever made the slightest concession to the spirit and lifestyle of Vienna,” Behling observes in her biography, “and even after fifty years in Austria they still spoke perfect standard German.” To refuse the spirit of Vienna was to live the life of a stubborn traditionalist. One of Martha’s two elder brothers, Isaac, died at the age of sixteen, when she was eleven. (This was another loss that she shared with Freud, who also had a brother who died at a young age.) It is worth noting that these extraordinary lineages lasted more than one generation: Freud’s sister Anna married Martha’s brother Eli, and not long after they moved to the United States their son Edward Bernays was born, who, with his pioneering studies of public opinion and its manipulation, became the father of press relations, mass marketing, and psychological warfare — in other words, a formidable shaper of modern life.

                     

    II

     

     Despite being portrayed in later years as intellectually indifferent (in particular to her husband’s theories), the young Martha developed an interest in art and literature during her years at school. She had a keen appreciation of music and was an avid reader who knew the German classics (Goethe, Schiller, and so on); she had a special fondness for Stephan Zweig and Thomas Mann. Although the time she could allocate to reading was severely cut back during the busy years of her marriage, running a large household according to her high standards, she would return to her love of books after her husband’s death. During their courtship, Martha frequently wrote Freud letters in verse, and he shared his thoughts on John Stuart Mill with her. His first present to her was a copy of David Copperfield — Dickens became of one Martha’s favorite writers — although he warned her off the rude parts in Don Quixote, stating that they were “no reading matter for girls.” By the time he met Martha in April 1882, her sharp mind, slim and attractive figure, and coquettish charms had attracted many suitors. She had already turned down one proposal of marriage.

    The first time Sigmund Freud spotted the almost twenty-one-year-old Martha Bernays was at his family’s dining table; she was visiting his sisters together with her sister Minna. Martha was peeling an apple during their conversation: a decorous feminine activity, suggestive of industriousness and nurturing. The twenty-six-year-old Freud was an anxious, somewhat self-important medical student with next to no experience of women, despite being the favored brother of five sisters and his mother’s goldener Sigi, who was given a room of his own in his family’s small apartment. One wonders whether things might have gone differently if he had glimpsed Martha in a different guise, less the domestic woman in a genre painting and more like her sister Minna, eager to compete intellectually and inclined by nature to take up more air. “Since I learned that the first sight of a little girl sitting at a well-known long table talking so cleverly while peeling an apple with her delicate fingers, could disconcert me so lastingly,” Freud wrote to Martha in June, 1885, “I have actually become quite suspicious.”

    In any case, the young Martha presented a winsome picture, with her hair worn in a center part and pulled back in a chignon, elegantly clad in a high-necked dress with a lace collar and lace-up ankle boots. Soon, although rather awkward and shy, Freud was sure of his feelings for Martha and began calling her “Princess” and sending her a red rose every day accompanied by a poem in Latin or another foreign language. By the middle of June in 1882, a mere two months after they met, the couple was secretly engaged despite Emmeline’s opposition to the match — she considered Freud’s financial prospects to be dim. Freud began writing his “darling girl” and “darling Marty” long rhapsodic letters over the next four-and-a-half years of their engagement — the famous brautbriefe, as their correspondence came to be called. It was only after Martha’s eldest brother Eli became engaged to Freud’s sister Anna on Christmas in 1882 that the couple felt comfortable in announcing their own engagement, although Freud never officially asked for Martha’s hand in marriage. In Freud’s first fervent letter to her, he wrote, “Dear Martha, how you have changed my life”; but he was also an incorrigibly jealous suitor, expressing absurdly patriarchal horror that his fiancée had travelled on holiday with only her younger sister for company: “Fancy, Lubeck! Should that be allowed? Two single girls travelling alone in North Germany! This is a revolt against the male prerogative!” 

    Sigmund would later tell Martha that theirs was an instance of leibe am ersten blick, love at first sight, although it is unclear whether this was wholly mutual; Martha appears to have warmed up a bit more gradually. He would go on to observe to her in one of the nine hundred and forty letters that he wrote to her during the four and-a half years of their courtship and engagement (they also collaborated on a secret journal, a Geheime Chronik) that she was not “in the strict painterly sense” a beauty, but that she had qualities he considered more important, such as generosity, wisdom, and tenderness. One wonders what his fiancée, a young woman just coming into a sense of her attractiveness to the opposite sex, made of this faint praise. (Freud’s own mother had been considered a great beauty in her day and the appeal of female comeliness was never lost on him.

    During the period in which he experimented with cocaine, Freud, worried about her pallor, sent Martha a small dose to put color in her cheeks, and referred jauntily to the disinhibiting effect that cocaine had on him. “Woe to you, my princess, when I come,” he wrote to her on June 2, 1884. “I will kiss you quite red and feed you till you are plump. And if you are forward you shall see who is the stronger, a gentle little girl who doesn’t eat enough or a big wild man who has cocaine in his body.” On February 2, 1886, toward the end of another letter, he wrote: “Here I am, making silly confessions to you, my sweet darling, and really without any reason whatever unless it is the cocaine that makes me talk so much.”

    “I was told,” writes Sophie Freud, Martha’s daughter-in-law, in her memoir Living in the Shadow of the Freud Family, “that her greatest attraction for the young Sigmund Freud had not been her slender grace or charming features but her inner peace and serenity. She radiated calmness; and he sensed instinctively how wonderful it would be to have her near him after a day of hard work.” As for the scrutinizing suitor himself, Freud had good features, a thick beard and a penetrating gaze, but it seems that Martha initially found him too short and a bit intimidating.

    It is difficult to cobble together an image of the pre-Freud Martha Bernays because we have few accounts of her before he enters the picture (and not many more after). From the few impressions that have been documented, she seems to have been both self-contained and curious, a dutiful daughter who retained some independence of mind. She loved to read whenever she found the time, went to plays, and was a demon for needlework of all kinds. Most of all, Martha was marked by the North German sense of discipline, by a horror of shoddiness and leaving things half-done. Her daughter Anna would later observe to her own biographer, Elizabeth Young-Breuhl, that “my mother observed no rules, she made her own rules.” 

    Although there were those, such as his brilliant Hungarian disciple Sandor Ferenczi (whom Freud eventually broke with as he did with so many of his followers), who contended that Freud’s unresolved connection to his narcissistically controlling mother Amalia left him with a fear of intimacy and of sexually passionate women in particular, it seems that, at least at the beginning of their involvement, Freud couldn’t get enough of his “deeply beloved, most ardently worshipped Martha,” as he described her in 1882. As long, that is, as she lived up to the very particular image that he had of a desirable mate. During the course of their epic engagement, undoubtedly fed by Freud’s anxiety as to whether Martha loved him with the same ardor that he loved her (Martha was by nature more reticent) and by his fiercely suspicious nature, Freud bullied her into becoming more of the docile and governable woman he was seeking. Despite maintaining that he did not want her to be a malleable toy doll, he sneered at her efforts to put her foot down and openly disliked what he called her “tartness.”

    Somewhere along the way it seems that Martha lost some of her moxie — her unfettered and even feisty spirit. One can see a glimpse of that spirit still peeking through late in their engagement, when she wrote Freud in irritation: “You now always only write once about each thing, and then nothing more however much I ask. I’m not used to this, my good man, it is certainly high time I brought you to heel, otherwise I’m quite sure to go completely thin and green for sheer annoyance and exasperation.” But by this time Martha could not have been left in any doubt as to precisely what it was that her husband-to-be expected in his partner: a certain docility, and clear and separate spheres of influence. “I will let you rule [the household] as much as you wish,” he decreed, “and you will reward me with your intimate love and by rising above all those weaknesses that make for a contemptuous judgment of women.” Perhaps in keeping with Martha’s understanding that her fiancée wanted to remake her into a more subservient personality, some of her letters show her posing as an intellectual innocent in need of Freud’s assistance: “I finally have read your postcard with Max’s help because it was difficult to read. Yes, that’s how stupid your dear girl is.” 

    The critic Frederick Crews, a disenchanted Freudian and ardent enemy of psychoanalysis all the same wrote perceptively about the Svengali-like attitude toward Martha that hovered right beneath Freud’s almost fulsome expressions of adoration. “When he wasn’t complaining about his present aliments and future neglect,” Crews observed in Freud: The Making of an Illusion,

    the unhappy fiancé was instructing his beloved in how to become a properly deferential mate. He made it clear that she would have to change some of her ways, and the sooner the better. It was precisely Martha’s most admirable qualities — unself-conscious candor and spontaneity, a trusting nature, freedom from class prejudice, loyalty to her family and its values — that struck him as in need of revision. Thus he rebuked her for having pulled up a stocking in public; forbade her to go ice skating if another man were along; demanded that she sever relations with a good friend who had gotten pregnant before marriage; and vowed to crush every vestige of her Orthodox faith and to turn her into a fellow infidel.

    Although Crews is focusing here exclusively on the dictatorial aspect of Freud’s attitude toward his future wife, it is nonetheless a fairly accurate and unattractive picture — conventionally masculine for its time, perhaps, but especially disappointing in one of the great free-thinking apostles of modernity. 

     

    III

     

    How did the Freuds’ marriage negotiate the age-old problem of combining sexual passion with enduring love? Is there evidence in Freud’s writings of his view of the institution of marriage, and of the possibility of lasting erotic attraction? And how confidently can we infer from his “scientific” remarks on conjugal life to the character of his own marriage? 

    There is not much to go on. Curiously enough, the index of the Standard Edition of the Complete Psychological Works of Sigmund Freud, the Strachey edition, has no entry for “wife” and only a smattering of references under “marriage.” Still, he famously wrote about the disjunction between romantic affection and carnal desire in 1912, in a paper titled “The Most Prevalent Form of Degradation in Erotic Life,” a psychoanalytic exploration of what we call the Madonna-Whore Complex, in which he observed that “where such men love, they do not desire, and where they desire, they cannot love.” 

    Freud attempted to explain this phenomenon by looking to the restrictive cultural mores of his time and the inhibition on both men and women to delay sexual engagement well beyond the age of maturational readiness — “the long period of delay between sexual maturity and sexual activity which is demanded by education for social reasons,” which resulted in a “lack of union between tenderness and sensuality.” He went on: 

    In very few people are the two strains of tenderness and sensuality duly fused into one; the man almost always feels his sexual activity hampered by his respect for the woman and only develops full sexual potency when he finds himself in the presence of od a lower type of sexual object; and this again is partly conditioned by the circumstance that his sexual aims include those of perverse sexual components, which he does not like to gratify with a woman he respects. Full sexual satisfaction only comes when he can give himself up wholeheartedly to enjoyment, which with his well-brought-up wife, for instance, he does not venture to do. Hence comes his need for a less exalted sexual object, a woman ethically inferior, to whom he need ascribe no aesthetic misgivings, and who does not know the rest of his life and cannot criticize him. 

    Freud’s own marriage was conspicuously de-romanticized and then rather quickly desexualized after its emotionally impassioned beginning; the letters, which include overt references to erotic longings on both sides, seem to confirm the fatalistic analysis of conjugal love and desire in his paper. Although Ernest Jones, Freud’s British colleague and hagiographic biographer, deemed this vast collection of correspondence “a not unworthy contribution to the great love literature of the world,” the analyst Martin Bergmann once quipped: “We have wonderful courting letters before marriage. After marriage we only get laundry letters. It’s all practical. We don’t have a single love letter after marriage.” 

    In an earlier paper, from 1908, called “’Civilized’ Sexual Morality and Modern Nervous Illness,” Freud provided a larger framework, a civilizational framework, for his dour view of marital life, in which he presented a somewhat disheartening view of the damage to intimate relations that is inflicted by the process of socialization that humans must go through in order to co-exist peacefully with others. “Experience teaches us,” he observed, “that for most people there is a limit beyond which their constitution cannot comply with the demands of civilization. All who wish to be more noble-minded than their constitution allows fall victim to neurosis; they would have been more healthy if it could have been possible for them to be less good.” And so he asks “whether sexual intercourse in legal marriage can offer full compensation for the restrictions imposed before marriage.” And he answers:

    There is such an abundance of material supporting a reply in the negative that we can give only the briefest summary of it. It must above all be borne in mind that our cultural sexual morality restricts sexual intercourse even in marriage itself, since it imposes on married couples the necessity of contenting themselves, as a rule, with a very few procreative acts. As a consequence of this consideration, satisfying sexual intercourse in marriage takes place only for a few years; and we must subtract from this, of course, the intervals of abstention necessitated by regard for the wife’s health. After three, four, or five years the marriage becomes a failure insofar as it has promised the satisfaction of sexual needs….The spiritual disillusionment and bodily deprivation to which most marriages are thus doomed puts both partners back in the state they were in before their marriage, except for being the poorer by the loss of an illusion, and they must once more have recourse to their fortitude in mastering and deflecting their sexual instinct….Women, when they are subjected to the disillusionments of marriage, fall ill of severe neuroses which permanently darken their lives….A girl must be very healthy to tolerate it, and we urgently advise our male patients not to marry any girl who has had nervous trouble before marriage.

    Many critical points could be made about the dark conjectures that Freud offers in this paper, which seem to be based more on personal experience than on scientific findings or cultural observations. Why, for instance, must married couples content themselves “with a very few procreative acts,” unless one believes that the sole purpose of sexual intercourse is procreation? What about sexual pleasure, a subject about which Freud extensively theorized? And his hypotheses about women’s fragility when faced with “the disillusionments of marriage” seem both ill-conceived and misogynistic — a blinkered attempt to understand female sexuality, which he regarded as murky and mysterious, in keeping with his idea of women as the “dark continent.” 

    In any event, Martha and Sigmund were married on September 13, 1886 in Hamburg. Frau Bernays became Frau Freud; she was twenty-five and he was thirty. Since a civil wedding on its own was not officially recognized at that time in Austria, the couple had to marry a second time under a chuppah with full Jewish ritual, despite Freud’s annoyance. The ceremony included the groom giving the bride a ring as well as crushing a glass underfoot in remembrance of the destruction of the Temple in Jerusalem — a memory of sadness in the midst of happiness, which in other contexts was a dissonance that Freud often studied. 

    Freud seemed to have felt abandoned within minutes of casting in his lot with Martha. “Once one is married,” he opined, “one no longer — in most cases — lives for each other as one used to. One lives rather with each other for some third thing, and for the husband dangerous rivals soon appear: household and nursery.” He added that, “despite all love and unity, the help each person had found in the other ceases. The husband looks again for friends, frequents an inn, finds general outside interests.” Hardly a chipper forecast for what lay ahead, but then Freud, despite his inner reserves of strength, was often the one who expressed anxiety. The task of reassurance fell to the unflappable Martha, who learned how to soothe him.

    The union produced six children in nine years, by which point Martha was thirty-four. After three children had been born, the family moved to Berggasse 19, near the university quarter in Vienna, where their apartment occupied an entire floor but was rather small and dark. Martha, who was in charge of their finances, set about looking after her new husband with the utmost attention and care for both his appearance and his comfort. She laid out and brushed his clothes for him — which were, as Martin, Freud’s eldest son, reported in his reminiscences, “cut from the best material and tailored to perfection.” It was said that such was the diligent nature of her caretaking that she put the toothpaste on his toothbrush. 

    While her husband worked up to sixteen and even eighteen hours a day, Martha, carried around an enormous bunch of keys, the better to oversee a household that included, despite the family’s relative lack of money, a cook, a governess, two nannies, and a chambermaid. She ran the large family’s schedule like a well-oiled machine. Lunch was served promptly at one o’clock every day, a formal meal often featuring tafelsptiz or Rindfleisch, boiled beef and vegetables, with a horseradish sauce, a favorite of Freud’s. Sophie Freud, Martin’s daughter, recalled in a memoir that Martha maintained impeccable standards: “At each meal Mrs. Freud has a pitcher of hot water and a special napkin at her place, so that if anybody made a spot on the tablecloth she could hurry to remove it. Only her husband was permitted to make as many spots as he wished.” Dinner was at seven, after which Freud usually worked until midnight. 

    The children, who were Martha’s domain when young although of keen interest to their father as they grew older, seem to have been suitably well-behaved, their parents having instilled in them the importance of their father’s work. As Martin recalled, “There was never any waiting for meals: at the stroke of one everybody in the household was seated at the long dining-room table and the same moment one door opened to let the maid enter with the soup while another door opened to allow my father to walk from his study to take his place at the head of the table at the other end.” 

    Jenny Diski, in her review of Behling’s biography, observed that the exemplary bourgeois surface that Martha helped to provide — “the rigid table manners, ordered nursery, and bustling regularity” — enabled her husband to organize his “deeper, hardly thinkable thoughts” into “something that looked like a scientific theory.” By polishing that surface and keeping the clocks ticking in unison, Diski grandly concluded, “Martha was as essential to the development of Freudian thought as Dora or the Rat Man.” This may have a grain of truth to it, in the logistical sense that an orderly environment allowed Freud to concentrate on his work, but it strikes me all the same as something of an exaggeration as though Mrs. Einstein were to be credited with facilitating her husband’s ideas about energy and mass.

    The simple truth is that Freud never had any plans for Martha to be an intellectual partner or to participate in his intellectual life in any way. He was happy for her to take care of his every need and to view him as the genius of his age, the equal of Newton or Darwin, just as she was happy to call herself Frau Professor after Freud was given his title in 1902. Although he seems to have initially been drawn to Martha’s cultural sophistication, Freud quickly felt the need to downplay her braininess, a demotion in which she willingly acquiesced. Early in their engagement he referred condescendingly to “the charming confusion in your dear sentences.” In his memoir Martin Freud recalls that when his parents had distinguished visitors over for dinner and a learned guest began to recite from The Iliad, Martha had already departed the premises. “My mother,” Martin writes, “who knew no Greek and, in consequence, was without any admiration for Homer’s immortal epic, had quietly withdrawn earlier.” 

    Then, too, there was the slight puzzlement that she expressed at her husband’s choice of profession, as though his high-flying speculations were beyond her ken. “I must admit,” she said, “that if I did not realize how seriously my husband takes his treatments, I should think that psychoanalysis is a form of pornography.” The Viennese analyst Theodor Reik reported that, based on conversations with Martha during walks that they took together, “I got the decided impression that she not only had no idea of the significance and importance of psychoanalysis, but had intensive emotional resistances against the character of analytic work. On such a walk she once said, ‘Women have always had such troubles, but they needed no psychoanalysis to conquer them. After the menopause they become quieter and resigned.’” That sentence, so dismissive of the real problems faced by herself and other members of her sex, is painful to read. 

     

    IV

     

    After the birth of their sixth child, the Freuds — or more precisely, Freud — decided to practice abstinence as a means of contraception. While he believed that pregnancy “is a normal state in a young woman,” he also held that coitus interruptus led to neurosis, a view that was based on some misbegotten Darwinian notion about the right and wrong “discharge” of semen. In some ways, of course, Freud was very much a man of his time and place, fascinated by the notion of “perverse” desires but also cautious and somewhat sexually inhibited. Freud professed to dislike Vienna, the hothouse capital of the Hapsburg empire, writing to his colleague Wilhelm Fliess that “I hate Vienna with a positively personal hatred.” But Vienna was all the same the center of intellectual life in Europe — a bubbling cauldron of ideas about literature, music, art, architecture, science, and philosophy — and therefore a stimulant to his thinking. It was also a city whose culture was intensely preoccupied with sex. While modernist painters and writers dug deeply into erotic life, the bourgeoisie had a more prurient and censorious attitude toward sexuality, especially as it applied to women and children. Women were expected to be chaste before marriage, and the youthful exploration of sexuality through activities like masturbation was vehemently discouraged. (Freud’s fine sense of humor did not desert him on even on salacious subjects such as these. The problem with masturbating, he once observed, is knowing how to do it well.) 

    In his research and his theory, Freud indicted these Victorian mores as a source of neurotic conflict, and his views on infantile sexuality (“one of the sources of Freud’s enduring appeal, I believe,” observed Paul Roazen in his book Meeting Freud’s Family, “is that he so often took the side of the suffering child”), were remarkably forward-looking — and yet those same Victorian mores were reflected in some of his own constricted views on the subject of carnal pleasure. “I stand for an infinitely freer sexual life,” he wrote in a letter, “although I myself have made very little use of such freedom. Only so far as I considered myself entitled to.” Having proposed that the sexual drive was necessarily self-divided (as he believed all the drives were), he took the view that sex could never be completely gratifying.

    His ability to sublimate erotic desire in his work was remarkable, and in a small book about Leonardo da Vinci he observed that Leonardo’s apparent asexuality set him “above the common animal need of mankind.” In a letter written to Fliess in 1897, when he was forty-one, Freud made a reference to ceasing connubial relations entirely. “Sexual excitation is of no more use to a person like me,” he wrote, although he attested to some incidents of sexual intercourse with Martha later on, recording in his diary at the age of sixty that he had “successful coitus Wednesday morning.” He also wrote to Fleiss that he often suffered from impotence. (Some scholars have argued that Freud’s decision to abstain from sex, although ostensibly to avoid having more children, may have stemmed in part from an unconscious desire to get back at Martha for her sexual reticence during their prolonged engagement.) According to Oliver Freud, who was born fourteen months after Martin, neither parent thought to talk their sons about the birds and the bees. A family doctor was enlisted to teach the boys about sex. 

    Freud’s own sexual behavior reminds us that he was not only the champion of psychological and sexual enlightenment in his work, but also the champion of the rewards — and demands — of sublimation and repression. In 1936 he characterized his married life with a startling degree of restraint in a conversation with Princess Marie Bonaparte, one in a bevy of his female friends that included Minna Bernays, Princess Bonaparte, Lou Andreas-Salome, Hilda Doolitle, and Helene Deutsch, with whom he shared his thoughts. “It was really not a bad solution of the marriage problem,” he said, “and she is still today tender, healthy, and active.” When one compares this wan statement to his impassioned declaration to Hilda Doolittle, the poet H.D., who spent several years in analysis with him, that “I am an old man and you don’t think it worth your while to love me,” they almost seem to come from two different men.

    To his son-in-law Max Halberstadt, he conveyed his relief that his children had turned out well and that Martha “has neither been very abnormal nor often ill.” (Recall the patronizing passage in the paper of 1908 about “regard for the wife’s health.”) This was a far cry from the sentiments that he felt during their engagement, when he clashed with Martha’s mother about who had the greater claim to her daughter: “Marty, you cannot fight against it; no matter how much they love you I will not leave you to anyone, and no one deserves you; no one else’s love compares with mine.” Martha, by contrast, sounded more enthusiastic when describing her marriage to her granddaughter Sophie: “I wish for you to be as fortunate in your marriage as I have been in mine. For during the fifty-three years I was married to your grandfather, these was never an unfriendly look or a hard word between us.” With accommodation and compromise on her part came harmony in their conjugal relationship, whatever it may have lacked in the way of higher communion.

    This brings us to the sensational theory, originated by Jung and fanned over the decades by Peter Swales (also known as “the guerilla historian of psychoanalysis”), that after ceasing to sleep with his wife Freud embarked on an affair with Minna Bernays, Martha’s smart, witty, and acerbic younger sister. The two had corresponded while Freud was pursuing Martha, and clearly they had a companionable relationship. Among other things, they were both avid card-players. They lived together in the same household for forty years — first on Berggasse 19 in Vienna, where Minna moved in in 1896, and then at 20 Maresfeld Gardens in London. Indeed, the sleeping arrangements in Vienna were weirdly intimate, as I saw for myself when I visited Berggasse 19. Minna’s small sleeping quarters were right next to Sigmund’s and Martha’s bedroom, and the only way Minna could get to her room was to go through the bedroom that the Freuds shared.

    The two also took trips together, and the rumors of their illicit liaison were fueled in 2006 by a German sociologist who found a yellowing hotel ledger entry written in Freud’s distinctive scrawl at an inn in the Swiss alps where the psychoanalyst, then forty-two, and Minna, then thirty-three, stayed for two weeks in 1898. The couple had registered as “Dr Sigm Freud u frau” — as husband and wife. They took the largest room at the inn, which had the equivalent of a double bed. This last detail persuaded some Freud loyalists, such as Peter Gay, of the veracity of the rumors, although I myself remain dubious. For one thing, they might have checked into a single room because of Freud’s frugality; they were anyway used to being in close quarters and it is unlikely, given the Victorian ethos of the era, that they could have rented the room if their actual unmarried relationship had been made clear. For another, despite his heretical approach to religious strictures and his theoretical advocacy of greater sexual freedom, Freud strikes me as a man fairly haunted by guilt, and he would have been disinclined to cheat on his devoted wife. There was also the fact that Minna was not particularly attractive and female appearance was important to Freud. In one of his early courtship letters he told Martha that her nose and her mouth were shaped “more characteristically than beautifully, with an almost masculine expression, so unmaidenly in its decisiveness.” Such a microscopic analysis of his future bride’s less than ideal features suggests that he was a critical observer of female appearances. Then too, he himself had once noted to his future wife that “similar people like Minna and myself don’t suit each other specially.”                       

     

    Who, then, was Martha Freud? Why is she so hard to find amid the obsessive interest and research that swirls around her husband? Was she really just a contented Hausfrau, an efficient manager of a busy household, a firm, undemonstrative, but affectionate mother, and a devoted wife who “tried as much as possible,” as she wrote in response to a condolence letter after her husband’s death “to remove the misère of everyday life from his path”? Assuming that Freud’s ideas about everything from female psychology to wayward sexuality to neurotic conflict were drawn even slightly from his own experience, what influence did Martha’s personality and her interactions with him have on psychoanalytic theory? It is hard to imagine her living with him for more than half a century and not having had some impact on him beyond making sure that his boiled beef was served on time. In addition to which, as Sophie Freud points out in her book, “some of Freud’s most fundamental discoveries were made by observing his own children. Mrs. Freud was his assistant in helping to transform the nursery into a psychological laboratory. But the children were not to know they were being used as guinea pigs. ‘Above all, the family must be normal,’ she said.” 

     It is all the more surprising, then, that Martha has been of so little interest or consequence to the many biographers of her husband. In recent years there has been Katya Behling’s biography of her in German, as well as a novel called Mrs. Freud by the French writer Nicolle Rosen. There is also a short memoir by the Freuds’ long-standing housekeeper, Paula Fichtl, but it does not add much to the overall picture except for the author’s own adulation for Herr Doktor and her unstinting admiration for Martha’s capabilities and resilience. As Behling recounts in her biography, Martha was astonishingly courageous. When, shortly after the Anschluss, a group of armed SA men showed up at Berggasse 19, sending Paula into a tizzy, Martha is said to have maintained her composure, suggesting that “the gentlemen” might wish to deposit their rifles in the umbrella stand for the duration of their visit. And when another phalanx of Nazis stormed into their apartment a few days later, Paula’s upset was met with an ironic comment: “Surely, Paula, you did not expect the Nazis to come with flowers.”

    Is Martha’s featureless, sphinx-like presence an odd gap in the story, a glitch in the hermetic, all-consuming narrative of male genius? Or does it point to some deeper absence, some way in which Martha willingly went along with being sidelined from her husband’s larger concerns the better to ensure a peaceful home from which Freud could venture out with his unconventional, often alarming ideas? One might argue that in a certain fashion she was her husband’s muse — not a particularly glamorous or inflaming one, but a steadfast, earth-bound figure who helped him roam freely in his head. It was perhaps Martha’s very ordinariness — her “fully developed and well-integrated” personality, as Ernest Jones put it — that cast into relief the neuroses and the pathologies that Freud found everywhere he looked.

    Freud’s attitude to Martha, which verged on the fondly dismissive, is not irrelevant to the sense that psychoanalysis missed out on some of the big questions, particularly about women, and fell short of its liberating aspirations. Yet it is too easy to dismiss her as a martyr, unless one adds that she was a willing and seemingly contented one. Indeed, who is to say that she wouldn’t have played the role of helpmeet to a lesser figure as well, to a man who was not a genius? Or that despite her intelligence and sensibility, that she, like many people, was simply not driven to live up to what might have been her potential? Not every wife, no matter how intelligent or talented, wishes to compete with her husband. The competitive impulse, which looks to us invariably like a strength, can also derive from weakness and an infirm sense of self. Martha clearly knew who she was. Her dignity is undeniable. Her power derived from being the ultimate caretaker and ur-wife, presiding over the circumstances that facilitated Freud’s work. One might even see Martha’s abnegation of self — if abnegation it was — as an adult example of “altruistic surrender,” which was the term that her daughter Anna Freud coined for the children she worked with at the Tavistock Clinic who sacrificed their own well-being in the service of another child.

    In any case, Martha seems to have gone through something of a sea-change in the wake of her husband’s death at the age of eighty-three in September 1939, after years of excruciating jaw cancer. Aside from returning to lighting the Shabbos candles, she took to reading again, often sitting on the stairs or on a chair on the half-landing between the ground floor and the first floor at Maresfield Gardens, and even developed a curiosity about Anna’s patients, marveling at how expensive child analysis was. Although she remarked that life had “lost its sense and meaning” without her husband, she carried on in exile with her energetic and orderly existence, and appears to have relished being at the center of a crowd of doting and often celebrated visitors who came to see her. She might be said to have embodied the spirit of Goethe’s das Ewig-Weibliche, or Eternal Feminine, a concept that is profoundly alien to us but was a pillar of Martha’s culture. As a frail but vivid old woman who had been the lifelong companion of an undeniable visionary, she must have aroused curiosity of her own accord. Frau Freud died in London on November 2, 1951 at the age of ninety, and was cremated and her ashes joined with her husband’s ashes in an ancient Greek vase in something called the Freud corner in the Golder’s Green crematorium, taking her mystery — her hopes, her disappointments, and her regrets — with her.

    The Poet Misak Medzarents, and Two Poems

    He was born in 1886 in Armenia, in a remote mountain village called Pingyan above the Aradzani River. It was not the typical Armenian village of the Ottoman Empire, subjugated by Turkish authorities and terrorized by marauding Kurdish tribes in the guise of tax collectors. Pingyan was an unusual place: it was secure and very nearly free, a place where life could be happy. After the Moslem conquest of Anatolia began in the seventh century, Armenians struggled to preserve their liberty in princely states that juggled alliances with larger powers and tried to hold their heads above the flood of invasion by Turkish and Kurdish nomadic groups. After the fall of the Armenian Bagratid capital Ani in the east, the extinction of the Armenian Cilician kingdom in the south in 1375, and with that, the end of national sovereignty, little strongholds of freedom endured to which men might make their way — the mountain fastness of Sasun above Lake Van, Artsakh (today’s Nagorno-Karabagh) in the east, Zeitun in the southwest, and, in the northwest of historical Armenia, the village of Pingyan. (The name derives from the diminutive, Benik, of its founder, a prince named Benjamin.) 

    The houses, churches, schools, mills, and monasteries of the village clustered on the steep mountainside, below a well-defended pass; the villagers went to their fields on the other side of the river across a bridge with a great iron gate that was locked at night. The name of Misak’s family, the large Medzadourian clan — the young poet was to shorten the name to Medzarents — suggests they were descendants of a noble “great house” (medz dun) who had heard of the fortress village and made their way there across Armenia, centuries earlier, from Ani or even farther east. The villagers spoke Armenian, not the Armeno-Turkish of much of the Armenian community in Anatolia. They used metal tokens inscribed in the Armenian alphabet for trade, and maintained a school in which the Modern and Classical forms of Armenian were taught. They were horsemen and marksmen, and in their homes books shared the walls with guns. Some families owned businesses in the distant Ottoman capital, Constantinople, and were prosperous; workingmen sent remittances home.

    It made for a happy boyhood, for a time. Misak learned Armenian classics and foreign languages at school, read poetry, rode horseback to the fields, heard work songs, dozed and dreamed under trees, listened to his mother’s prayers and to legends about water spirits, and played with his friends. The Armenian massacres that began in 1894 and were to culminate in the Genocide of 1915 affected even Pingyan, and the family moved for safety first to the city of Sepastia (Sivas), then in 1902 to the capital, where Misak’s father had a business. In Sivas, a Moslem butcher’s son stole up from behind and stabbed Misak in the street. He survived the attack, but it traumatized and weakened him. The family chose the comparative safety of Constantinople, with its large Armenian community: Misak went to school, made friends, frequented the offices of literary journals, read widely, and was a prolific writer. When he was twenty-one he published two small volumes. But it was the year before his death, in 1908, of consumption: his life, like that of his precursor Bedros Tourian, was destined to be short. 

    Tourian had invented modern Western Armenian poetry almost singlehandedly, in the short years before his death in early 1872. Armenians closely followed European literary trends, and in the period between the lifetimes of the two poets Symbolism had become the dominant trend in poetry, music, and the arts. Through the use of dream imagery, indistinct allusions, exotic colors, and magical patterns of sound, Symbolists sought to open the doors of perception to an emotional and aesthetic sensibility towards a supernatural reality that, they believed, lay just beyond the everyday. The French poet Stephane Mallarmé and the composer Claude Debussy most famously exemplify the movement; but it can be argued that its beginnings were much earlier, and that William Blake and Edgar Allan Poe were proto-Symbolists. I will have more to say about Poe presently, in the discussion of what I consider to be Medzarents’ greatest poem, which I will give in translation. 

    Medzarents was described by his contemporaries, and sometimes derided, as a Symbolist, and he retorted defensively, in versified satire. The characterization is fair for some of his lyrics, but it is not complete — his work is not confined by narrow categories and definitions. There is evidence, in the form of a few fragments of poems, that Medzarents was developing a new style, sharper, harsher, more vivid, that reflected political events and a revolutionary consciousness. An analogous evolution from early Symbolist verses to a raw and jagged, sharply strident, revolutionary kind of verse typifies the work of the greatest Eastern Armenian poet, Yeghishe Charents, eleven years Misak’s junior, one of the great early non-Russian poets of the Soviet Union. Charents lived longer, but not by much: he was killed in November 1937 in the Stalinist purges. He wrote homoerotic verses that were unpublished in his lifetime and that still arouse controversy among the ultra-nationalist establishment in post-Soviet Armenia. We cannot know with any certainty what Medzarents would have written  had he lived on in the turbulent twentieth century: he died on the eve of the Ottoman revolution and just a few years before the Armenian genocide. It is almost certain that he would have been murdered with the other two-hundred-and-fifty-or-so Armenian luminaries of the capital at the start of the Genocide in April 1915. The life was far too short; the future, far too dark. 

    Let us consider one poem in detail, with its far-reaching ramifications. It is called Gaydzer, or “Sparks,” and was published September 10, 1905 in the journal Masis with another verse and the heading Yergu sirerk, “Two Love Songs”; and it was reprinted in the poet’s first volume of verses, Dziadzan, “Rainbow,” two years later. The political activist, publisher, and literary scholar Aram Andonian wrote the preface to the book. The poem consists of four quatrains; each line is seven syllables in length. (Armenian stress is regular: the accent falls on the final syllable of a word except for enclitics — short unstressed words, of one syllable, following a longer one.) The rhyme pattern of the poem in the original is a conventional one: ABCB BCCD BCBA ADDD. Here is my translation.

    The drumbeat of my soul and its tambourine’s

    Trill this night descend in laughter.

    Like cymbals clashing, they delight:

    My memories clap their hands together. 

     

    Accompanying the castanets’ song

    Your falcon’s eyes’ flame,

    Purple-born and fire,

    Burn within my soul again.

     

    Drunken on that intangible ambrosia

    With kisses redolent of flowers

    Sway there in mad dances

    The regal lady’s undulations.

     

    The dark night gently wears away!

    Oh, just once more, just once again!

    My soul intoxication craves

    In the rivulets of fire flowing from your gaze. 

    The poem is a reverie, an induced, dream-like act of imagination by the author at night within the four walls of his room. There are frequent images of fire, but the title, “Sparks,” suggests that the fire could ignite but has not yet; and before dawn the passionate but insubstantial vision fades, even though the poet pleads for it to stay. The first three stanzas progress through the five senses, each more physically immediate than the one before it. The first stanza bursts on the reader with vividly percussive sound: drums, tambourines, cymbals, and hands clapping. The second stanza moves to the sense of sight: fire and flame evoke bright red and rich gold, and the poet also uses the epithet dziranedzín to describe the fire in his imaginary beloved’s eyes. This word is a calque, that is, an exact translation of a foreign word according to its parts, of the Greek and Latin adjective porphyrogenitus, literally “born to the purple,” meaning “noble.” In Armenian it is, serendipitously, richly alliterative. It is a word that describes a quality while also making one think of a color, and part of the way it makes the connection is through the repetition of a sound. That is a game that certain special words can play in our minds, making us see and hear in a new and wider way. 

    The third stanza combines the remaining three senses of smell, taste, and touch: the poem overwhelms with voluptuous imagery of flowers, intoxication, and kisses. The poet is drunk on nectar — the Greek word, whose variant and equivalent is ambrosia — means, literally, “immortal,” and is echoed by the compound word dzaghg-anúysh. Dzaghíg is “flower”; anúysh is a Classical Armenian loan word from pre-Islamic Persian meaning “immortal nectar” again. In Modern Armenian, with the diphthong reduced, anúsh also means “sweet.” The Armenian for “kiss” is hampúyr, which means literally a sharing of fragrances, such as sweetness. Through Medzarents’ choice of words, in sum, the senses all blend into one another.

    In the final quatrain of the poem, the sensuous vision fades as morning dawns, though the poet begs it to linger and prolong his self-induced intoxication. The final word of the poem, a Classical Armenian compound most familiar from the Hymn of Vesting of the Divine Liturgy, is hrahosán, “flowing with fire”— used here of Misak’s beloved’s gaze. The word here recalls the poet’s palette of crimson, purple, and gold; but in its liturgical context it alludes to the fire of the Holy Spirit that descended upon the Apostles in their upper room and conferred upon them the gift of tongues. Linguistic inspiration is precisely what this poem is about in the first place; but the final stanza also reminds one plaintively that the sumptuous scene conjured so richly by the poet’s imagination is insubstantial as a dream. The reader of English will be reminded here of Prospero’s words in The Tempest:

    Our revels now are ended. These our actors, 

    As I foretold you, were all spirits and 

    Are melted into air, into thin air: 

    And, like the baseless fabric of this vision, 

    The cloud-capp’d towers, the gorgeous palaces, 

    The solemn temples, the great globe itself, 

    Yea, all which it inherit, shall dissolve 

    And, like this insubstantial pageant faded, 

    Leave not a rack behind. We are such stuff 

    As dreams are made on, and our little life 

    Is rounded with a sleep.

    As I was writing the first lines of this essay, the sun was beating down and the branches on the pomegranate tree in our California garden were bent to the ground with fruit. They reminded me of the words in poetry that are heavy, dense with many meanings; we have already seen how Medzarents chooses ripe words bursting with juicy seeds. There are yet others in this poem that harken back to antiquity, to the archaic pleasures of noble hunters, to regal feasts. Shahení, “falcon-like”; pampish(n), “queen”— Armenian is an ancient language with roots in the Thraco-Phyrgian akin to proto-Greek, layered with the vocabulary of many centuries, and these words are redolent of the Parthian age, the heroic epoch of the fourth century chronicled in the Epic Histories of P‘awstos Buzand. My teacher and friend Nina Georgievna Garsoïan, who passed away last year at the age of ninety-nine, published the definitive translation and study of that work, in which it is related that the Sasanian Persian Shah of that time, Shapur II, captured his perennial rival and enemy, the Armenian Arsacid Arshak II. 

    The story is taught in every Armenian school: Shapur had his servants sprinkle Armenian earth on the ground of his banqueting tent. When Arshak trod upon alien Iranian soil, he meekly professed fealty and submission; but when he stepped on the earth brought from his native land, he angrily promised rebellion. At the royal feast later that fateful day, he derided Shapur as the usurper of the throne of his own clan, the Parthian Arsacids, and audaciously demanded his rightful place at the head of the table. Arshak was clapped in irons and imprisoned in a place called the Fortress of Oblivion, from whose dark confines no inmate ever emerged. The prisoners’ very names and memories were expunged from official records and forbidden by law to be spoken. But the Armenian king’s faithful eunuch Drastamat (a Parthian word meaning “welcome”) secured permission to entertain his liege lord one last time, with royal viands and dancing maidens. At the end of the revel, Arshak seized a fruit knife and plunged it into his own heart, lest he live past the end of the entertainment and return to the dim existence of a captive. Thus did the voluptuous vision end; and from his choice of words and images it is all but certain that Medzarents had the famous episode from P‘awstos’ history in mind. 

    Epameron— ti de tis, ti de ou tis? Skias onar anthropos, declared the poet Pindar in a celebratory ode to the victory of an ancient Hellenic athlete. “Thing of a day. What is somebody? What is he not? Man is the dream of a shadow.” Yet when glory rests upon a man, the moment in his life’s span is sweet as honey, he adds. But when the laurels wilt, the dream fades, the revel ends, the vision flies away, we have the poem, the play, the historical saga, the ode. What is it that gives these written and spoken words power over millennia? What is it they immortally capture? What can they do that the reality of an ordinary day cannot?

    Let us take Medzarents’ word, dziranedzín, in the second stanza of the poem discussed above. It means “born to the purple,” and thus combines a color with the idea of nobility. It has a particular sound-signature, a musical quality, in the poem, too, for it resonates very strongly with other words the poet has already used in the first stanza: dzidzágh, “laughter,” dzĕndzghá, “cymbal,” and dzap‘, “clap”. Armenian dziraní means “purple,” but it is also the color of Homer’s wine-dark sea, for thus we find it as dziraní dzóv (the latter word meaning “sea”) in the earliest Armenian poem, the Song of the Birth of Vahagn recorded by the historian Movses Khorenats‘i. The word dzirán means also “apricot,” a fruit originally from China that the ancient Romans called the Armenian plum. Apricots, the fruit a medieval writer in Asia praised as “the golden peaches of Samarkand,” were an expensive commodity, even as cloth dyed in the royal purple was precious. The Russian linguist Pyotr Kocharov has convincingly argued that the Armenian word is a very early loan from Old Iranian zaranya-, meaning “golden.” 

    That origin goes far to explain the semantics of the word in its development through time, its wide array of meanings and associations. As a thing, a dzirán is a choice fruit of fiery, red, and purple hues. As a color, dziraní evokes a range of hues over the spectrum; and as a quality, it confers nobility. (The Biblical and later Hebrew word for purple, argaman, is likewise freighted with the implication of nobility and great value. It is derived from Akkadian argamannu, which has the dual meaning of “purple” and “tribute.” An ancient Anatolian derivation is possible, but I would suggest again a very early Iranian origin, comparing for instance the Iranian-in-Armenian name Argawan, “precious.” In Hebrew magical texts, argaman serves as an acronym for the names of the angels Uriel, Raphael, Gabriel, Michael, and Nuriel, its meaning as a word on its own doubtless conferring additional nobility upon its celestial reference.) 

    Now, one can call a word — say, dzirán — a signifier. That is, it signifies, refers to, names an object, a thing in the physical universe. The thing that the signifier refers to — in this case, an apricot — is the signified. In general, the signifier is arbitrary: there are different words in different languages for an apricot, and none of them has a provable relationship to the object it denotes. (I say generally, because most languages also have onomatopoeic words that echo the perceptible sound or quality of the thing or action that they describe.) It is also the case that the signifier is inadequate fully to express the reality of the signified. I can say “apricot,” but the colors of the fruit in the sun, its silky feel, the juice, the pit within — obviously one word cannot carry all these features, and even a page-long description would not be the same as an immediate experience. A long shadow thus falls between signifier and signified, over the centuries of human speculation about language: we feel instinctively that there must be a relationship, but there is not. To compensate, our ancestors crafted the myth of an Adamic language, the primordial, perfect speech in which the first man gave each of the animals its true name. 

    But look what Medzarents has done! As we have seen in the analysis of his chosen term, dziranedzín, his signifier is more, not less, as a word sparking various mental and aesthetic associations. It is a signifier that has more to it than the signified. I think that this can serve as one good definition of a poem (not to the exclusion of other definitions, of which there are many): a literary form in whose lexicon a signifier is to be encountered that is greater than the signified. 

    That definition has implications worth further thought, but I don’t want to say farewell just yet to Medzarents’ magical word dziranedzín, which means literally “to the purple born” but also much more. We encounter the English form of its Greek parent, porphyrogenitos, in 1839 in the poem “The Haunted Palace” by Edgar Allan Poe:

    In the greenest of our valleys 

    By good angels tenanted, 

    Once a fair and stately palace — 

    Radiant palace — reared its head. 

    In the monarch Thought’s dominion, 

    It stood there! 

    Never seraph spread a pinion 

    Over fabric half so fair! 

     

    Banners yellow, glorious, golden, 

    On its roof did float and flow 

    (This — all this — was in the olden 

    Time long ago) 

    And every gentle air that dallied, 

    In that sweet day, 

    Along the ramparts plumed and pallid, 

    A wingèd odor went away. 

     

    Wanderers in that happy valley, 

    Through two luminous windows, saw 

    Spirits moving musically 

    To a lute’s well-tunèd law, 

    Round about a throne where, sitting, 

    Porphyrogene! 

    In state his glory well befitting, 

    The ruler of the realm was seen. 

     

    And all with pearl and ruby glowing 

    Was the fair palace door, 

    Through which came flowing, flowing, flowing 

    And sparkling evermore, 

    A troop of Echoes, whose sweet duty 

    Was but to sing, 

    In voices of surpassing beauty, 

    The wit and wisdom of their king. 

     

    But evil things, in robes of sorrow, 

    Assailed the monarch’s high estate; 

    (Ah, let us mourn! — for never morrow 

    Shall dawn upon him, desolate!) 

    And round about his home the glory 

    That blushed and bloomed 

    Is but a dim-remembered story 

    Of the old time entombed. 

     

    And travellers, now, within that valley, 

    Through the red-litten windows see 

    Vast forms that move fantastically 

    To a discordant melody; 

    While, like a ghastly rapid river, 

    Through the pale door 

    A hideous throng rush out forever, 

    And laugh — but smile no more. 

    The poem is an allegory: the palace is the poet’s head; the two luminous windows, his eyes. Long ago the king of Thought reigned there in serenity; but madness invaded the fortress of the mind and now all is chaos within: the windows that were once bright are now “red-litten” (or, as a variant of the text has it, “encrimsoned”). Jerome McGann, in a study of Poe’s poetry, asserts that the key word of “The Haunted Palace” is “porphyrogene,” which he considers both noun and adjective, and “fundamentally, a synaesthetic figure, both chromatic and phonetic,” part of Poe’s “musical architecture.” That is, the word “porphyrogene” has manifold functions in the poem. It is both a word describing the king who sits in the palace, and his title. It evokes a color, royal purple, while also serving as a central chord of the poem’s music — and most of all, it sounds just right. 

    Poe stressed the sound-structure, the musicality of poetry, some have said, even more than its overt verbal meaning, and built his great and final poem, “The Bells,” around the single tantalizing word “tintinnabulation.” It was a poem in a chrysalis, ready to open its wings and fly as music: the Russian translation of the poem by the Symbolist Konstantin Dmitrievich Bal’mont became Rachmaninoff’s Third Symphony; and Phil Ochs, the great American protest singer-songwriter of the 1960s, took its tintinnabulation to the guitar. Medzarents would have loved it. McGann, who studied “The Haunted Palace,” is mistaken, I believe, in thinking that Poe coined the word “porphyrogene”: we have reviewed its long and noble pedigree. But he is right to stress the centrality of the term: the word brings together, like its Armenian cousin but perhaps not as variegatedly, different concepts and different kinds of realities and perceptions. It is one of those poetic signifiers that are more than the signified. The word leads the reader, as Poe wrote in his essay “The Poetic Principle,” “to perceive a harmony where none was apparent before.”

    Valerii Bryusov, a Russian Symbolist poet of the turn of the twentieth century, was enamored of Armenian culture and in 1916 he edited a volume of translations by various hands including his own, called The Poetry of Armenia from the most ancient times down to our own days. The book, whose proceeds went to the relief of Armenian refugees from the Genocide, includes several of Medzarents’ poems, though not “Sparks.” (The poem was translated into Russian, badly and not by Bryusov, in an anthology published in Erevan in 1987.) But in 1924 Bryusov did translate Poe’s “The Haunted Palace” into Russian. The translation is of interest here for two reasons: first, the poem has an affinity to Medzarents’ “Sparks,” and it is worth knowing how a poet so strongly attracted to Armenian verse approached it. The other reason is perhaps less intuitively obvious and requires some explanation.

    Why are Medzarents’ poems so chromatic? If color was so important to him, wouldn’t it have been more sensible for him just to paint a picture? It is not an unreasonable question: in the years before reproducible media such as photography and cinema attained prominence in the arts, painters were a much more visible presence than they are today. This was no less the case for Armenian Constantinople or Tiflis than for Paris or St. Petersburg. Martiros Saryan’s palette blazes with the gorgeous colors of the Armenian landscape; Hagop Kojoyan’s delicate hues evoke Symbolist reveries. I think Medzarents intended for us to read his poems and then make the mental effort to see his colors, which are also sounds and emotions, within our own minds. Every viewer of a painting sees it differently because his mind is taking in the picture and organizing it in a way that is particular to him. In a sense he is participating in the creative process of the artist, supplying colors. Even more so, the reader of a poem with a rich chromatic lexicon is making a multi-faceted creative effort, provided that he is attentive, perceptive, and engaged. The neuroscientist Eric Kandel has argued, following the pioneering art historians of twentieth-century Vienna who employed the findings of psychology in their research, that an important part of what makes a work of art great is that it is ambiguous: it forces the viewer to consider and select various possible meanings. 

    As we have seen, the factor of ambiguity as a component of artistic mastery is eminently applicable to literature, as well as to painting. In the former case, the act of translation reveals the beholder’s share explicitly. It is a window into the laboratory of his mind. A great translator is himself an artist, and the choices he makes when rendering a particular term from one language into another enhance our perception of the poem. Bryusov in his translation of “The Haunted Palace” devotes particular attention to Poe’s palette: he chooses izumrúdnaya, “emerald,” to lend extra scintillation to Poe’s superlative, “greenest,” in line one. Poe’s “yellow, glorious, golden” of becomes púrpur, zláto “purple, gold”: two words have replaced three, with purple in its metaphorical sense of regal rendering “glorious” and adding chromatic variation to the scene. For “gold,” Bryusov has selected the archaic zláto, with its aura of storied antiquity, over modern Russian zóloto. Poe’s “Pearl and ruby” are reversed to lal, zhémchug, with a marked Arabo-Persian loan-word for the ruby, lāl, standing in for the more common rubín. The color red is of unique significance in Russian art and symbolism — the common word for it, krásnyi, originally meant “beautiful.” As for Poe’s “Porphyrogene,” all Bryusov has to do is to reach into Russia’s own Byzantine heritage and retrieve the well-known Slavonic calque upon the Greek original: Porfiroródnaya. (It is a queen, not a king, because thought is a word of feminine gender in Russian.) And so the original, with all its fertile ambiguities, is there in its perfection, with only an alteration in dress. 

    This discussion of a poem of Misak Medzarents has treated the complexity and depth of his vision and language; and these subjects have prompted further considerations in brief about the definition of poetry itself and even the nature of the perception of literary art. After a brief sketch of the historical setting we turned from the dark prospects that lay beyond the short life of the poet to that which endures unshadowed, the work. That work draws upon the millennial resources of the Armenian language to express intricate visions; and sometimes the verses of Misak Medzarents are suffused with a pantheistic joy. Here, in my translation, is his greatest poem, his ars poetica, an invitation to the reader to travel farther into the realm of delight.

    With what intoxication… 

    To my friend Kegham Parseghian

    With what intoxication! The trees, in the light,

    Trees in the wind and the rain,

    Shaggy-tressed trees, trees that to the heavens strain,

    And saplings green, as sea waves

    Collapsing to the bosom of the corn strewn,

    Dazed, all drink of the swelling sunburst of life.

    With what intoxication! The grass above the soil rising

    Opens to the light, amazed,

    For the moment of its life the dewdrops that are its eyes.

    With what intoxication! Flowers in the dew,

    Flowers in the light, accustomed to the hand,

    Swoon in their expectation.

    With what intoxication!

    Every field and hill upon green brow

    Bind the flowers’ multicolored wedding band. 

    With what intoxication! From the lovely plains

    And his bride, the dale, the red foot stork

    Returning home imbibes his longing’s satiation.

    With what intoxication! Blackbirds

    Drink the light and whisper it, alert,

    In orchards’ leafy fastnesses.

    With what intoxication! Snow-white jays afloat

    On high seem to swim as they perambulate upon the sky,

    Taking wing, gilded on the glowing firmament.

    With what intoxication! The turtledove her nuptial

    Bed arranges in the shady cover of a tree

    And waits for her husband in expectant passion.

    With what intoxication! The butterfly unfolds upon

    The tiny sparkling lakelet of its leaf

    And with its milky wings constructs its canopy.

    With what intoxication! On the purple plain

    To scarlet flowers hies the bee, 

    To suck upon the little female nipples, luxuriating.

    With what intoxication! The seas are blue;

    River waters, abundant; springs, brimming;

    The rill, swiftly purling; lakes, azure —

    The rill, his locks green-fronded, tossing,

    Passes intimate among the willows, blue as the moon.

    With what intoxication! Clouds shake their heads,

    The wondrous liquid massing in their breasts;

    Which like a snaking thread descends

    To slake the hot gold thirst of earth. 

    With that intoxication drink their fill

    Upon the parched soil’s universal burn

    All creatures born, all flowers grown:

    Drunk, the wave laps in embrace the perfumed tree;

    Thyme and mint and basil growing wild

    And storax, frankincense, aromas teeming

    Are embracing, drunken, every thing,

    All shapes and forms, all colors gleaming,

    All essences and elements: He

    Whose rainbow every thing reflects, returning,

    God! Who from God knows where has come to them. 

    What Flaubert Taught Agnon

    Agnon and Flaubert: the conjunction is, at first blush, altogether unlikely. Their background and the kind of language in which each wrote could scarcely have been more different.

    Agnon, the commanding figure in Hebrew fiction in the twentieth century and the recipient of the Nobel Prize in Literature in 1966, grew up in an Orthodox Jewish home in Buczacz, Galicia, in the eastern end of the Hapsburg Empire. Yiddish was his first language, and he wrote a few stories and some poems in Yiddish when he was in his teens. He had no formal general education, but his mother read the classics of German literature with him, for German was the language of cultural prestige under the Hapsburgs, even where, as in Galicia, it was not the vernacular. In any case, the focus of his early education was on traditional Hebrew and Aramaic texts — the Bible, the Mishnah, the Talmud, Midrash, and the plethora of commentaries on all four of those hallowed works. He decisively turned from Yiddish to Hebrew because Hebrew was for him, as he wrote in one of his stories, “the language of all the generations that had gone before us and all the generations to come.” In keeping with this idea of the eternality of the language, the Hebrew that he wrote was essentially the Hebrew of the early rabbis in idiom, lexicon, and grammar, though it exhibited some elements of later strata of the language — but very few from modern Hebrew. To invoke a counter-factual analogue, it would strain the imagination to think of Flaubert writing in the French of the medieval fabliaux.

    One must add that Agnon, with scant exceptions, was repeatedly coy and evasive about his relation to European writers. He like to present himself as a traditional Hebrew teller of tales, which sometimes he was. The often proposed link with Kafka — especially after Agnon began writing dreamlike or surrealist stories in the 1930s — is a case in point. When he was asked, in an interview at the Schocken Library in Jerusalem after he received the Nobel Prize, whether he was influenced by Kafka, he was clearly nettled. “Kafka? Kafka?” he replied. “I have barely read one book by him.” (But how many books, after all, did Kafka write?) Then he added, archly, “Of course, my wife has the complete writings of Kafka on her shelf.”

    Agnon came to Palestine toward the end of his teens, in 1908, and stayed in the port city of Jaffa. During this time, adapting to the secular Zionist milieu there, he abandoned religious observance. In 1913 he went to Germany, evidently with the intention of immersing himself in European culture as an autodidact — reading through all the books in a large library, as he extravagantly claimed to Gershom Scholem, who became his friend during his German sojourn. At some point in this period, he returned to Orthodox practice, which he would maintain until the end of his life. Scholem shrewdly observed in an interview on Israeli television after the writer’s death that art was paramount for Agnon and that he was attached to religion because it served his purposes as an artist, his outward devotion to ritual and Jewish law confirming, among other things, the finely crafted rabbinic prose in which he wrote.

    Early during his decade in Germany that ended with a return to Palestine, Agnon discovered Flaubert. On December 17, 1916, in a letter to Zalman Schocken, the department store magnate who had become his patron, he wrote: “Flaubert and everything about him touch me deeply. He is a poet who mortified himself in the tent of poetry…. It is fitting for every writer to read about him before he writes and after he writes. Then no book would be blighted.” (All the translations from the Hebrew and the French are mine.) Note that he speaks of reading about Flaubert, not of reading him. The phrase, “mortified himself in the tent of poetry,” plays on the rabbinic “mortified himself in the tent of Torah,” suggesting a certain equivalence between the two, that is, between the devotion to the sacred text and the devotion to art. In calling the French writer a “poet,” Agnon is thinking of the German Dichter, which can refer to anyone using language creatively. 

    The allusion to the French writer’s biography reflects one important way in which Flaubert was important for him. The stories that he had written in Jaffa certainly evinced a prodigious talent, but the lyric prose used for them was often excessively florid. Flaubert, with the many hundreds of draft pages that he honed down to the compact masterpiece that was Madame Bovary, showed Agnon what a serious writer needed to do. In fact, during his German years, Agnon took many of the stories that he had written during the first six years of his career and extensively pruned them — with a Flaubertian discipline, one might say. In a few instances he reduced an effusive paragraph to a single telling sentence of six or seven words. The result was beautifully concise fiction of the first order of originality.

    Yet it is inconceivable that Agnon would not have read Madame Bovary and in all likelihood Trois contes, or Three Tales, though perhaps not The Sentimental Education, arguably Flaubert’s most original book. His closest connection with Flaubert is his novel A Simple Story, published in 1935. Four years earlier, the first Hebrew translation of Madame Bovary, by the short-story writer Devorah Baron, had appeared, and after his early acquaintance with the German version Agnon surely would have at least leafed through it and probably read it all the way through. Thus, as he began work on A Simple Story, Flaubert’s novel would have been relatively fresh in his mind. The connection between the two books has been duly noticed in Hebrew criticism, which for the most part emphasizes themes and social setting. What may be more instructive in regard to the cross-fertilization between literatures is to consider what Agnon may have picked up from Flaubert about the novelistic representation of experience. 

    A Simple Story, set in the first decade of the twentieth century in a town much like Buczacz, is pre-eminently a novel of bourgeois life. It is Agnon’s most perfectly wrought novel, though in regard to breadth of concerns and to formal innovation not necessarily his greatest. Although the protagonist, Hirshel Hurvitz, and his parents, Baruch Meir and Tsirl, are Orthodox Jews (we see him, for example, attending daily worship), this is no more than an external expression of their culture, for their lives are through-and-through bourgeois. The Hurvitzes are the owners of a general store, and the accumulation of wealth is their main preoccupation.

    At the beginning of the book, a relative named Bluma Nacht (“Night Flower”) shows up in their home to throw herself on their mercies after losing both her parents. The mercies prove to be far from tender as the domineering Tsirl, a habitual driver of hard bargains, agrees to allow Bluma to stay as a household servant without salary, only room and board provided. Tsirl immediately casts doubt on Bluma’s competence for the job, but it quickly emerges that, having maintained her parents’ home while her mother was failing, she is a skilled cook and baker and adept at keeping a household clean and orderly. At the time Hirshl is just sixteen, and Bluma is presumably about the same age. The two are drawn to each other in an attraction that is powerfully erotic, however discreetly it is intimated by Agnon. When it becomes clear to Tsirl that a serious relationship between them threatens to emerge, she banishes Bluma from the house, for she will not countenance her son, an only child, marrying a penniless relative.

    Instead Tsirl arranges a marriage for him with the daughter of a wealthy Jewish farmer. The passive Hirshl submits, but he continues to be obsessed with Bluma. After the wedding he is desperately unhappy with his wife, recoiling from the smell of her perfume, feeling the words that she speaks to him as sharp nails being driven into his flesh. The birth of a son — as it turns out, the baby is sickly — does not improve matters. Hirshl begins to pay nightly visits to the house in which Bluma is now living. He stands outside in all weathers, dolefully looking up at the window where he imagines the woman he loves is standing. All this compulsive behavior culminates in a severe psychotic breakdown, and his father takes him to the city of Lemberg (Lviv today) for a cure in a residential facility with an eccentric psychiatrist who patiently edges him back to sanity by telling him stories. At the end Hirshl is reconciled with his wife — on the surface, happily, though Agnon hints in the way the conclusion is framed that this is not really a happy ending.

    The plot, of course, is quite different from the plot of Madame Bovary, but it shares with the French novel a sense of the pervasive oppressiveness of bourgeois materialism joined with an unhappy marriage and the allure of a romantic connection — for Hirshl, manifestly impossible to realize — outside of marriage. The great nineteenth-century novels are often about lives that end in trainwrecks, and A Simple Story conforms to this pattern of the genre in its realist phase, using an oblique, understated version of the concluding disaster.

    Agnon obviously did not need Flaubert to fashion a story of this sort. The real-life counterparts to the Hurvitz family and other characters in the book were observed by him when he was growing up in Buczacz, and they would have been sufficient to fuel his imagination. What he could have picked up from Flaubert was certain clues for how to articulate the novelistic representation of such a world.

    To begin with, Flaubert exhibited a sure sense of how to pull together the disparate elements of a long narrative through the deployment of recurring motifs. The color blue, for example, is an important thread running through his novel. When Charles first sees Emma on a sunny summer day, she is holding a blue parasol that casts a blueish (bleuâtre) shade on her face. She has blue dresses; her extravagant romantic fantasies unfold against imagined blue horizons. Agnon is quite likely to have noticed the recurring motifs in Flaubert, though he also could have seen them in Thomas Mann. It is a device he employed in most of his novels and in many of his stories. He makes ample use of it in A Simple Story through recurrences of food, coins, cigarettes, and many other motifs.

    One of the most significant of these is the blind singing beggar. That figure may be directly taken from Madame Bovary: Emma, we recall, repeatedly hears the singing of a blind beggar on her departures for her assignations with Léon, her second lover. The moment before she dies, she again hears his song coming from outside her house. Details in literature sometimes draw on multiple sources, and as the Israeli critic Nitza Ben-Dov has persuasively proposed, there is a blind singing beggar in one of the tales of the early nineteenth-century Hasidic master Rabbi Nahman of Bratslav that Agnon surely would have remembered. In A Simple Story the blind beggar is associated with the world of song and romantic love that is the antithesis of all the mercantile values that Tsirl promotes, and when Hirshl encounters the singer in rags at the end of the novel, he gets rid of him by tossing to him an unusually large coin — clearly, the coin of his mother’s realm. Emma’s tragedy is underscored when she perishes from the arsenic that she has swallowed listening in anguish to the beggar’s song that has marked her departures for the love affair ending in disaster; Hirshl’s more hidden tragedy is to banish with a coin the singer and the dream of love evoked by the song, subsiding into a materialist bourgeois life devoid of melody.

    Flaubert is often identified as the writer who perfected the technique of le style indirect libre, uninformatively referred to in English as free indirect style. This simply means the narrator’s conveying to us the unspoken speech of the character in the third person, with tenses switched from present (which the character would use to herself) to past. Dorit Cohen, in her luminous book Transparent Minds, had a better term for it; she calls it narrated monologue, but since academics prefer rebarbative language, her apt designation never caught on. Agnon made abundant use of free indirect style in The Hill of Sand, a brilliant novella that he created through extensive revisions of an earlier story after he came to Germany. The young protagonist is an aspiring poet constantly pulling back from engagement in eros, and Agnon gives a Freudian spin to free indirect style by exposing through the character’s unspoken words sexual desires that his conscious mind represses. Madame Bovary in fact employs le style indirect libre only from time to time, but always with striking effectiveness, and the same is true of A Simple Story. Instead Flaubert utilizes a range of different procedures for representing consciousness, and in this, too, Agnon follows suit.

    Let us look at a few brief examples of free indirect style from both novels. After her first experience of adulterous love with the libertine aristocrat Rodolphe, Emma returns to her home, and “seeing herself in the mirror, she was amazed by her face. Never had she had eyes so big, so black, nor of such depth. Something subtle spread through her whole being and transfigured it.” Everything here about the bigness and blackness and depth of the eyes, her transfiguration, is of course Emma talking to herself, and these sentences are a study in self-deception. What Emma sees in the mirror is not her actual image, but her image as she imagines it transfigured by her experience of romantic love. Flaubert than moves from narrated monologue to monologue proper as Emma calls out, “I have a lover! I have a lover!” To this the narrator adds his own analytic comment about Emma’s train of thought, which is devasting through the force of the simile it uses (Agnon, as we shall see, does this, too): “relishing the idea as if at another puberty that had befallen her.”

    Now consider two instances of this technique in A Simple Story, one involving Tsirl and the other her son. Early in the novel, Tsirl explains to herself why it is legitimate for her to employ Bluma without salary.

    Seemingly, a denial of payment was entailed in this, but whoever looks into the heart of the matter sees that Tsirl was right, for when Bluma comes to marry, will Tsirl run around to charities and say, “Provide a dowry my relative”? No, she herself will give according to the years she has served. Besides, what payment could Bluma expect? Why, she had never been a servant to others, and so she has been learning about housework from Tsirl.

    From beginning to end, the passage is an exercise in self-justification. The expression “whoever looks into the heart of the matter” translates as whoever would follow Tsirl’s self-serving train of thought. Tsirl casts herself here as a heroine of generosity in the prospect of eventually paying Bluma the amount that she would have earned through years of labor. The remark, moreover, about her learning housework from Tsirel is a blatant lie to herself. She is in no way involved in housework and knows precious little about how to do it, whereas Bluma arrives at her home thoroughly experienced and skilled in managing a home. 

    There is a linguistic complication in this and related passages. Tsirl, of course, is thinking in Yiddish, which Agnon conveys in Hebrew, at most occasionally giving a Yiddish turn to the phrasing, and Tsirl would scarcely have known any Hebrew. The phrase “according to the years she has served” approximately recalls the formulation of the law in the Torah pertaining to the so-called Hebrew slave, actually an indentured servant for a period of seven years. Tsirl is unlikely to have been familiar with the Hebrew of this verse, and so we have a kind of surreptitious intervention of the narrator who is mediating Tsirl’s unspoken speech in Hebrew, an intervention that suggests Tsirl is disposed to regard Bluma as a virtual slave. This biblical echo is a small illustration of how Agnon Hebraizes the Flaubertian technique as he adopts it. 

    And here is a fairly straightforward deployment of free indirect discourse for Hirshl. The baby boy he has begotten, as I have noted, is sickly. Hirshl, contemplating the ailing newborn, expresses his concern in the following manner: “If Bluma were caring for him, he would regain his strength. And so Hirshl would imagine himself standing on one side of his son and Bluma on the other and his son recovering. God in heaven knows that Hirshl’s sole intention was for the sake of his son.”

    The first sentence is free indirect discourse. The second sentence is the narrator’s report of Hirshl’s imagining. Such switches back and forth in modes of representing thought are a common feature of the technique, as we saw in Flaubert’s move from narrated monologue to actual monologue (“I have a lover!”) to the narrator’s summarizing judgment of what the character feels. Both these sentences here reflect the lovestruck protagonist’s perception, or fantasy, of Bluma as a healer, a comforter, an all-around bestower of blessings. The third sentence slides back into free indirect discourse. “God in heaven knows” is a virtual refrain in this novel, a formula invoked by characters who are actually not paying much attention to God in heaven — who are, one might say, taking His name in vain. Hirshl has to insist that God would confirm the purity of his motives because he guiltily senses that they are really not about concern for the child.

    Free indirect discourse is a technique that is particularly effective for exposing self-deception, as it follows the characters talking to themselves while we as readers can see that what they are saying to themselves patently lacks credibility. In the passages I have reviewed, this is clear in Emma’s telling herself she has been visibly transfigured through adulterous sex, in Tsirl’s congratulating herself on her magnaminity toward her poor relative, and in Hirshl’s avowing to himself that his sole concern was to imagine his son getting better while we understand that his imagining is all about Bluma, not about his son. In all these instances, it is evident that free indirect discourse is a beautifully efficient and effective instrument of characterization. We all sometimes tell lies to ourselves for the sake of our own self-regard or to avoid discomfiting thoughts. The novel, with its commitment as a genre to exploring the complexities and contradictions of character, often takes advantage of this technique that deftly achieves precisely the end of representing the ambiguities and the little hypocrisies with which people live. In this regard, free indirect discourse works especially well for characters lacking self-knowledge, which is obviously the case for Emma, for Tsirl, and for Hirshl.

    Another way of representing consciousness, in which Flaubert may have been a pioneer, is the visual rather than the verbal evocation of what is going on in the character’s head. Here is Emma, running through a stand of trees, utterly distraught because she has just been abruptly cast aside by Rodolphe: “It seemed to her suddenly that fire-colored globes were bursting in the air like incandescent balls, flattening out and turning, turning, to melt into the snow, among the branches of the trees. In the center of each of them, Rodolphe’s face appeared.” By now, I suppose that passages like this have come to seem familiar in serious novels, but in the middle of the nineteenth century, when this was written, it was innovative. There is something going on here inside the character’s head that is not words, neither the narrator’s summary of what someone is thinking or words that the character is saying to herself, but rather a visual sequence of images spinning through that highly distraught head, the evocation of a hallucination.

    There is little in the evolution of literature that is entirely new. The technique, for example, of unifying extended stretches of narrative through recurring motifs that we observed in both writers was vividly evident in the Hebrew Bible long before Flaubert invented Emma’s blue horizons and Agnon the blind beggar and his song. Think of the significant recurrence of garments, especially ones used for deception, in the Joseph story, or of the reiterated presence of cloaks in the Samuel narrative, from the “little cloak” that his mother would make him every year when he was a priest’s acolyte as a young boy to his cloak torn by Saul and turned into a dire symbol by Samuel in his wrathful maturity. Even le style indirect libre, so often associated with Flaubert, can be found as far back as in Madame de Lafayette’s La Princesse de Clèves, written in the seventeenth century.

    What we see, then, in Flaubert’s visual rendering of hallucinatory experience is not an absolute first but a technique with precursors — there are also occasional anticipations of it in Dickens, for example, when a character is drunk or otherwise mentally confused. Flaubert works up this narrative procedure to a fine burnish — those fire-colored globules that seem like incandescent balls, each showing Rodolphe’s face to Emma, which is thus the perfect visual representation of a woman’s mind maddened by disappointment in love. A recurring motif, moreover, sneaks its way in here: the “turning, turning” is a precise echo of the “turning, turning” of the ball at the La Vaubyssard château that intoxicates and dizzies Emma as we move here from a turning that is a high to a turning that is a low. It also points to the constant turning of the carpenter’s lathe in the village where Emma feels trapped. In regard to the visual representation of consciousness, then, it is not that the thing has never been done, but rather that it has never been done so well.

    As a consummate literary craftsman in his own right, Agnon would very likely have noticed such moments as he read Madame Bovary, first in German and probably, much later, in Hebrew. His early fiction does not show instances of this sort of visual representation of the movement of the mind. Let me offer two examples of it in A Simple Story. After Hirshl’s engagement to Minna, the rich farmer’s daughter, has been announced, he attends a Hanukkah party, secular in character, where people are playing cards. As he sits at a table holding his hand of cards while looking at the players around him, this is what runs through his head: “The cards leaped from the hands of the card-players with a strange rapidity, until the hands could not be seen among them. Finally, the cards, too, disappeared, and black and red faces could be seen in the room, dancing before him and mocking.”

    This is not an extreme experience of derangement, like that of Emma running through the woods, distraught, desperate, panicked, after her love affair has suddenly collapsed. In fact, it is the sort of thing many of us are likely to have experienced at one time or another. Say you are persuaded by a friend to attend a political debate on a topic that is not of compelling interest to you, or perhaps you don’t like such debates in general because you feel they generate more heat than illumination. As the voices of the debaters drone on, you mind begins to drift away from deciphering the meaning of the words, and everything around you dissolves into a cacophony of sounds that might suggest to you a flock of crows emitting their raucous cries. Something of this sort happens to Hirshl in this scene. He does not really want to be at this party. He has not been comfortable with the announcement of his engagement. In fact, he does not really want to marry Minna, but he sees it as a fate imposed on him by his parents that he cannot escape. And so at the card table his mind drifts off from the game, begins to see the cards dealt assuming a phantasmagoric velocity and then detaching themselves from the hands of the players.

    Finally the red and black faces on the cards take on a hallucinatory autonomy, staring at him in mockery — in a way, every card is now a joker. Perhaps their mocking gaze reflects Hirshl’s sense that he has done something embarrassing, even shameful, in agreeing to marry Minna. At this point in the novel Hirshl still retains his sanity, but the transformation of the cards into ominously derisive faces is a striking adumbration of the moment in which he will flip into insanity, running through the forest making the croaking sounds of a frog.

    The way-station to that moment is his nightly vigils outside the house where Bluma is staying. Here, too, a visual evocation of consciousness is brought into play: “A veil had fallen over all the world and you can’t even see yourself. But the image of Bluma broke through and rose before you as on the day she caressed your head when you came into her room and she fled and came back.” The veil that has fallen over the world would seem to be both a result of night and fog and the anguished Hirshl’s mental confusion. Through this murky haze, Bluma’s image bursts forth and rises like a sun. That image of rising triggers a memory of the moment that he most cherishes in their unconsummated love, when she caressed his head as he sat on her bed, the only time she actually caressed him. Agnon uses the second person singular in order to bring us more directly into Hirshel’s mind because this is him addressing himself, a variant form of narrated monologue.

    The final sentence of this brief passage, “Hirshl rested his head on the handles of the lock,” is a striking instance of how Agnon introduces a Hebraizing element in whatever he may have learned from Flaubert. This is the narrator’s report, so we are no longer inside Hirshl’s head. The lock is the door-lock, indicating that Hirshl is right up against the entry to the house, not looking up at it from a certain distance. The phrase “on the handles of the lock” is a direct quotation of the Song of Songs 5:5. It is one of the most poignant moments in that Biblical book and is beautifully apt for Hirshl’s plight. The beloved in that chapter has teasingly put off her lover’s plea to unlock the door. When she then goes to open it, her hands dripping liquid myrrh onto the lock, for she has perfumed herself for love, she finds that he has gone, and in desperation she runs out into the dark night streets to try to find him. The resonance between this lover’s despair and the anguish of Agnon’s protagonist is clear — the night, the tears, the seemingly lost lover (though for Hirshl the loss will be unending). As has often been observed, literary Hebrew is a constant echo-chamber, and at strategic junctures Agnon deftly call up a resonant echo. However Flaubertian he may sometimes seem, this is not a resource that Flaubert could have deployed in his French.

    Neither novel restricts its treatment of character and theme to the representation of consciousness. Flaubert is particularly good at introducing concise and arresting judgments of his characters, usually through the vehicle of a striking simile. Early in the marriage of Emma and Charles, he is blissfully happy, sexually happy (though she probably is not), and happy in his illusions about the splendid woman he now has as his wife. This is how Flaubert summarizes the tenor of his contentment: “he went out, chewing on his happiness, like those who still masticate, after dinner, the truffles they are digesting.” And here is Emma’s experience during this same period: “As for her, her life was as cold as an attic with a skylight facing north, and boredom, silent spider, wove its web in the shadows into the corners of her heart.”

    A more complicated simile is occasioned by Rodolphe contemplating his mistress’s protestations of love: “human speech is like a cracked cauldron on which we bang melodies to make bears dance when one would want to reach the stars.” In this instance, Flaubert segues from Rodolphe’s cynical disbelief in any woman’s vows of love to a general reflection, of which Rodolphe would scarcely have been capable, of the painful inadequacy of all human speech. This simile of banging on a cracked cauldron while wanting to reach the stars has been justly celebrated.

    Two instances of the narrator’s incisive judgment of character through simile, both from Hirshl’s desperate nights outside the house were Bluma is staying, show the connection with the Flaubertian procedure. “As soon as he reached that place, he hid so that no one would see him, like a drunk who pours himself a drink and fears they will come and take it away from him.” The aptness of the simile is evident: it suggests that Hirshl’s attachment to Bluma is a hopeless and damaging addiction. My second example is another case of Hebraizing a technique, for the simile is drawn from traditional Jewish practice: “Like a man standing on the night of Tisha B’Av when the heavens open and he raises his eyes upward to plea for mercy, so Hirshl stood looking up at Bluma’s window. What did Hirshl want? Hirshl wanted Bluma to open her window and see him.” Tisha B’Av, the day of fasting in commemoration of the destruction of the two ancient temples and other calamities of Jewish history, occurs in midsummer. The folk belief is that in the middle of the night on Tisha B’Av the heavens open, and at that moment pleas for mercy may rise unimpeded to God. The point of the simile is precisely its inappropriateness. Bluma up above in her servant’s bedroom has displaced “God in his heaven.” That displacement can cut two ways: either Hirshl’s desperate longing for even a glance from Bluma is a kind of idolatry, or the overwhelming intensity of his longing for the woman he loves can be conveyed only by comparing it to a wretched person’s plea for mercy from God.

    What does this comparative scrutiny of two writers from utterly different literary traditions tell us about the broader issue of literary influence? In recent decades, scholars have justly tended to avoid the term “influence” as too crude and misleading a representation of what happens when one writer interacts with another. The term is not inappropriate, I think, when a workmanlike writer reads an original one: the stylistic effect of Hemingway’s innovative prose on American hardboiled writers can properly be characterized as an influence. But something different happens when a great writer encounters on the page a great writer who came before him: it is a kind of alchemy. The earlier writer strikes a spark in the later one, gives him certain ideas about how things might be done, which he will then proceed to do in his own way. Agnon read Flaubert at a relatively early stage in his career — “before writing and after writing,” as he worded it in his letter to Zalman Schocken. Then, I imagine, he would have said to himself something like this: “That is really good. I could in some way use that. But how would I handle it? How could I make it work in the style and the invented world in which I have been forging my own literary way?”

    When a writer of the first order of originality discovers another writer of manifest mastery, something more deeply interesting than influence occurs. Agnon would have been Agnon in most respects if he had never read a word of Flaubert, but it seems safe to say that as he was gaining artistic maturity, Flaubert helped him, if even modestly, to become the writer whom he aspired to be.

    In A Simple Story, Agnon was writing, a little anachronistically, a nineteenth-century realist novel, for which Madame Bovary could serve as a useful model. Yet he was too restless an artist to remain content with this mode of fiction. During this same period in the 1930s, as I have noted, he had begun to produce radically experimental short stories. In the 1940s and 1950s, he would explore new and anti-realist directions. In Only Yesterday, in 1945, he devoted numerous chapters to the interior monologue of a dog named Balak, who proves to be the book’s most philosophically reflective character, and its most engaging one.

    Toward the end of the 1940s and into the 1950s, Agnon would fashion two remarkable dreamlike novellas replete with symbolism that were unlike anything he had written before. His last, uncompleted novel, Shira, which he was still working on at the time of his death in 1970, is a fascinating fusion of the symbolism of the novellas — leprosy is the most prominent symbol — with tormented sexuality and resonant reflections on art and truth. So Flaubert cannot be regarded as the dominant or decisive force in Agnon’s career. But still the French master made a difference. He had spoken profoundly to the Hebrew writer, and played a role in his evolution as an original artist at a moment when he was just coming into his own.

    What’s So Funny?

    If you read this essay you will not become a better person. I will not delineate the most progressive stance that you could take on a recent development in politics or culture, taking into account the various relevant social justice considerations and concluding on a rallying cry. And neither will you be presented with a set of arguments advancing the liberal positions that you already support, but which a less well-informed, or perhaps simply more selfish, person theoretically would not. I will not invite you to feel a sense of personal satisfaction, maybe laced with anguish, about your own right-mindedness compared to that theoretical other person. 

    At the same time I will not hash out a supposedly controversial, but in fact well-trodden, stance on an element of progressive culture. Likewise I will not lament the overreaches of political correctness through a series of exaggerated or otherwise dubious examples. You will not be made to feel risqué and rebellious for holding a garden-variety regressive view which, particularly considering the influence of both demographic factors and self-interest, it is perfectly predictable that you would hold. 

    This will not be an essay in which the likes of Foucault and Kant are quoted liberally, to remind you of my steely academic credentials, because in such writing that is where my authority, and hence your interest in continuing to read, derives from. The fact is I don’t have steely academic credentials. No PhD or Ivy League anything or Oxford or Cambridge. Actually I don’t even have an undergraduate degree in this essay’s subject. This is not a piece of writing in which I will use credentialism to flatter your sense of yourself as a highbrow intellectual type. If that is the kind of thing you’re into. 

    There will be no disclosure of personal trauma, or of my dramatic emotional response to an occurrence which, to a less emotionally wrought observer, may not seem really so bad. I will not describe myself as being wracked with sobs or petrified or likewise in order to make you feel either titillated, or gratified as the kind of person who tends to present themselves similarly, or mildly heroic, or as the kind of stoical person who does not, but tends to sympathize greatly with people who do. There will not be the sense that by reading this and buying into my narrative you are a Good Person, siding with a Good Person who had something bad done to them by a Bad Person. I am not a good person. Well, I am sometimes. But I am more than happy to admit that sometimes (often) I am not. 

    I do have one thing to offer you if you keep reading, though: I am pretty confident I will make you laugh. This is not a big promise, maybe. But look around, there’s not much of it on offer elsewhere lately. 

    The offbeat, weird humor in the novels of Percy Everett, Gwendoline Riley, Nicole Flattery, Monica Heisey, Sally Rooney (particularly in her dialogue) and Joshua Cohen is an antidote to what Parul Seghal identified last year as the dominance of the trauma plot in fiction, and its accompanying dour tone. But elsewhere, solemn accounts of distressing events have come to be seen as the quick ticket to producing novels which possess gravity and emotional heft, even now that this mode feels rote. As Seghal put it: “The invocation of trauma promises access to some well-guarded bloody chamber; increasingly, though, we feel as if we have entered a rather generic motel room, with all the signs of heavy turnover.”

    In the comment pages the same endlessly reiterated positions on culture war topics dominate. Dark clouds creep closer on every front (the pace of technological development, gender relations, race relations, the books taught in schools, mental health, attention spans, standardized testing and so on) as the storm of an impending apocalypse rages. AI is one topic getting the “four horsemen of the apocalypse” treatment a lot of late. Although actually it also had a moment in the spotlight not too long ago, in 2019, when columnists were saying that if GPT-2 (a text generator prone to writing chaotic, nonsense sentences with a bent towards the discussion topics popular on Reddit in 2017) was released, we would be “hurtling towards the cheering apocalypse,” but it didn’t happen that year either. The world of “personal essay” writing may no longer be orientated solely around courting mindless clicks with lurid and hyper-salacious tales of incest or embarrassing trips to the ER. But now it’s all dramatic retellings of lackluster boyfriends, and models complaining about the rampant excesses of capitalism that they witnessed among the rich people they observed on all-expenses-paid holidays. Self-aware self-mockery, humor as a means to deflate tricky subject matter or give a sense of perspective, and dry asides, are all scant. 

    Twitter and TikTok are forums which ostensibly traffic in the exchange of jokes. But I would venture that the nature of content on both platforms, and the enjoyment of it, is more related to the comfort found in the repetition and recognition of certain tropes than in genuinely engendering laughter. Besides, part of what makes Twitter funny is how poe-faced and resolutely determined not to get the joke many who use it are — the fact that you can earnestly be called a fascist for saying you prefer not to use a dishwasher (that happened to me) and so on. Actually one of the funniest things about social media in general is the sense that you are frequently receiving solemn moral instruction from some of the absolute worst, most craven and cynical people in the world.

    Technically there has been a glut of a certain kind of ostensibly funny big budget production on cinema and television screens lately. Triangle of Sadness, The Menu, White Lotus, Succession, and Glass Onion all use the grammar of satire (if not really the language, thanks to an often somewhat chaotic sense of message or target) in skits that purport to send up the habits and excesses of the obscenely wealthy. But even here, where humor is supposedly a selling point, it is devalued by the fact of it being teamed with an easy, popular, “fist pump”-style political message, as if to make an argument for the worthiness of the project. Because simply making something funny, with an interesting comment on, say, different types of character — that is apparently no longer enough by itself. The idea that mass market culture could be, on its surface at least, apolitical is deeply unfashionable presently — even if this could yield work with something more interesting to say about people or ideas, or a more sophisticated political message. 

    And it’s no wonder these films argue for their existence by telegraphing an easily digestible (frankly often muddled, once you scratch the surface) political message. This is a response to how many people engage with cultural products now. Garth Greenwell wrote recently in The Yale Review, about his current cohort of fiction students: “When I work with students now, graduate or undergraduate, their primary mode of engagement with a text often seems to be a particular kind of moral judgment, as though before they can see anything else in stories or poems they have to sort them into piles of the righteous and the problematic.” I would take this further and say that the frantic pace at which the adjudication must be made of whether something is righteous or problematic makes confusion over this judgment not only likely, but endemic. In this way a glib, digestible, superficial message which masks a darker underlying sensibility will see a work lauded for its progressive credentials, in a manner I find quite troubling.

    In Triangle of Sadness, for example, a film about a luxury cruise ran aground, slapstick displays telegraphed a cozy, by this stage very familiar “Eat the Rich” message, which the film was celebrated for. Rich people were thrown wildly around the ship, vomiting and having diarrhea everywhere, when the boat hit turbulence; a rich elderly pair of arms manufacturers were blown up by one of their own bombs; rich people demanded that the beleaguered staff all queue up to go down a wet slide; and so on. (Women Talking is another example of a film in which a heavily signposted progressivism masks a borderline reactionary sensibility, but it is not trying to be funny.) But about halfway through, when the ship sank and an assortment of passengers were marooned on an island, the message gave way to a nihilistic parable about the inherent awfulness of human nature. One of the ship’s maids, the only person with any practical skills left standing, was the most powerful among them and, of course, set about merrily abusing her new position. Anyone with power would behave badly, the message went. It was celebrated for its anti-capitalist sentiment, but it didn’t exactly make an argument for redistribution. 

    This point about the obviousness versus the underlying political sentiment in popular art may seem unrelated to a wider thesis about the humorless state of our culture at present, but it relates to a general cultural calamity about subtlety, unexpectedness, and risk, which I think underpins this tendency. Humor, you realize when you start thinking about it in any depth, is a very mysterious thing. “No one knows why we laugh,” John Carey wrote in an introduction to The Joke and Its Relation to the Subconscious by Freud. It also isn’t clear why some people are funny and others are not. “The joke work is not at everyone’s command,” as Freud put it, in wording which demonstrates the immense comedic value to be found in the inherent fustiness of a book which tries to explain what jokes mean to us. 

    There is no formula which explains why a certain thing should be funny, or guarantees that it will be funny. Actually the lack of formula seems a definitional component of humor, since so much of what is funny depends on an element of surprise or unexpectedness. As it does on mysteriousness: the more you spell out a joke, or explain why something is funny, the less so it becomes. And this sits directly at odds with our risk-averse culture, where everything must be obvious, hyper-caveated, and over-explained. And the formula of any successful cultural product must be repeated until it feels tired and rote. If the first of the “funny rich people” films was funny, is the seventh? Or the eighth? There is a roteness to so many things now. A rote way to write about trauma, or romantic relationships, to deal with this or that uncomfortable interaction, to talk about progressive politics, to be unprogressive. But predictability and explanation are the mortal enemies of humor. I read recently something that seems to sum up so much of what feels missing from our culture currently: Jeff Bewkes, a former HBO boss, remembered himself telling the creator of Sex and the City: “I don’t want ratings. I want a better show…stop explaining jokes.” I sent it to a few friends who work as novelists and TV writers. The replies were all a version of: “Better times!” 

    Risk aversion and obviousness now dominate perceptions of what constitutes substance in art. We have become unsubtle in the way we understand emotional currency. Seriousness is considered the terrain of mawkish sentimentality, while humor is hokey and cozy. The two don’t mix; one doesn’t mask the other, as is often the case in life. This seems like a depressing thing to have to argue against. So I will share a poem by Rene Ricard instead, which, in a few unlyrical lines, renders an almost disquieting quantity and depth of emotional states, and an overall truthfulness that no amount of melodramatic adjectives about bad boyfriends could ever evoke: 

    I am young 

    And I am beautiful 

    And I will fuck you 

    Over just like everybody else 

    I have noticed this tendency towards risk aversion in interpersonal interactions, too. This is anecdotal and, depending on your circles, you may not have noticed the same. But I have become interested in the way in which people in their twenties and early thirties use the word “canceled” colloquially, among other related observations. I am aware that it has become hard to talk seriously about anything related to the idea of canceling because so much of the discourse around it is so shrill and, besides that, because the discourse is the equivalent of walking across a room with a floor coated entirely in mousetraps. But I think there is something important in what I have noticed so I want to try anyway. 

    The instances I am thinking of relate mostly to young men. Not because I think this is a trend among young men only, but because I am a young woman and recently I have been trying to speak to young men about their views on masculinity, which can be a tricky topic for men to discuss at present (and at other times too, for different reasons). And maybe especially tricky to discuss with a woman. I began instigating these conversations for a mixture of professional and personal reasons. I am often drawn to writing about contemporary male-female relations, the muddled state of communication between men and women at present, and certain flattening narratives concerning stereotypes of female personality traits, and thus the form that heterosexual relationships tend to take. The more I have written about these things, the more I have found myself seeking male perspectives to better inform my understanding of all this. In a personal capacity, too, I have detected a certain mood among many of the young men with whom I interact — a mood that I would define as a combination of listlessness, confusion, and despondency. I find this sad and a little unsettling so I am trying to understand it better. (I wouldn’t say that life is so easy for young women either, but I don’t really need to ask around to find out what that’s like.)

    Anyway, this has resulted in me instigating a lot of conversations that can be pretty uncomfortable. They tend to start out as fairly, even very, awkward. Also a lot of the men think that I am hitting on them (we tell ourselves stories in order to live), which then begets a whole other minefield of potential awkwardness and misunderstandings. The best response I have received so far was from a man who told me that, because he has a girlfriend, we would have to meet during the workday, by his office. I gathered that our meeting was to be clandestine. And my assumption was verified when we did meet. We were walking around and someone he knew happened to pass by and say hello. He sort of shrieked and elbowed me into a nearby alley. 

    When we get past all that, though, and we can talk, I learn a lot. I have noticed that the idea of being “canceled” comes up often, as a casual reference rather than an in-depth discussion of the phenomenon. A representative quotation: “It’s nice to talk about this stuff. You can’t really a lot of the time. People will think you’re into Andrew Tate. You’d be canceled.” (Andrew Tate is a misogynistic internet celebrity from Britain who has amassed a large international audience preaching hyper-masculinity, and has also been arrested for human trafficking.) I think you could use the fact that people are talking in this way to argue for or against the existence, the effectiveness, or the righteousness of cancellation as a “thing.” Or actually, for or against any of the endless strands of argument that surround this topic. But I’m more interested in thinking about what exactly these men are using this word to mean. There is not a widely agreed definition of what being “canceled” consists of. But let’s say that a functional definition is this: a social media (or otherwise public-facing) campaign to accuse a person of holding unacceptable views (rightly or wrongly) which has successfully stripped them of certain (but maybe not all) professional opportunities and seen them ostracized from certain (but, again, maybe not all) social circles. 

    Right now you are thinking about everything that is wrong and terrible about my definition and how you could write a better one instead. Never mind; my real point is that I don’t think that this is what these men are using this word to mean. And I don’t think they are using it to mean a less or more severe version of this either. For a start, because I’m not really sure how they could be canceled. These are broadly not people who must maintain a social media presence for work (with the exception of a few influencers among my sample, who tend to have a far more sophisticated understanding of how to manipulate these dynamics anyway). They mostly don’t use social media much at all, other than as passive consumers. They don’t inhabit particularly progressive social circles or professional worlds where their views are really anyone’s concern. Besides, nothing we end up discussing is objectionable by a reasonable person’s definition. I can’t see that there would be even minor professional consequences for a carpenter who was known to have gentle disagreements with the tenets of liberal feminism, for example. 

    So what do they mean when they say “canceled”? Well, to go back to the earlier quote: “It’s nice to talk about this stuff. You can’t really a lot of the time. People will think you’re into Andrew Tate. You’d be canceled.” To me, the interesting thing is that the fear here is not that he would be discovered to secretly support Andrew Tate, but that he might accidentally say something which implied that he did. If I think about the possible bad consequences that could result from that, that whoever he is talking to might make an accusation, then he would probably try to explain what he meant and perhaps struggle to do so (some people are better at semantic precision than others). By this stage he would have lost control of the conversation. Then other people might be told and a misrepresentation of himself that he would find difficult to correct may spread. I’m not sure this would have professional consequences or the like. But maybe the idea of being misrepresented or misunderstood when trying to talk about something you feel deeply about is unpleasant enough by itself.

    I may be wrong. But I can’t see what else they would mean. And, if it is true that these men (and other people, I think) are scared to talk about how they really feel in case they are misunderstood or misrepresented, it may not matter. But I think it does. There are bigger problems in the world, of course. But I am a writer, not a social worker, a politician, or a doctor; and I insist that there is enormous value in trying to understand how other people really feel. As a person, too, I am starting to wonder if the mood of listlessness, confusion, and despondency that I have noticed is connected to this fear — to this jittery nervousness about the consequences of speaking honestly with other people. 

    This may seem like a digression from my point about humor, but I believe that it is a fundamental component of how we communicate with each other at present. Hence the blandness of the cultural products which are made and put in front of us. There is a base level of anxiety about misrepresentations and misunderstandings which might, at any point, send everything sliding down into a ravine. In such a climate nobody wants to take a risk.

    No one knows why we laugh, but when I was thinking about how humor works in a social setting I kept coming back to the idea of trust. When you make a joke, you take the risk that the other people you are talking to may not get it. You would look stupid if they didn’t get it, and everyone really hates to look stupid. So you need to feel there is at least a base level of good faith in the group. And when they laugh, their laughter demonstrates that you share an affinity of sorts, and there is a slightly strengthened bond between you, since you have all experienced something enjoyable together. The best outcome is that you trusted people and you were rewarded for doing so. 

    Something else I have noticed about humor, throughout my life, is that it can make hard things easier to talk about. I am from Belfast, born just before the Troubles ended, so I suppose I have close relationships with more people who experience untreated PTSD than maybe the average Western millennial does. Contrary to received wisdom about how trauma manifests, my observations have been that humor is a large part of the response. I notice it all the time. Just the other week, my mother told me that she had seen an interview in a magazine about a celebrity who talked about her memories of growing up, shopping for second-hand furniture in boutiques. “When I was growing up we’d have to do that every week because of the British army, but it was hardly boutiques,” she said. “Actually no, that’s not true,” she went on, laughing. “It was closer to once a month.” And actually it was very funny, although it loses something in the translation. 

    There is something about the nature of remarks such as these, which invite someone else to laugh along with you at what is essentially your hardship, that has long fascinated me. When someone frames their suffering through laughter, it seems to communicate a mysterious, hard to describe, quality of human nature. A resilience, a sense of lightness to be found in almost any circumstance, and a generosity too. A comment such as this one seems to say: I have seen it, the thing which you fear, and here I still am. It wasn’t really all that bad. 

    The grittiness, the hardiness, the sort of blemished quality that I perceive, from my experiences, as fundamental to people can seem at odds with a view of human nature which is softer and more straightforwardly sentimental. But I sometimes wonder if my impression, in which we are all sort of down in the mud but together, wading haphazardly towards each other, is really the mushier of the two. I wonder too, if there is a deeper kind of sentimentality in the generosity inherent to communicating traumatic experiences this way. In a way that makes them easier to connect with, if not to fully understand. 

    The funniest person I know is my grandmother, who has lived a strange and hard life, by the standards of today. She tells the most entertaining, the most hilarious, stories about bleak situations and events that I find extremely hard to imagine. I don’t know how we would have those conversations if they had to be told in grave terms. I don’t know if she would want to have them, either. And she sort of sees everything in life this way too. Discussing a friend of hers who has had a lackluster thirty-year marriage, she said: “If she’d have killed him she’d have been out by now.” On another man she does not consider to be handsome: “He could be coming up the road with the lottery under his arm and it would still be a no from me.” 

    It is sad, and bad for our culture, that the weirdness and the energy and the vitality of remarks such as those feels so uncontemporary, so beyond us. We need to get better at taking risks again, and not only for the sake of humor. Did I make you laugh? 

    The Shaper

    When I was young, I wondered what the essential ingredient in a successful lyric poem actually was. I had learned that a poem did not have to have meter and rhyme, that a poem could do without the first person, and that no topic was impossible to poetry. But when I was disappointed in a poem I could not say why it was lifeless. What, I wanted to know, gave satisfying poems their life-likeness and intensity? 

    At twelve I discovered that poems were not necessarily born as they appeared on the page, but often went through many drafts with seemingly unpredictable changes. I perceived, in astonishment, that poems grow and mutate like living things. But I could not determine the reasons behind the poet’s revisions, and I spent a good part of my fifteenth year puzzling over drafts of poems by Dylan Thomas, sent to me in microfiche from the University of Buffalo, which held the originals in enthralling number and variety. Already, Hopkins and Thomas had convinced me of the indispensable value of sound, so what I was trying to deduce from the drafts was the reason for revisions in sound as well as in every other layer of a poem, from plot to commas. I found that by imagining myself into the sensibility of the poet holding the pen (and often copying out each successive draft myself), I could ask “myself” why “I” preferred this word to that, this length of line to that, this tone to that. I was unhappy when I could not “figure out” the motive behind a given change, but by the time I had investigated all the Buffalo holdings (there were, as I recall, about thirty drafts of “Fern Hill” alone), I could guess some plausible motives for alterations: “I” was hunting down a more striking metaphor or a more energetic rhythm or a better stanza-form or a firmer point of view. But I still did not see what was directing the whole suite of changes occurring in the multiple evolutionary episodes of the poet’s accumulating pages.

    I had already memorized (so as to carry them around with me) many standard anthology pieces, but even making them “mine” did not illuminate the sustaining underlying “law” which I was convinced must be governing all the poet’s successive micro-revisions. I resorted to conventional ideas of how other verbal things (dialogues, fictions, arguments) were assembled: logic, listing, working toward and away from a climax, having symmetrical parts, but none of these seemed to offer the law for poems in general. Eventually, after some years, I realized that the deepest determining factor was what Coleridge had referred to as his “shaping spirit of imagination.” (I had glided carelessly over the adjective “shaping,” registering only “spirit of imagination.”) A mysterious human function, “shaping,” lay hidden within every successful poem: it ruled not only the construction of the whole poem but also of its substructures, down to its multiple individual layers — stanzas, sentences, rhythms, tenses, sounds, articles, point of view, punctuation. My own mind lacked this indispensable ability to make magnetic matches across layers, and the lack explained why I was not a poet, in spite of the verses that I had composed between six and twenty-six (when, doing my thesis, I discovered that what I could write was prose).

    What was that shaping function, I enviously wondered, and how did it operate? I had found no answer by introspection or by private composition: much as I was moved and delighted by the result of successful “shaping” (a poem that leapt off the page) and much as I was fascinated by its processes, I still could not understand the sureness of aim of a poem’s intrinsic growth toward secure life (even life as a fragment). Hopkins, in his last poem, “To R.B.,” compared the growth of a poem within the poet to a long pregnancy: the “sire” of the poem, its founding insight, has receded and seems lost but the mothering mind continues her patient work: 

           The widow of an insight lost she lives, with aim

           Now known and hand at work now never wrong. 

    The composing poet knows when an arriving word matches the original insight and finds its aim: the hand at work is “now never wrong.” “Never wrong” was what I had sensed in an achieved poem — that an invisible contour of mind and feeling had pre-existed the drafts, and to take on life the poem had to match that initiating (and ever-governing) contour. Every revision was another try at a match, an attempt to obey the glimpsed “law” which had to be fulfilled.

    I say all this because when a strange new poet appears, it is not so much the “message” of the poetry that I hope to describe as the manner in which the message reaches us. How does the new voice create itself and what elements are implicitly being chosen or rejected as it speaks and we listen? Reviews of new poetry tend to dwell on the biography of the poet or the topical “message” of emotional concern (nowadays often political or ecological) put forward by the poetry. I always want, instead, an answer to my first question: is this poem one of those that will have the strength to survive? Milton hoped that he “might perhaps leave something so written to aftertimes, as they should not willingly let it die.” Poems that can interest readers over centuries do not depend on topic or plot: they are more subtle, and more original, than that. In poems that outlast their own generation, the poet has found a voice and a way of thinking that does not sound or feel like anyone else’s. Around the living poems lie the heaps of unoriginal verses of patriotism or love or death that have succumbed to the passage of time. (A few of those, erected into national anthems or religious rituals, remain fixed in cultural memory, whatever their lack of imaginative distinction.)

    And so, thinking of our impulse to praise the strength of a new poet, I was impelled to write here about a young and “difficult” Vietnamese-American poet, Ocean Vuong. The glowing reception of his first two books (a “novel” and a volume of poems) did not quote enough for me to be able to judge them independently: public responses in blurbs and reviews alike understandably spent most of their space on Vuong’s heartbreaking life after the Vietnam war. At two, as the war was ending, he left Vietnam with his mother and some relatives; at six, after a few postwar years in a Philippine refugee camp, he and his half-white mother (rejected in Vietnam) gain asylum in the States, but he is by then abandoned by his white American soldier-father, adding to the family’s collective desolation. In Hartford, he forgets his first language while being schooled (and bullied) in English; at adolescence, feeling terror on discovering his own homosexuality and his ambiguity as a mixed-race person, he nonetheless conceals his sexual secret, falls in love, and finds embarrassed silent joy in his barren days. Then, as his beautiful and tender mother dies of breast cancer, he falls into suicidal depression and drug addiction, ending up hospitalized after an anguished nervous breakdown. Through these vicissitudes, he eventually makes his way to recovery, at Brooklyn College and New York University, through a rebirth of self in writing. 

    When Vuong’s third book, a volume of poems called Time is a Mother which appeared last year, was given to me last Christmas, I could judge for myself. I was soon set back on my heels by poem after poem. Who would think an elegy could consist of nothing after its title except Amazon cash register receipts? These mute pieces of evidence reveal a history of Vuong’s mother under the title “Amazon History of a Former Nail Salon Worker.” The “poem” covers twenty-one months (two with no receipts at all). The items listed on the receipts vary, but there are recurrent categories: a painkiller, a gift for a child, some female-linked purchase, something aesthetic, something to eat, job materials. The first two “month-receipts” read:

     

    Mar.

    Advil (ibuprofen,) 4-pack

    Sally Hansen Pink Nail Polish, 6 pack

    Clorox Bleach, industrial size

    Diane hair pins, 4 pack

    Seafoam handheld mirror

    “I Love New York” T-shirt, white, small

    Apr.

    Nongshim Ramen Noodle Bowl, 24 pack

    Cotton Balls, 100 count

    “Thank You For Your Loyalty” cards, 30 count

    Toluene POR-15 40404 Solvent, 1 quart

    UV LED Nail Lamp

    Cuticle Oil, value pack

    Clear Acrylic Nail Tips, 500 count

    The reader begins, of necessity, to interpret the receipts: “I see, the woman has found a job — a chair in a nail salon — but she has to buy her own supplies. Whatever her pain is, she is buying Advil in multiples. She rarely leaves the Amazon site without ordering something to bring a smile to the face of her young child. They are poor, living on ramen, the cheapest meal to buy, the easiest to make. And she has bought a rust-preventing toxic paint.” 

    The receipts get shorter and the pain gets worse: in December she is buying “Maximum Strength” Advil. And there is nothing at all under “Jan. Has she been hospitalized? By February she needs a walker, and in March she buys a “Chemo-Glam cotton head scarf, sunrise pink.” In April a receipt records “‘Warrior Mom’ Breast Cancer awareness T-shirt, pink and white,” and in May a “Mueller 255 Lumbar Support Back Brace.” Back in December, she had been preparing for spring, buying “Tru-Gro Tulip Bulbs, 24 pcs.” But when June comes, there is only one item on the receipt:

     

    Jun.

    Birthday Card — “Son, We Will Always Be Together”

     Snoopy design

    In July, horrible to imagine, she orders from Amazon her own funeral urn and a large picture-frame (for a photo of her to be left to her son?). August: no receipt. By September, her aesthetic desires still alive, she orders “Easy-Grow Windowsill herb garden.” The receipts for October and November anticipate her funeral, as she buys — knowing she will soon die — a new winter coat and warm socks for her son:

     

    Oct.

    YourStory Customized Memorial Plaque, 10 x 8 x 4 in

    Winter coat, navy blue, x-small

    Nov.

    Wool socks, grey, 1 pair

    As the apparently random purchases aggregate, they begin to tell a story, demanding to be pieced together by the perplexed reader. Each month’s list creates a “stanza-with-variations” of this dual tragedy of a broken mother and her shattered son. At the end, the isolated son, wearing his new coat, stands next to his mother’s grave, his only possessions a gaunt photo, an ash-filled urn, and a “Customized Memorial Plaque.” This is a version of what Thomas Gray called “the short and simple annals of the poor,” but instead of the somber stanzas of “Elegy in a Country Churchyard,” this chronicle is articulated in the enforced clichés of Amazon Americana, from Snoopy to the “Eternity Urn,” the “Perfect Memories” picture frame, and the “YourStory Customized Memorial Plaque.” 

    Struck dumb by my compelled participation in this unprecedented format of grief, I thought, Who is this writer who can compose an elegy without using a single “poetic” word?” Unconsciously, then consciously, the reader absorbs the bitter irony felt by the poet as he must copy these ignoble commercial words — wrenching for him, the reader, and the poem itself — that have become the stinted vehicle to convey his lovely mother’s life and death. This starved funeral “poem” stations a single mourner silently creating a single ritual, the transcription of a symbolic Amazon liturgy. Yes, I would not willingly let this poem die, silenced as I was by Vuong’s bold “shaping spirit” which invited me, holding discarded Amazon receipts, to intuit the pathos of his mother’s story. This was a poem that bore out Stevens’ insight that a convincing poem must, by its composed form, “resist the intelligence almost successfully.”

    What, I then wondered, would this poet do in a more traditional kind of lyric? I turned to a title bearing an immemorial Horatian allusion, “Ars Poetica as the Maker.” It is Vuong’s version of Genesis, exhibiting what is required in the twenty-first century if credible original creation is to occur: in it we hear the voice of a god as he creates a second Adam from the clay of the earth. This is material that has appeared for centuries in literature, in art, in music; what can the young artist’s “shaping spirit of imagination” do to renew such worn and familiar material? Vuong will — shockingly — play god himself. Did Vuong know that the first vernacular play in medieval France dramatized Genesis, beginning with God’s instructing Adam that he was formed from clay, and Adam’s responding that he already knows that fact? 

    “Adam.” 

    “Sire.” 

    “Formé je t’ai du limon de terre.” 

    “Je sais.” 

    Like the medieval creator of Le Jeu d’Adam, Vuong removes the story from Genesis’s distant third-person unfolding, “In the beginning, God created heaven and earth.” Like any original artist building on an earlier text, Vuong creates in order to critique or repudiate the status quo of that text (therefore the eager and angry banning of books by church and state alike). As the presiding god, Vuong opens his Genesis obscurely in the first person, offering a series of truncated reasons for an action not yet revealed:

    Ars Poetica as the Maker

    And God saw the light and it was good.

                          — Genesis 1:4

     

    Because the butterfly’s yellow wing

                          flickering in black mud

    was a word

              stranded by its language.

    Because no one else

                       was coming — & I ran

    out of reasons.

                                     So I gathered fistfuls

    of ash, dark as ink,

                            hammered them

                                                 into marrow, into

    a skull thick

                             enough to keep                

                    the gentle curse

    of dreams. Yes, I aimed

                                         for mercy —

    but came only close

                           as building a cage

    around the heart. Shutters

                                                   over the eyes. Yes,

                                         I gave it hands

    despite knowing

                           that to stretch that clay slab

                   into five blades of light,

                                                          I would go

    too far. Because I, too,

                                             needed a place

    to hold me. 

                                     

    So I dipped  

                                                           my fingers back

    into the fire, pried open

                                       the lower face

              until the wound widened

    into a throat,

                          until every leaf shook silver

                                                              with that god-

    awful scream

                          & I was done,

    and it was human.   

    Allusions abound here, but Vuong makes sure that a missed allusion does not vitiate the poem: the words survive on their own and the poem remains coherent. His Ars Poetica is a correction of Genesis as well as an allusion to it, and it stems, surely, from Vuong’s own formative truth — that without suffering, creation would not burst out of muteness into life. As Keats wrote to his brother George, “Do you not see how necessary a World of Pains and troubles is to school an Intelligence and make it a Soul?” The original Eden presented no pains and troubles; the God of Genesis did not create Adam with the intention of allowing him agony so that his “blank Intelligence” might acquire what Keats called “identity.” Had the God of Genesis wanted to affirm that Keatsian truth, he would have made pains and troubles intrinsic to life in Eden, so that personal identity — and consequently individual art — could arise there.

     Vuong’s revision of Genesis is (to quote one of Pound’s descriptions of poetry) a “dance of the intellect among words.” It requires rehearsal here if the reader is to understand its choreography. In the beginning, according to Vuong’s history, there was an apocalyptic fire destroying all of god’s creatures, so that nothing now presents itself to “the Maker” as available material for creation except the ashes of aftermath (or so Vuong felt, one assumes, after the incineration of Vietnam by a fire invisible now but still boiling beneath the hostile halves of his country). The god of aftermath, seeing the depopulation of earth, tells us, in his own evasive speech, that he has decided to make a new creature more expressive than the beautiful, suffering, but inarticulate butterfly of his earlier effort. An unidentified questioner has asked this god why he decided, after the butterfly, to engage in further creation, and the god’s reasons for recommencing — both cogent and idle — initiate the poem: 

    Because the butterfly’s wing” [had no language with which to express its pain]; 

    Because no one else was coming [to repopulate the earth]; 

    & [because] I ran out of reasons [not to]. 

    Who is the questioner? The answer becomes evident if one recalls the first and second questions in the Christian catechism: “Who made you?” “God made me.” “Why did God make you?” The second, tormented Adam needs an answer, but the god’s reasons are slippery and inconsistent, exemplified in form by the changing lineation of his speech.

    The narrative continues: the god of aftermath, troubled (like earlier, now extinct, mankind) by the paradoxical “gentle curse of dreams,” creates a clay slab from the sooty ashes and creates five senses (“five blades of light”) opening up the world to his experimental post-apocalyptic creature. He has thereby gone “too far,” because it is the senses that enable his creature to sin and suffer. Blake’s hammering god is the model for Vuong’s own hammering “Maker”: interrogating the Tiger, Blake asks what force created him: “What the hammer? what the chain? in what furnace was thy brain?” Yet the god invented by Vuong impedes the very senses he created. Because he cannot call them “good,” he sets himself further tasks, “building a cage / around the heart” and putting “Shutters / over the eyes.” Nonetheless, the god affords (for his own self-interested cultural survival) one form of agency to his nascent Adam (who is as yet an “it”): “Yes, / I gave it hands” so it could create, through art, a visible icon of its god: “I, too, / needed a place / to hold me.” “So” — and then the purposeful phrases, one by one (advancing in quasi Anglo-Saxon two-step lines that pause halfway to take thought) reach the unforeseeable conclusion of the god’s tripled opening “because.” 

    Without language, his newly made Adam would, like the helpless butterfly’s wing, be beautiful but stranded, and so the god must introduce violence in himself to complete (by self-mimesis) the violent creature who will erupt, because of its unbearable suffering, into articulation. Dipping his fingers back into the fiery magma of creation, the god “pries open” the lower face of the second Adam, wounding it hideously to compel the scalpel-slash to widen “into a throat.” Vuong’s poem ends in the incarnate scream of the wounded flesh. Vuong allows, however, before the end, an anticipatory and compensatory flash-forward into the silver light of poetic speech, when sibylline leaves (borrowed from Virgil, Hopkins, and Eliot) will flutter as the throat utters itself, with tortured sound, into human life. With the awakening of human language, the god ceases to act, and the parallel clauses (“I was done” “& it was human” declare the tragedy of divine metamorphosis as a god takes on human incarnation. (The Christian allusion works if you see it, and the poem works even if you don’t.) 


    Vuong’s volume, in its title Time Is a Mother, declares that he has experienced a new birth after the extinction-by-breakdown of his former existence: the poet’s resurrection is accomplished through the discovery, with time and labor, of self-creation in words. The god of the poem, after allowing his sublime power to wax, humiliates it by gashing it into suffering flesh. Returning to the volcanic ur-fire to create his creature’s face, he must savage it by widening a slash into a throat, enabling the new Adam, no longer an “it,” to gain personal identity. The creator-god vanishes into the creature made in his image and likeness as it assumes its new being: “with that god-/awful scream.” “I was done. / & it was human.”

    After reading these two poems – one located in the banality of Amazon receipts, the other located in the high drama of Vuong’s resurrection into shaped articulation after his mute “death” in breakdown — I hardly expected the black humor and flashing street-life of other poems by Vuong:

    This is the best day ever

    I haven’t killed a thing since 2006

                          (“Snow Theory”)

     

    Scraped the last $8.48

    from the glass jar.

    Your day’s worth of tips

     

    at the nail salon. Enough

    for one hit.

                             (“Rise & Shine”)

     

    Hey.

     

    I used to be a fag now I’m a checkbox.

                                    (“Not Even.”)

    Even the most contemporary of these poems pose some of Vuong’s riddles: a single line in “Almost Human” offers not a choice among similar things but an “irrational” choice between dissimilar categories: “It was 2006 or 1865 or .327.” This could be translated (with some help from Wikipedia on Wuong’s birth date – 1988 — and the meaning of “.327”) as:

     I was eighteen when I learned in a history class that the United States had had a Civil War that ended in 1865: I understood then that what we fled in Vietnam was a Civil War too. And when I turned eighteen, I read with fear that the .357 magnum revolver used by the police was being replaced by the more lethal .327. 

    In his “novel,” On Earth We’re Briefly Gorgeous, Vuong sometimes had to interrupt his largely autobiographical narrative in order to supply the factual origin and political dimensions of the war that doomed his family to American poverty (mayonnaise sandwiches), illiteracy (Vuong learned to read at eleven), and the harrowing screams of his grandmother’s nightmares. 

    He found in poetry a more accurate way than narrative to sustain his fragmented recollections: he could offer, screen by screen, individual shaped moments of memory. The reader remains alert, wondering what life-events could lie under his elliptical sentences:

    It’s been a long time since my body. 

    Unbearable, I put it down

    on the earth the way my old man 

    rolled dice. It’s been a long time since time.           

    The hooking of a “cool” syntax to unbearable sentiment is one of the many ways in which Vuong’s language calls attention to itself, making itself visible by unsettling the common rules of narrative expression. 

    Or Vuong’s language demands attention by a spectacular unsettling of time. One formidable twelve-page tour de force called “Künstlerroman” (“Story of the Artist’s Life”) tracks the poet’s life backward, present to past, in ever-new variations. Opening in the full modernity of an electronic “now,” the poet is unable to forget his traumatic past:

    After walking forever through it all, I make it to the end.

    The REWIND button flashes red__red__red.

    I sit down and push the button. The screen flicks on.         

    We learn later that the poet is recoiling from his approaching book-launch in an expensive hotel, and his reluctance to advance presses him backwards into and through galleries of visual memory, affixing montages of past over present, present over past, while including such contemporary extremes as repellent snatches from a gay sex chat-room accompanied by truncated “dick pics,” and a reversal — by this survivor of napalm and family deaths of the collapse of the Twin Towers and the explosion of bodies. It is a tableau of yearning, this reversal: 

    Then the gypsum, calcite, plaster, and lead particles rise from the pavement in massive billowing clouds, and the North Tower reconstructs itself and September’s clear and blue again, and the people float up, arms open, to stand looking out of windows in good suits, in good bones. 

    This impossible pageant of resurrection, as soon as it is envisaged, expunges any lingering belief in a heavenly afterlife. 

    On the page following the public death of the Towers, a private crisis, also reversed, transmits “the boy’s” shock as he sees his mother knocked down by “his father’s fist.” The intimate violence creates a trauma as destructive as any public catastrophe: 

    I see the boy walk backward into his house, ease his mother down on the kitchen tiles. His father’s fist retracts from her nose, whose shape realigns like a fixed glitch. If I slowed it down here, I might mistake the man’s knuckles for a caress.

    As the auteur of his own film, the poet fancies himself able to carry out on the page the corrections of plot that life itself forbids. His will to reverse time extends in a playful moment to the cosmos itself, as “The Hubble telescope swoops the other way” and “Halley’s comet shoots back behind the trees.” Yet this astronomical innocence collides immediately, without even a comma’s pause, with the sinister return of human experience “as the Humvees roll, again, into Iraq.” The absence of any comma tells the reader that the auteur himself cannot retain cosmic “innocence” by a willed suspension of human aggression.

    Vuong’s long “Künstlerroman” exhibits, and argues for, a form of apparently “spontaneous” lyric composition which denies to the poem any of the usual geometric structures — linear, concentric, spiralling, vortical — that confer architectural coherence. Rather, it favors an “open” field of concern in which many futures offer themselves (a manner that underlies Whitman’s expansive catalogues and far-flung geographical surveys). In Vuong’s repeated reversals of sequence, the open field reaches us in a distorted way, as if perspective, grid, and climax are all inhibited when one has seen too much too young. It is a non-realistic realism, undeniable in its specific details but surreal in its irregular procedures, unloosing a successively crushing series of ungovernable effects.       

    Here and elsewhere in Vuong, the shaping spirit of imagination is the great mover. Routine sequential transcription — too often the fallback form for current American lyric — feels thin and lifeless next to Vuong’s passionate lines of symbolic dislocation, where his images become incarnate in disturbingly disordered temporal or spatial form. How did this practice become native to the young poet? He reveals his ecstatic moment of liberation from narrative convention at Brooklyn College, when his teacher Ben Lerner tells him “You can do anything in poetry.” At that permission, the young writer’s driving confessional compulsion achieves its fusion with both the surrealism of his fragmented recollections and his corresponding linguistic distortions in grammar, syntax, and hierarchy. A painful linguistic choreography takes place as images confused by childhood perceptions and a frustratingly unwieldable school English coincide with the later confusions of addiction and breakdown provoking aroused despair, all to be enacted in an English betraying its alienated origins and beset by its compensatory furies. The idealistic Western art-fiction of a beautiful feminine Muse inspiring a dreamily reflective composer is put to rout in these poems, where the artist is buffeted by a psychic whirlwind of competing and irreconcilable facts, wishes, dreams, terrors, and regrets. It is a rich dynamic for an undeniable voice, fiercely directed by a shaping imagination as relentless as its raw material.

    A Liberal Zion?

    In March of this year, the Jewish state was like a single organism whose arteries were straining to strangle one another. I visit the country regularly, but this spring I found it in the throes of a fever which has by now launched a new era of Israeli history. Liberal Zionists, freighted with the responsibility to cleanse and heal the country which Netanyahu and his brutish government every day besmirch, have taken to the streets of many cities and towns each Saturday evening since the seventh of January. Politics is the content of their struggle, but pain preceded politics. It was an intensely uneasy time. The country felt as if it had been violated from within. The mutual hostility and horror with which Israelis considered members of their own society, their own historical family, was staggering. A sort of primal shock seemed to permeate the country. And this time the state’s wounds were entirely self-inflicted. One Saturday afternoon of that inflamed month, my father came home from synagogue and even before taking off his coat reported in a low, unfamiliar voice that the congregational leader whose responsibility it had been to offer the weekly prayer for the welfare of the state of Israel had broken into sobs mid-verse.

    I was staying in Jerusalem; it is at once fortifying and discomfiting to run oneself over the grooves carved by history into the topography of that city. I waited for the Sabbath to set with the sun and then joined the protest which that evening, like the eleven preceding Saturday evenings (as I write the nineteenth weekly outpouring has just occurred), surged by hundreds and even thousands to the residential square in front of the President’s House to protest the disgraceful fascistic devolution that Benjamin Netanyahu’s new coalition government was perpetrating. When night fell and three stars appeared in the sky, I made the trek across the capital. As I climbed up Jabotinsky Street the sidewalks were clotting with people wrapped in or raising Israeli flags. I recognized some prominent Likudniks in the throng — Netanyahu had alienated some of his own. At the entry into the demonstration a group chanted slogans in support of the Palestinians and handed out stickers which read “there is no democracy with occupation,” which a smattering of protestors stuck onto their flags; but deeper into the crush it was clear that this was a centrist, unmistakably liberal crowd. It represented the vast Israeli center-left, that silent, mysterious mass which at long last had made itself seen in response to an emergency. I was witnessing a rare phenomenon in politics: an enraged centrist throng of liberal patriots. These Israelis had come to reclaim their flag from the bigots and the thugs who were desecrating it. The import of that reclamation is immense.

    I had been told by Americans again and again that these protests concerned only or mostly the “judicial overhaul” that Netanyahu was trying to force through the Knesset. Even before I arrived I knew that this was an incomplete analysis, that the controversy about the Supreme Court was only the beginning of a Kulturkampf that Netanyahu and his government had ignited. To keep himself in power, he and his allies are forcing Israel into the sordid ranks of post-liberal autocracies around the world. The crowd in which I stood that evening was in distinguished company: like dissident liberals in other countries, Israelis have joined the struggle for the resuscitation of liberal nationalism, which may be the most urgent political cause of our time. 

    I say resuscitation, because Israel — like the United States — was founded on liberal nationalism. The country’s Declaration of Independence is a liberal document. The founders, despite being avowed socialists, enshrined individual rights and minority rights — classical liberal values. Indeed, the nationalism that flowered in the first half of the nineteenth century and which precipitated the establishment of many nation-states was largely conceived as an ally of liberalism (though there were, of course, notorious illiberal strains). Today, however, nationalist movements everywhere are dominated by ethnonationalists, who cast themselves in opposition to globalists. The contemporary choice is increasingly between a vapid cosmopolitanism which has no respect for tradition or community and a blood-and-soil tribalism as grotesque as it is dangerous. But there is another option — a patriotism enriched by an abiding respect for individual liberty and minority rights. A liberal nationalism. That is the philosophy that guided Israel’s founders. A woman in the crowd in Jerusalem that evening clutched a poster of David Ben-Gurion with tears pasted onto his cheeks. Right now the integrity of the project that he established is largely in the hands of the protestors. Will they make a new politics out of it?

    Ben-Gurion was the founding prime minister of Israel and the patriarch who loomed over the two decades preceding the advent of the state and the first sixteen years of Mapai (the Labor party) rule after its establishment. He and his heroic comrades toiled to realize Theodore Herzl’s dream: to found a state in which Jews could achieve what they called the normalization of the Jewish people, a Jewish homeland that was free and strong and open but also heterogeneous and multiethnic, and that therefore enshrined the rights of minorities — ethnic, racial, religious, and sexual — explicitly in its Declaration of Independence. A regime of perfect homogeneity is not only impossible, as an ideal it breeds bigotry. Liberalism, which is in the business of defending rights, must defend also the right to national self-determination; and if a nation-state is to be morally defensible, in terms of its treatment of its own citizens, then it must strive towards liberalism. 

    Yet the push towards a liberal nation-state is always aspirational, always asymptotic. It is an ideal that no state has perfectly realized. The integrity of the Zionist project is dependent not so much on the realization of that ideal as on the incessant dissatisfaction with the failure to realize it, and with the state’s diligence in pursuit of it. The liberal is never satisfied, so a liberal nationalist is a dissatisfied nationalist. No country ever achieves complete liberalization, no matter how porous or flexible its national identity, but a nation-state is peculiarly tempted towards illiberalism owing to its entanglement of identity with power. For this reason, a Jew’s nationalism should stoke her liberal zeal, her fervor for equality and justice — and her indignation at inequality and injustice — because the Jewish state’s illiberalisms are committed in her name. 

    Israel’s current crisis is the result of two distinct developments in Israeli history. The first is the dominance of the Israeli right, which in recent years has mainstreamed its radical fringe, and the second is the obliteration of the Israeli left. Netanyahu could not have won last year’s election if there had been a viable left to oppose him, but there is no longer any substantive left in Israel. The tradition of the founders is no more. Yair Lapid and Benny Gantz are by no reasonable standard leftists. Ben-Gurion would have wept to know that Netanyahu would replace him as the longest running prime minister in Israel’s history, but Israel must reckon with more than just the duration of Netanyahu’s tenure: he has succeeded also in warping the Israeli political map so thoroughly that the term “Israeli leftist” is effectively meaningless. (He has had help from the Labor Zionists of our day, who have allowed their party to wither into obsolescence, and of course from the leadership of the Palestinians, whose lack of interest in a reasonable peace — and whose regular calls to violence — hold Israeli moderates hostage.) 

    There is a right in Israeli politics today but there is no meaningful left — the opposition seems lost; there is only a febrile, powerful illiberal nationalism and the fledgling formation of a liberal nationalist movement which will perhaps grow to accrue political power. The only robust liberal leadership in the Jewish State in recent decades has been these startling — and leaderless — protests. So dominant is the right-wing ethos in Israeli politics that it has become an unwritten rule never to bring up the Palestinians, at least if you do not wish to be marginalized. In order to advance anything like a liberal agenda, all partners in the fleeting Bennett-Lapid government, including Mansour Abbas, the heroic leader of the first Arab party to sit in a governing coalition in Israel, had to be tightlipped about their intentions. It is unsurprising that Netanyahu clawed his way back, though he was able to do so only by allying completely with the far-right — since no one in the center/center-right will any longer sit with him — thus opening the flood gates for Orban-style governance. (Posters and chants decrying the affinity between Netanyahu and Orban are a mainstay at the protests.)

    The Israeli illiberalism that trouble critics of Israel most often concerns the treatment of the Palestinians and of Arab Israelis. Many of the criticisms are true. The treatment, or mistreatment, of Arab Israelis and of Palestinians in the West Bank and Gaza is of intense concern for liberal Zionists. But the Palestinian problem is not the only problem that Israel faces, nor is it the only toxin which infects Israeli society. The contrary view — espoused most obnoxiously among American Jews by Peter Beinart, who does not believe in a Jewish state anyway — the view that the occupation lies at the heart of all evils, is analytically false and politically useless. The occupation does not and cannot explain all, or most, of the struggle for the identity of the Jewish state now being fought in Israel’s streets. The many poisons swirling within Israeli political culture do not flow from a single source. Like the Palestinians, the Israelis have their own internecine culture and politics, which are not completely reactive and exist prior to political and diplomatic occasions. Right now there are no heroes on either side of the Israeli-Palestinian conflict, but one day the conflict will come to an end, and not even that peace will determine the character of Israeli society. The Jewishness of the Jewish state and the decency of the Jewish state will not be legislated in Ramallah or in Washington. The monomania about the occupation simplifies Israel and obfuscates many other illiberal conditions which have afflicted citizens of the state since its founding. The left, everywhere, must learn to hold all the causes and factors and motives in its head at the same time. 

    One must know Israeli history to understand the current Kulturkampf. The Jewish state that Herzl conceived and that Ben-Gurion established was a secular state. This secularism had limits — it allowed the Orthodox (and later the ultra-Orthodox) rabbinate to hold sway over many spheres of public and private life; but it was a secular state. The Zionism that flourished in the yishuv, or the pre-state Jewish community in Mandate Palestine, was a Zionism nurtured chiefly by Russian socialism — specifically, by the Narodnik socialist movement which demanded that its adherents live by their values, and that if they believed in the right to a Jewish state they must build one. This socialism appealed to young, rebellious proletarian Jews who had been Jewishly educated but were eager to move beyond a religious tradition that they associated with political and physical infirmity. Their socialism conferred upon their nationalism a universal significance. It was the intention of these pioneers to create a socialist utopia in which an egalitarian society would be realized not least by Jews speaking a Jewish language. If it was possible in Russian, why not in Hebrew? These idealists did not know that a socialist utopia is not realizable in any language. 

    The physical task was no less daunting than the intellectual and political ones: these pioneers consecrated their bodies to the bone-crushing work required to transform swamps and deserts into livable land. The ideal Zionist pioneer was tanned, muscled, disciplined, and indefatigable. Work itself was considered sacrosanct, it was treated as a kind of spiritual exercise, as if the sweat could cleanse one of one’s origins. For the second time in history, then, a New Jew was born in that desert. But as is always the case with revolutionary endeavors, the Old Jew was not completely expunged; traces of him remained. Those who could not perform the work, or could not shed the past and convincingly recreate themselves, or could not speak Hebrew, or were not socialists and so refused to join the Histadrut (the General Federation of Jewish Workers), paid a heavy price. Social opprobrium has sharp teeth in a country built and run by family, and purists are always unforgiving.

    The values and the prejudices of this New Jew dominated the leadership of the yishuv in which the Histadrut, founded in 1920, was among the most powerful institutions. (In Jerusalem recently I saw an old book that was presented to a family friend upon her graduation from high school in the 1950s and inscribed to her “upon her entry into the yoke of the commandments of the Histadrut,” a startling and revealing use of the exact words that the ancient rabbis used to describe the commandments of the Torah. The usurpation could not be clearer.) When the state was established, the Histadrut and the government were so tightly wound around one another it was difficult to identify which limb belonged to which. But even in the pre-state period, when over ninety percent of the population was Eastern European and the secular socialists presided over nearly every realm of life, there were rumblings of right-wing or religious dissent. And within a few years of the state’s existence there were two significant sectors of the Jewish population that did not conform to the reigning Zionist ideal and had no historical experience with the Enlightenment and its fruits. They were — and still are — the ultra-Orthodox and the ultra-ultra-Orthodox known as the haredim, which means “quakers,” and the Mizrahim, which means “easterners.” or the Jews from Arab countries. (Some of the “easterners” actually came from west of Israel, from north Africa.) 

    Ben-Gurion was thirty-five when he was appointed chairman of the Histadrut. He was sixty-two when he was awarded the premiership of the new state. After the early years of austerity, the socialist pioneers whose sweat had watered the seed of statehood were fattening into a burgeoning middle class. Over time the old socialist policies which secured the same salaries for field laborers as for professors and doctors lost their twinkle. Now that bourgeois life was possible, bourgeois life was appealing. And just as the leaders of the Labor movement had begun to outgrow their socialism, the demographics in the country shifted. The Ashkenazim, or Jews of European and Russian origin, remained the elite, but no longer the majority. In the 1950s and 1960s Arab countries purged their Jews and waves of Mizrahim, who had previously accounted for a small minority, surged into Israel. Four hundred thousand arrived between 1948 and 1956, and by the end of the 1950s Mizrahim accounted for over fifty percent of the Jewish population in the country. The weak and poor state opened its doors to them, in an extraordinary demonstration of national solidarity, despite lacking the resources and the infrastructure for absorption.

    The appellation “Mizrahi” flattens distinct communities and traditions into a single Orientalist category. The Jews of Morocco, for example, were unlike the Jews of Iraq. Moroccans accounted for a small percentage of the Jewish immigrants arriving in the 1950s, but they were met with a persistent bigotry. Many of them were descendants of Moroccan Jews who had been permitted to study in French schools and assimilate into French culture until the Vichy laws went into effect in 1940. (Jews had been in Morocco since antiquity.) After 1948, as Arab hostility towards their Jewish neighbors increased, the wealthy Moroccan Jews could afford immigration to France. The poor went to Israel. There they were treated with contempt by a suspicious Ashkenazi elite whom they came to despise. It had been one thing to be discriminated against by the French or the Moroccan establishment, but quite another to be similarly mistreated by fellow Jews. 

    The affluent Jewish community in Iraq had enjoyed full citizenship and equal rights before the state of Israel was declared. Afterwards the Iraqi government passed a law allowing immigration to the newly declared Jewish state, assuming that only the rabble-rousing young Zionists would clear out, leaving the wealthy Jews behind. They estimated that about ten thousand Jews would leave. The Israeli government guessed that the number would be about four to five times that much. No one predicted that a hundred and twenty thousand Iraqi Jews would arrive between 1950 and 1952. The Iraqi authorities, shocked by these drastic numbers, put limits on the amount of money and valuables that Jews could take with them, and in 1951 they froze all Jewish assets. 

    These Jews, freshly penniless, arrived on the shores of a country that lacked the means to absorb them and the inclination to understand them. Levi Eshkol, the future prime minister who was then treasurer of the Jewish Agency, warned the Iraqi-born Shlomo Hillel, who organized the mass airlifts of Jews from Baghdad and later became a prominent Israeli politician, “Tell your good Jews that we shall be very pleased for them all to come, But they shouldn’t hurry. At the moment we have no absorption possibilities. We don’t even have tents. If they come, they’ll have to live in the street.” His warnings fell on deaf ears. In some sense the Iraqi Jews had the hardest time acclimating to the horrific conditions which awaited them — new poverty is more acutely felt.

    Absorption camps, or ma’abarot, were set up haphazardly by a government that had not anticipated such an enormous population of refugees and immigrants. Conditions rapidly deteriorated into filth and misery. Immigrants were housed in tin shacks, tents, and tarpaulin or wooden huts, which were all penned in by barbed wire fences guarded by armed soldiers. Within the camps immigrants stood in long lines three times a day for food, and for hours awaiting medical assistance. There was not enough water or electricity. Sojourns within the ma’abarot were supposed to be temporary — the plan had been to process and then relocate immigrants to permanent housing — but there weren’t any housing units into which the immigrants could be moved. Many remained in those camps for years. The grudges and the furies which account for much of the subsequent political history of the state were developed in those shantytowns. 

    The logistical nightmare was coupled with coerced cultural assimilation. Mizrahi students were sent to Ashkenazi schools and Ashkenazi yeshivas. The Ashkenazi elite expected these new immigrants to pick up the rakes and hoes that they had just put down, and take their turn engaging in the backbreaking labor which had a semi-mystical status in Israeli culture. Settling the land had been an honor for the yishuv pioneers, but such work had no analogous respect for Jews from Muslim countries, and they resented bitterly the expectation that they would work the fields for their European counterparts. It took until the end of the 1960s for the “development towns” into which the Mizrahim ultimately ended up to achieve economic stability. Even when social mobility and economic prosperity became possible, the association between dark-skinned Israelis and cultural “backwardness” had become nearly indelible. Eventually, in 1984, Rabbi Ovadia Yosef, the giant who presided over the Mizrahi community, founded a political party called Shas (an acronym for Shomrei Sephardim, or guardians of the Sephardim) in order to agitate politically on behalf of Mizrahim. Shas now sits in Netanyahu’s government, as it did in previous governments. 

    The Labor elite expected the Mizrahim to Westernize and scorned the patriarchal, anti-egalitarian traditionalism that characterized Mizrahi society. The first generation of Mizrahim succumbed to the forced assimilation into Ashkenazi culture — hitashkenazut, or Ashkenazification — but their descendants hated the Ashkenazi paternalism masquerading as progressivism. They never forgave Labor and the Ashkenazim for perpetrating their humiliation. They stewed and yearned for vengeance. Their time came. As my friends and I were leaving the protests on that rainy Saturday night, we were taunted by a few pro-Netanyahu Mizrahim. “What do you want?” one of my friends angrily shot back, “Revenge?” The man looked coldly at him and said: “Yes.” 

    In 1964 Ben-Gurion’s stature, and the stature of the Labor party, was severely shaken. The political crisis that precipitated his downfall is distinctly pertinent to Israel’s current tribulations. The crisis, which became known as “the Lavon affair,” began with Operation Susannah, a failed Israeli operation in Egypt in the summer of 1954. Egyptian Jews were recruited by the Israeli military to plant bombs within Egyptian, American, and British theaters, libraries, and schools. They were set to detonate hours after closing times to avoid casualties. The Israelis hoped that the attacks would create enough upheaval to upset British plans to withdraw from Egypt. The plan was bungled. No civilians were killed, but two operatives committed suicide and two were tried, convicted, and executed by the Egyptians. Pinhas Lavon, the minister of defense, professed no knowledge of the operation and accused Shimon Peres, the Secretary General of the Defense Ministry and Ben-Gurion’s protégé, of having organized it. Prime Minister Moshe Sharett commissioned a board of inquiry which found no conclusive evidence that Lavon had any ties to the mission, but Sharett publicly sided with Peres anyway. Lavon resigned. Sharett, who had not known about the operation before it was executed and had vociferously and embarrassingly denied Israel’s involvement, resigned as well, and was succeeded by Ben-Gurion, thus returning him to the premiership.

    Six years later evidence surfaced that seemed to support Lavon’s protestations of innocence. Lavon demanded that he be exonerated on the basis of these new discoveries, but Ben-Gurion refused his request, arguing that it was not the prime minister’s place to rule on questions of guilt or innocence. Infuriated, Lavon recklessly appeared before the Knesset and read aloud a list of grievances and accusations levied against the defense establishment. This oration was leaked to the press. An appointed ministerial committee ruled that Lavon had not given the order for operation. Ben-Gurion resigned. And here is the rub: Ben-Gurion protested that the scandal had injured the power of Israel’s Supreme Court, which had been politically by-passed in the whole ordeal, and thus damaged the country’s already thin separations of power. For the next five years he continued to speak out against the Lavon Affair, insisting that awarding ministers the power to indict or to exonerate anyone was a dangerous precedent that undermined the procedures of democratic governance and the integrity of the judiciary. 

    The public grew tired of his obsession with the Lavon affair, but history has proven him right. Ben-Gurion sacrificed his own reputation to defend an independent judiciary which he knew must be bolstered and defended in a democratic state. Netanyahu’s outrageous attempt to subordinate the judiciary to the executive has been interpreted correctly by the Israeli public. They rightly see that his maneuver to concentrate political power within the executive branch is symptomatic of an autocratic lurch. “Judicial reform” is the emblem for, and only one facet of, that alarming turn, taken in defiance of Ben-Gurion’s warning against what we would now call post-liberalism. Ben-Gurion’s fall from grace cost the Labor Party a lot, but it was not enough to shake Labor from its throne. That took another twenty years, and the colossal failure of the Yom Kippur war.

    The first time that protests of a size and intensity comparable to the current protests wracked the Jewish state was in the year after the Yom Kippur war. Israelis were terrified and infuriated by the unprecedented failure in intelligence which had almost led to military defeat and resulted in the deaths of thousands of Israeli soldiers. The proportions of that error were so enormous that it has since become known simply as the mehdal, or the failure. As Anita Shapira, the great historian of Israel, explains: 

    The Yom Kippur War was the momentous event that brought about the demise of the labor movement. The public perceived the mehdal as an expression of the Labor Party’s political ineptitude, and this led to a loss of faith that was the party’s most valuable asset during its years of rule. People viewed it as the natural ruling party, which knew how to steer the ship of state to a safe haven. 

    What goes up must come down, and no force propels an Israeli politician or party downward like the failure to protect the country. In the early years of the state, neither Ben-Gurion nor anyone else really believed that his party, Mapai, or any Labor party, would ever be thrown out of office. He died in 1973, one month after the mehdal, and four years before that cataclysm resulted in the political “earthquake” which put an end to Mapai/Labor rule and installed his rival, Menachem Begin, in the premiership. 

    Begin was a right-wing Revisionist Zionist who, during the yishuv period, led the Irgun, a Jewish paramilitary organization that broke away from the mainstream Labor policy of restraint in the use of violence. After the establishment of the state he led the opposition in a series of political parties that culminated in the Likud. He could not have won the election in 1977 if the previous three-and-a-half years had not yielded repeated political disasters for the left. Labor’s grip had to loosen to permit his ascension. But Begin relied on sturdier political stuff than post-war anger. His base was “the other Israel,” the Jewish minorities who had for decades felt politically disenfranchised. Thus began the long tradition of right-wing Ashkenazi politicians capitalizing on Mizrahi resentment. Begin shared their innate suspicion and even hostility toward Arabs, and condemned what he considered Labor’s naïve passivity towards Arab aggression. (Never mind the hard and triumphant military history of the Labor years.) And, in his steadfast commitment to “Greater Israel,” or to a Jewish State encompassing all the land promised by God to the Jewish people, he appealed also to the religious right, then in the first phases of settling the West Bank. 

    Begin, like the current prime minister who was once one of the “young princes” of Begin’s party, knew how to manipulate his base. He played on ethnic and cultural divisions and stoked Mizrahi rage. And the Mizrahim were natural political allies of the religious right, since both abhorred liberal secularism. Directly after his election, Begin appeared in a yarmulke and recited a traditional blessing, and soon he could be seen celebrating his victory with a Torah scroll in his arms. He did not have a religious bone in his body, but he revered tradition and he played politics. In the years of his rule, socialism and all its furnishings were despised as symbols of a coercive Western (and Marxist) culture. By this time, of course, Israeli socialism was disappearing. But along with it the founding ideal of Israel as an egalitarian and pluralistic bastion, Hebrew more than Jewish, pluralistic and tolerant, began to erode. Jewish ethnonationalism began to assert itself and grew increasingly virulent. A new narrative of the history of the state began to be written, in which Begin and the Irgun, and not Ben-Gurion and the Haganah, played the foundational role.

    Yet Menachem Begin was a complicated man. It was he who gave back the Sinai to Egypt and brokered peace with Sadat. Jordan later followed in Egypt’s footsteps and the Arab-Israeli conflict morphed into the more local and more intractable Israeli-Palestinian conflict. Begin, the conservative right-wing Revisionist, was in no way a post-liberal. He despised the left, but he believed deeply in liberal democracy. He was eloquent throughout his career about individual rights and minority rights. Just a few months ago, there presciently appeared an important and revealing collection of Begin’s speeches and writings on his political philosophy. It is skillfully edited by Dror Bar-Yosef and it is called (in Hebrew) Begin’s Way: An Anthology of the Liberal-Nationalist Thought of Menachem Begin. Here, for example, are some of Begin’s thoughts about the Israeli judiciary and the Supreme Court. From 1951: “Law and jurisprudence must be independent of the ruler, even if he was chosen by the people. The various executive authorities have no right to confer upon themselves any power relevant to the power of judging.” From 1958: “Experience shows that in its essence [the Supreme Court] guarantees individual freedom against attacks upon it even by a majority in the legislature.” From 1960: “One of the most magnificent visions of the state of Israel is our judicial framework. We have all contributed to the elevation of the judiciary in Israel, so that it will be independent, supreme, autonomous. This is what gives reason for our lives, sanctity to our efforts, greatness to our aspirations — its name is justice.”

    Decades later Begin’s political successor, the present-day leader of the Likud, has lost all interest in securing minority rights or in checking executive tyranny. Netanyahu’s constituencies — the Mizrahim, the settlers, the ultra-Orthodox — together preach a blood-and-soil nationalism and a supremacy of Jewish religious law unbridled by liberal scruples. They have counterparts in capitals around the globe — Washington among them — where tribalists have lost patience with the strictures of democratic governance and elementary tolerance. 

    It is no surprise that two of the most influential contemporary theorists of nationalism, liberal and illiberal, are Israeli. Yoram Hazony has emerged as the voice of illiberal nationalism. He was born in Israel but grew up in New Jersey, where his family moved when he was a year old. Hazony majored in East Asian Studies at Princeton before getting a doctorate in political philosophy at Rutgers. The supreme object of his nationalist devotion is the Jewish state, but his style and his tone are distinctly American. One of Donald Trump’s aides remarked that Hazony’s book The Virtue of Nationalism was foundational to Trump’s foreign policy, and Hazony’s Wikipedia page is part of a series entitled “Conservatism in the United States.” He writes his Israeli ethnonationalist books in English. Much of his work rails against the Americanization of the world order, of which he is ironically an example. Hazony’s Americanness is one of the greatest ironies of his work, though hypocrisy is in his case a rhetorical asset. Propagandists do not lose arguments by having a tenuous relationship with honesty — they win them that way.

    It is important to note that Hazony is not a nationalist in the sense that he believes that every nation has a right to a state. Quite the contrary. He believes that certain nations do not deserve a state (he doesn’t name names, but one can guess which stateless group tops his list). He is a nationalist in the sense that he believes that nation-states, or states comprised of homogeneous peoples bound by mutual natural loyalties, are the healthiest, the most tolerant, and the most peaceful sort. As he puts it, “the world [is] governed best when nations are able to chart their own independent course, cultivating their own traditions and pursuing their own interests without interference.” Hazony’s ideal is Herder’s “extended family” state, one so small and homogenous that its identity is based on the primal bond that one shares with one’s family. But of course this is a chimera: there are no states like this and there never have been. There are always minorities. Even when atrocities are committed to expunge them, no polity achieves perfect homogeneity. Such ethnic purity is a sick fantasy. Hazony’s cult of likeness grants bigots license to despise, to disenfranchise, and to abuse the inevitable pollutants — the minorities and the immigrants and the asylum seekers — which corrupt his dark ideal. 

    Hazony’s book The Virtue of Nationalism reads as, among other things, a hackish justification of the Mizrahi resentment of the West, which is the bedrock of Netanyahu’s political base. Among its many bizarre tenets is that liberalism is itself imperialistic because of its universal aspirations — it is nothing short of imperialism, in his view, when liberals attempt to persuade non-liberals to adopt their principles, as if an idea that is true in North America devolves into falsehood while migrating eastward. Why does his imperialistic view of persuasion not hold also for post-liberals who seek to influence liberals? What about the sustained American neoconservative attempt to re-shape Israeli politics — is that different, or higher? When officials of the Netanyahu government consulted Polish and Hungarian politicians about judicial reform and protest management, were they the victims of Eastern European imperialism?

    Hazony’s theory is revolting nonsense, but arguing against it is a vain exercise. You cannot persuade someone who is post-argument, who is unbothered by truth or history. Those who seek to convert Hazony’s followers by poking holes in his reasoning have brought a philosophy book to a gunfight. His followers do not admire him because they believe he has properly understood history, or human nature, or political science; they admire him for his rigidity, for the licenses that he grants and the moral relaxation that he dispenses, for his prescription of precisely the tribalism which liberalism labors to constrain. 

    Consider only a few of Hazony’s sophistries. He professes horror at the dearth of intellectual diversity in liberal empires:

    Under a universal political order in which a single standard of right is held to be in force everywhere, tolerance for diverse political and religious standpoints must necessarily decline. Western elites, whose views are now being aggressively homogenized in conformity with the new liberal construction, are finding it increasingly difficult to recognize a need for the kind of toleration of divergent standpoints that the principle of national self-determination had once rendered axiomatic. Tolerance, like nationalism, is becoming a relic of a bygone age.

    What he is gesturing towards is the phenomenon of wokeness, the ideological intolerance of the progressive left. But the cultural power that the left wields in America, or in other Western countries, is not remotely as threatening to freedom of expression as the political power of the autocrats who govern the nation-states that Hazony reveres. (Anyway, wokeness is not a fulfillment of liberalism but a perversion of it.) Hazony weirdly posits that homogenous nation-states are the only sort capable of fostering an intellectually diverse and tolerant citizenry, but how exactly does likeness generate difference, or tolerate it? Ethnically homogeneous states solve the problem of diversity by changing it. The variety of nationalism that Hazony supports never fostered a “toleration of divergent standpoints.” Group self-love does not breed tolerance. It is among the most powerful mechanisms for conformity. 

    Another of Hazony’s favorite theories is that American aid is corrupting the globe and forcing submission to the American empire:

    This peculiar fact – that Americans continue to provide the financial and military resources needed to keep peace in Europe at relatively little cost to Germany and France – has been an underlying reason that Europeans are so smitten with the love of liberal empire. Afterall, why should anyone stand up for principles of national independence and self-determination if it is Americans that give these countries their safety without their having to work to attain it, much as the oil gushing from the ground brings the Saudis wealth without their having to work for it?

    Hazony is not offended by Putin and so does not worry about what will happen to Europe without America’s backing. But he appears not to understand the first thing about moral and strategic alliances. And what about his beloved tribe? What about Israel? Where would Hazony’s favorite nation-state be without the beneficence and the muscle, and the billions upon billions of dollars annually doled out to it, by the imperialistic USA? Does Hazony really want to usher in an age in which that aid ceases? Of course not — Israel could not survive in such a world. 

    The other significant Israeli theorist of nationalism is Yael Tamir, an academic and politician who was a founder of Peace Now in the late 1970s and served as a member of the Labor party from 2003 to 2010 and as a minister in the government of Ehud Barak. Tamir wrote her dissertation on liberal nationalism with Isaiah Berlin at Oxford. Her understanding of nationalism, as impeccably laid out in her book Liberal Nationalism, is rigorous and sophisticated where Hazony’s is coarse and simplistic. Tamir’s theory is predicated on a view of the person —not human nature, which she considers too finicky and didactic a term — that is informed at once by liberalism and nationalism, and which asserts that people have a right to communal belonging, to cultural expression, and to personal autonomy. She is neither an individualist nor a communitarian. She believes in the nation but not in the Gemeinschaft; her nation must answer to standards not of its own devising. Since liberalism seeks to secure human rights, liberalism must be enlisted in the struggle for nationalism despite the obvious tensions in such an alliance.

    As Tamir shows, the view of liberalism — promulgated not only by post-liberal reactionaries like Hazony, but also by certain communitarian liberals — which holds that liberalism actively disrupts communal ties in service to an atomistic, deracinated cosmopolitanism misrepresents the tradition of liberalism itself. John Rawls, the villain of the communitarian liberals, himself recognized that “we need one another as partners in ways of life that are engaged in for their own sake, and the successes and enjoyment of others are necessary for and complementary to our own good.” Communities, in other words, must flourish within a liberal society in order for that society to be healthy. But liberalism does not legislate the quality and the content of those shared commitments. Rather, it protects the citizen’s right to determine them for herself. Unlike Hazony, Tamir insists that every individual has a right to choose her own community and tradition. Hazony does condone conversion or naturalization, but he believes that those processes must include a complete assimilation into the dominant culture; deviation from the majority tradition, or personal interpretation of it, is eschewed. But Tamir recognizes that “the era of the illusion that homogenous and viable nation-states are possible is over since such states never existed.”

    Tamir’s theory might suggest that liberal nationalism is best applied to multicultural and multiethnic countries, since those are the societies in which the citizen has the most options from which to choose. Yet there are certain communities, she contends, that cannot fully achieve cultural expression, and realize their “right to culture,” without a state. (Yes, the criteria for the state-worthiness of various groups need to be clarified. When is the distinctiveness of a culture sufficient to qualify for sovereignty or to justify separatism? This is not a simple problem.) For such communities — namely, nations — the only way to protect their right to cultural expression is to facilitate the establishment of a nation-state. Identity politics is the tool that minorities use in multi-ethnic states to preserve their culture. A liberal identity-politics, like liberal nationalism, is concerned with the preservation of a community’s (and of course an individual’s) rights. An illiberal identity-politics, like illiberal nationalism, demands total loyalty and conformity, the self-immolation of minority identities in exchange for membership.

    If the legitimacy of a nation-state is based on the individual’s right to cultural expression, then the government of a nation-state is responsible for creating conditions in which citizens are at liberty to choose how to fulfill and develop their various traditions as they wish. Religion must be free and not prescribed. This is the opposite of Hazony’s primitive idea that a nation-state derives its legitimacy from “natural bonds”; in Tamir’s liberal nationalism, the strength and the limits of restrictions upon religious (and other culturally specific) practices would be determined by the individual and her community rather than the government. The government would be interested only in securing the liberties required for individuals and groups to participate in their own culture. 

    In contrast, in an illiberal nation state, the government will itch and swell to coerce the citizenry to express its preferred version of the national culture. Multiethnicity is regarded by illiberal nationalists as a plague. Their ethnic and autocratic overreach is abundantly evident not only in the Israeli government’s disdain for Israel’s Arab citizens, but also in the hunger of Netanyahu’s right-wing coalition to legislate religious behavior. Never mind that the largest plurality of Israeli Jews are secular, and the second largest is “conservative”; and that the Haredim are the smallest of the denominations. In a few decades, however, owing to its infamous birthrates, the size of the Haredi community, in combination with its de facto secession from Israeli society and its duties, will pose a significant challenge to the coherence of the Israeli polity. This coming demographic change is one of the reasons that the Israeli right has allied itself strategically with the Haredi community, which is non-Zionist or anti-Zionist and theocratic about civil life, but abhors the secular left and can deliver a meaningful number of parliamentary seats to a coalition that will meet its legal and financial demands. Now its opportunism has joined with Netanyahu’s to produce the most morally dubious government in Israel’s history. Netanyahu, who has for decades projected the image of Israel’s protector, has allied with people who insist the study of Torah provides Israel with as much security as the army does, and therefore shirk mandatory conscription. His cynicism is bottomless.

    This time Netanyahu’s unbridled self-interest may have raised the left from the dead. But this left is unlike the left that began its slouch towards impotence in 1977. It is a new, liberal left. The liberal nationalism currently on display in Israel’s streets has risen to the standard of liberalism enshrined in the country’s Declaration. And there is reason to hope that it will gain political muscle: it accounted for nearly half the votes cast in the last election. Time will tell.

    There is an idea that grounds much of what is said in defense of Israel’s new government, in Israel and abroad. The idea is “Jewish exceptionalism,” which is a kind of metaphysical expansion of the right’s political concept of Jewish supremacy. Hazony is a Jewish exceptionalist: his nationalism is informed by an abiding faith that the Jews deserve a state because the Jews are special, because they really are the Chosen Ones. Jewish exceptionalists have co-opted the religious doctrine of chosenness to agitate for a Jewish exemption from universal moral principles and to justify the corruption of democracy.

    Simcha Rotman, a member of Knesset from the Religious Zionism party and a prime mover of the government’s “judicial reform,” once remarked that “in my view, democracy is doing what God tells you to do. That is why anybody who goes around without a kipah damages democracy.” Now that is exceptional! And consider this: 

    Unless you believe in Israeli exceptionalism, in the biblical covenant of divine election, and in the sacred bond between the Jewish people, its creator, and its promised land, there’s no reason, under any condition, to tolerate much deviance from the broadest and most inclusionary contours of every other liberal Western democracy. Why should Israel be an exception?… [But] if you believe that it [Zionism] is a Jewish liberation movement whose work begins, not ends, with the establishment of a Jewish state and whose energies come from the redemptive vision of the prophets of Israel, then Zionism ought to be recharged and tasked with nothing less than the re-founding of the State of Israel — this time as a Jewish state, rather than simply a state for Jews.

    Those words were written recently by Liel Leibovitz in Tablet, which has become the shameful organ of post-liberalism and proto-Trumpism in the American Jewish community. Liebovitz’s arrogance is breathtaking. The “state for Jews,” of which Herzl dreamed and for which thousands of Jews gave their lives, and which is certainly a miracle by the standards of Jewish history, does not satisfy him. The actually existing Israel, with all its struggles and its accomplishments? He is not impressed. “The broadest and most inclusionary contours of liberal democracy,” perhaps the greatest achievement in the history of human politics, is too paltry for the Jews, who are an “exception.” It is remarkably irresponsible for a Jew to disparage the rights secured for them by liberal democracy — to be nostalgic for a time before liberalism or hopeful about a time after liberalism. And it is similarly irresponsible for a Zionist to insist that Israel’s right to exist is based on divine election. If Israel’s existence is predicated on its special relationship with the Jewish God, why should any non-Jew, or any godless Jew, honor it? Why insist on such a vulnerable justification for statehood? 

    Liebovitz’s variety of Jewish exceptionalism is designed to raise Jews above the standards of decency to which every other people and country must conform. His belief in his own tribe’s specialness is, ironically, not all that special. It is a common conception of non-liberal states and their apologists. Many peoples think of themselves as chosen. Putin believes that Mother Russia need not answer to “Western” values. Germany believed in its Sonderweg, its special path. China insists upon “Asian values.” And post-liberal apologists for autocratic Muslim states demand that we respect “Islamic exceptionalism” even to the point of being patient with Islamism. This is the company Leibovitz keeps, and the milieu into which he would banish the Jewish state. 

    It is worth emphasizing here that liberal Zionism is hardly hostile to the distinctiveness of the Jews, which is historically incontrovertible. Why is distinctiveness not enough? Why must Israel be an exception? Liberal Zionism does not dishonor the unique trajectory and civilization of the Jews; it merely honors also the difference, the distinctiveness, of others as well — of its own minorities, and of those who live beyond its borders. Liberal nationalists are secure enough in their own cultural and religious identity not to deny the same dignity to others.  Jews are acquainted with the brutality of such a denial. Liebovitz is a poor scholar of the tradition that he labors to defend. He should have another look at those prophets whom he reveres. Their writings are riddled with universal values, especially about justice. Isaiah was not a tribalist. 

    The normalization of the Jewish people and the establishment of a liberal Israel will not yield a state hostile to Jewish distinctiveness nor will it deny the importance of religion in Israeli identity. It was not intended to do so before 1948, and it is not intended to do so today. The Jewish state was meant foremost to end forever the powerlessness of Jewish life in exile and its attendant sufferings and indignities. That was Zionism’s most urgent mission. But Israel was not conceived only as a haven. The Zionist inspiration was to establish a Jewish State that is defensible also morally, respectful and protective of minority cultures, and sensitive to religious and spiritual sensibilities and ways of life. That is the future for which the protestors surge into the streets on Saturday nights. It is the only worthy one.

    Same But Different

    I

    The heaviest stone that melancholy can throw at a man is to tell him he is at the end of his nature.

                                                                                                                        W.G. Sebald

    All my life I have pondered my failure to live up to the romance of transformation. I have been born only once. I studied mystics but saw no visions. I read about voices but heard none. When I made changes, they turned out to be only revisions and modifications. I have been engulfed by certain experiences, but their effects were left on the old substance. There was the night, many decades ago in a dark room in a sixteenth-century manor house in Oxford, when I heard, for the first time, on a rickety gramophone next to my bed, Beethoven’s fifteenth string quartet Op.132, and the third movement, the celestial one “in the Lydian mode,” lifted me up, and terrified me with its demands — but when the music was over I was low again, the elevation was ephemeral. I felt that I had disappointed the music, and to this day I stay away from it unless I have made some spiritual preparation for it. In my religious life I envied converts: choosing is a greater achievement than inheriting; but since I myself have never found a reason to convert — or looked for one, since I am once and for all honored by my grand and taxing inheritance — the best I could do in this regard was to make myself into an advocate of welcome, so that those who acted on their dissatisfaction with their own données would know that there is safety on the other side. There is nothing I comprehend less about Christianity than its concept of grace, which is of a kind of coup from on high, or a monotheist’s karma, and I regard miracles merely as the name we give to improbable events for which we are stupendously grateful. I mostly respect other people’s new beginnings, though some transitions arouse my suspicions, but I have no talent for new beginnings, no matter how weary I become of myself.

    Who has not performed the old exercise of clarifying one’s principles by imagining what party he would have chosen in moments of truth gone by? One of those moments of truth that my mind visits often is America in the 1850s, and I long ago grasped that I would not have been a radical abolitionist but a moderate one. (On the other hand, there are villains in history whom I would have unhesitatingly shot dead, or so I would like to think.) In my writing, especially about history and politics, I have been the one who grimly endeavors to be sober about metamorphosis, who wishes to spoil the giddy celebrations of discontinuity and direct the attention of the celebrants to the continuities that are hidden in the revolutions, who is afraid of the millennium, every millennium, and wary of the disruptiveness of progress that I myself support, who refuses to toy and tamper with institutions and ideas that will not easily come again after they are destroyed. (The next Jewish millennium will arrive in 2240 and I am glad that I will miss it.) I am a hawkish dove, a conservative progressive, a late adopter. Of course there are sufferings in the world that explode this rueful patience, and sometimes I have violated the rule of my temperament to go slow and demanded instead that power be used immediately against evil. There are historical actions that cannot wait. We are all selective about the consequences that trouble us.

    I have always been a little embarrassed about my willingness to watch justice come slowly — why would you defer the dawn? Yet I do not trust speed, because it is so heedless of what is to its right and to its left, and I do not trust efficiency, because it flattens reality and deludes us about our powers, and I do not trust unprecedentedness, because it is almost always an exaggeration and usually inculcates a thoughtless antinomianism, and I do not trust wholeness, because it represents the end of possibility. In the realm of historical action, in sum, I do not trust transformation. And in the realm of the self, when I hear the ubiquitous praises of transformation (or, in the American vernacular, of redemption and closure), my back goes up, because this almost recreational Proteanism promises an end of meaning, or more precisely, an end of the meaning for which I have been searching, or even more precisely, an end of the search. I do not wish to be told to shut down and start over. The questions were the right ones. The arena was the appropriate one. I was getting somewhere. Transformation looks to me like quitting.

    Many years ago I published a book about my mourning for my father, in equal parts scholarship and reflection, a spiritual diary of a year of sorrow in which I investigated the mourner’s customs that I was practicing with insufficient understanding. A review of the book by Harold Bloom appeared in the New York Times Book Review, enthusiastic and sloppy in Bloom’s way, and amid its flattering remarks it made an objection that rankled me. Bloom complained that in the course of my narrative the narrator did not change. An epic, he said, requires a hero’s transformation. Whether or not I was a hero, he was correct. I did not conform to the canonical plot. I was not transformed by my year of spiritual intensification. Enriched, but not transformed. This was a matter of fact: I was reporting on events in my mind and my heart, and relying less on my imagination. Perhaps it was evidence of my limitations that I was never bathed in light. But the important point is that I did not hunger for transformation, or for a new philosophical framework, or for a new mode of perception. Transformation is a sort of obliteration, however salvific. But my beliefs about the world seemed defensible to me, and on the right track. I sought only to understand a certain human predicament that previously I had not understood. If I was wiser when it was over, it was still I who was wiser — I came out of sorrow as I went into sorrow, only less poor; and the continuity, after a period of sharp pain and diligent study, was exceedingly precious to me. Anyway, anybody who has prayed regularly in a crowded religious institution knows that they are not the best settings for transfiguration. If I had come away from my spiritual exercises with a pretense to a new identity, I would have felt like a fraud. Bloom was imposing upon my experience a literary requirement, as if my life were literature. The truth is that I find growth without transformation, or change without dissolution, far more interesting. 

    I discovered a motto for my continuist disposition, my preferred conception of identity-in-change, in an unlikely place. In Basel, on a wall in the medieval church known as Basel Munster, a red sandstone Romanesque structure that was completed in 1500, hangs a plaque that marks the tomb of Jacob Bernoulli, mathematicus incomparabilis, a distinguished mathematician in a family of distinguished mathematicians, who taught at the University of Basel for fifteen years and died in 1705. (Erasmus is also buried in the church.) Bernoulli made many mathematical discoveries that bear his name and participated in the almost unimaginably rich philosophical and mathematical culture of the seventeenth century, corresponding with many of its luminaries. Set into an elaborately carved oval wooden frame with a globe at the top, a stony black surface gives the personal and professional details of the deceased, and at the bottom of the plaque, parallel to the globe, is a small black circle on which was carved, at Bernoulli’s request, his credo.

    Eadem mutata resurgo, is the credo. The most accurate translation is, “Having changed, I rise again the same.” There were some who suggested that in its churchly context the phrase must be a reference to the resurrection of Christ, but grammar and doctrine rebut such an interpretation. Bernoulli’s statement was personal, and its suggestion of individual resurrection was more exercised by the condition of the individual who will have survived the crucible. The definition of the change is sublimely mixed. Bernoulli’s credo was based on a mathematical emblem of individual life and individual development — specifically, on a geometrical emblem taken from the geometry of shapes. The Latin adage, carved in gold letters, wraps around a circular representation of a spiral seen from above, also outlined in gold. It was supposed to have been a logarithmic spiral, whose defining characteristic is that it does not alter its shape as it grows larger — we most commonly encounter it in the exquisite patterning of snails and mollusks; but these are arcane matters, and the craftsman mistakenly depicted not a logarithmic spiral but an Archimedean spiral. Bernoulli had requested a representation of a logarithmic spiral because (as he wrote in a treatise about it called Spira Mirabilis, or Wondrous Spiral) this spiral “may be used as a symbol, either of fortitude and constancy in adversity, or of the human body which, after all its changes, even after death, will be restored to its exact and perfect self.” Bernoulli coined the motto eadem mutato resurgo to describe the logarithmic spiral and its complicated model of development; and when he chose it also for his memorial plaque, he transposed it from the realm of mathematical significance to the realm of human significance. He wanted the words to describe himself.

    The mathematical study of spirals, the classification of the different properties of different spirals, is an ancient pursuit; Archimedes composed a treatise on the subject. A spiral is a curved line that originates in a point and moves farther away from it as it revolves around it. A logarithmic spiral, which exercised Bernoulli (and before him Durer — perhaps the greatest geometrician among the painters — and also Leonardo) is the type most commonly found in nature. Its distinction is that it retains its shape as it grows in size. Which is to say, it changes and it stays the same. The name given to this property by mathematicians is self-similarity. A self-similar object repeats its form through changes in scale. The study of fractals revealed that self-similarity does not have to be perfect; it obtains also when an object changes but remains mostly like itself.

    Self-similarity, moreover, is emphatically not the same as identity. Leibniz famously posited in his metaphysics that two numerically distinct objects cannot be the same in all of their properties, or else they would be indiscernible from each other. The aim of this axiom about “the identity of indiscernibles” was to secure the integrity of discrete individuals, to prevent similarity from climaxing in sameness and thereby erasing the distinction between existentially separate entities. Things can have many properties in common, but they cannot have all their properties in common and still be themselves. Leibniz’s law was developed out of a medieval debate about the nature of angels, and it had a religious implication: “therefore,” he wrote, “every substance is like an entire world and like a mirror of God, or indeed of the whole world which it portrays, each one in its fashion.” We might call this the metaphysics of diversity.

    Bernoulli understood that these geometrical truths can serve also as symbols of ethical values. He affectingly interprets the consistency-through-change of the logarithmic spiral as “fortitude and constancy in adversity” — the steadfastness of the self in the storm of circumstances. Here it is worth noting that Bernoulli’s family had fled to Basel, where he was born, to escape the “Spanish fury,” the reign of terror that the Spanish army inflicted upon the Netherlands in the 1570s. Immigrants and refugees are people for whom the retention of identity is a matter of honor. They seek only partial transformation. They are like the curve that travels far but always as itself. They exhibit both the swervingness and the unswervingness of these whorled patterns.

    When I first read Bernoulli’s motto, my heart quickened. Here was a formula for spiritual development that rendered moot an entire field of concepts with which the reflective and adventurous soul has traditionally been burdened: infidelity, inauthenticity, defection, betrayal, treason, heterodoxy, heresy, deviationism, apostasy. (A wise psychoanalyst once described my own psychic situation as “defection-in-place,” which was my first hint of eadem mutata resurgo.) What if the dream of transformation is only a necessary fiction for bestirring a person or a people, for getting started? What if continuity is the very condition of right and lasting change? Personal growth must never be an apocalypse. The inalienability of one’s origins and one’s idioms is an obvious psychological and biographical fact about even the most restless individuals, but usually it is regarded as lamentable, an embarrassment to our freedom or our will, a weakness before the greater power of tradition or society. Perhaps it is better to consider the goal of transformation as a trap that will lead to crushing disappointment. The breathless eschatologies of self-invention and self-fashioning are the antithesis of wisdom about existence in the world. Nietzsche set us up. And as regards the history of transformation as a political objective, we have known at least since Tocqueville’s analysis of the French revolution that total revolution is a myth and a murderous one.

    When Bernoulli was elaborating his mottled ideal of change, a similar model of metamorphosis began to appear in the work of scholars with whom he corresponded — biologists who were vexed by the problem of generation, or what the historian Elizabeth Gasking described as “how differentiated parts could ever form from unorganized matter.” How does the worm become a moth? How does metamorphosis work? There were many theories, and they all look absurd now that we possess a knowledge of genetics. Some argued for spontaneous generation; no less an authority than William Harvey wrote that “whereas some animals are spoken of as spontaneously reproduced, others are engendered by parents.” Sometimes spontaneous generation was attributed to an invisible force, but nobody could provide much information about that force. There was a school of thought, for a long time dominant, that generation was the result of “preformation”: every feature of a mature animal existed from the start in its earliest and tiniest form, and organisms grew in a mechanical way, all its parts steadily enlarging. The invention of the microscope made it possible for researchers to see features of plants and insects that were not visible to the naked eye, and one scientist claimed that could detect the form of a chick in an unincubated egg. There were religious versions of this notion, according to which generation over time never happened, because these creatures had been formed by God at the beginning of time and then gradually appeared.

    The preformationist view concentrated attention on the stages of growth, and begged the question of how the stages are related to one another. Gasking noted that “it must be remembered that whereas modern biologists speak of the grub, the pupa, and the adult as stages in the life cycle of one individual butterfly, Harvey and his contemporaries always regarded the grub as one individual and the butterfly as another.” Transformation after transformation after transformation; new organism after new organism after new organism. The scientist who put paid to this theory of serial metamorphoses — of change as an abundance of transformations, of zoological identity as a sequence of complete and disconnected Humean moments — was a correspondent of Bernoulli’s named Jan Swammerdam, a Dutch biologist and master entomologist. He was a scientist caught up in the pietist movements of his time: “Behold I offer you the Omnipotent Finger of God in the anatomy of a louse!” He opposed the idea of spontaneous generation because it excluded certain creatures from God’s labor of creation and thereby offended God’s majesty. Swammerdam’s monumental researches on insects decisively invalidated the theory of metamorphosis: “In reality the caterpillar or worm is not changed into a nymph, nor to go a step further, the nymph into a winged animal; but the same worm or caterpillar, which on casting its skin assumes the form of a nymph becomes afterwards a winged animal.” (A nymph – no Ovidian excitements here — is an early phase of the butterfly’s development, approximately like the larva or the pupa; the modern science of butterflies no longer recognizes a nymphal phase.) I wonder whether Bernoulli and Swammerdam acknowledged that they shared the same anti-cataclysmic model of growth, the same poised and steady paradigm for individual development. Having changed, says the butterfly, I rise the same.

    Bernoulli’s motto appears to have receded into obscurity, but centuries later it enjoyed a delightful resurgence. Eadem mutat resurgo became the motto of Pataphysics — excuse me, ‘Pataphysics. This doctrine, a mad and enchanting parody of science, was one of the most lasting and subversive jokes in modern culture. The term was apparently coined by a bunch of schoolboys in Rennes in the 1880s, one of whom was the young Alfred Jarry, poet, painter, playwright, showman, cyclist, and hallucinator extraordinaire. He first used the term in one of his early plays, when he was twenty, in 1893, and then elaborated the pataphysical gospel. What was, or is, pataphysics? There is a plenitude of definitions, and there is even an academy devoted to the conundrum — the College de ‘Pataphysique, an institutionalization of the hoax was founded in 1948 and has included many illustrious writers and artists among its members, and may be found today on the Boulevard Diderot in Paris, not far from the Gare de Lyon.

    In the 1890s Jarry wrote a novel called Gestes et Opinions de Docteur Faustroll, Pataphysicien, Roman Neo-Scientifique suivi de Speculations — or The Exploits and Opinions of Doctor Faustroll, Pataphysician, a Neo-Scientific Novel followed by Speculations — which was not published until 1911, four years after he died wretchedly of tuberculosis and drugs. (Doctor Faustroll is the permanent dean, or Immovable Curator, of the College, and for some years the vice-dean was a crocodile.) In his novel Jarry included a few pages from a theoretical exposition of his philosophy: “It is the science of that which is superimposed on metaphysics, extending as far beyond metaphysics as the latter extends beyond physics. Pataphysics will be, above all, the science of the particular, despite the common opinion that the only science is that of the general. Pataphysics will examine the laws that govern exceptions. It is the science of imaginary solutions.” The governing intellectual impulse in pataphysics seems to be a recoil from generalization. The French writer Rene Daumal, a spiritualist and an early surrealist and a prominent pataphysician, pronounced in 1920 that pataphysics is “the knowledge of the specific and the irreducible.” All this strains towards a radical notion of particularity, toward a property of uniqueness that is common to all things. (Now there is a generalization!)  Insofar as they are themselves, all things are exceptions. It brings to mind Duns Scotus’ notion of haecceitas, or “thisness” — the attribute of individuation, of the perdurability of the singular. For all its convoluted concepts, there is something anti-intellectual about pataphysics, in the way that there is something anti-intellectual about existentialism: its abstractions are a campaign against abstraction, a crusade for thisness. But in the age of the masses — in the early years of the massification of politics and culture and consumption — there was also something deeply stirring about these warnings against the dilution of the one into the many and the subsumption of the human into categories and classifications, about these howling protests on behalf of the individual.

    Nothing Jarry did was more howling than Ubu Roi, or King Ubu, his play that set a new standard for artistic transgression. It premiered in Paris in December 1896, and as soon as its first word was uttered — “merdre,” says Pére Ubu as he steps out of the wings — pandemonium broke loose. Yeats was in the audience that night, and the event provoked his famous dark premonition: “After Stéphane Mallarmé, after Paul Verlaine, after Gustave Moreau, after Puvis de Chavannes, after our own verse, after all our subtle color and nervous rhythm, after the faint mixed tints of Conder, what more is possible? After us the Savage God.” Ubu is the sinister Count of Sandomir and King of Poland and Aragon, a grotesque monster, a sadistic tyrant, whose speech is as revolting as his appearance. (In the 1970s we used to compare Idi Amin to King Ubu.) He is a hugely bloated creature, wearing a high pointy hat and carrying a toilet brush for a scepter. He looks a lot like one of Phillip Guston’s klansmen. And on the front of his sheet, covering his hideous paunch, is his symbol: un grande gidouille — a large logarithmic spiral! This design was the work of Jarry himself, in a woodcut called Veritable Portrait de Monsieur Ubu, or True Portrait of Mister Ubu, in 1896. (At the same time that Jarry was devising this infernal physiognomy he was also composing a commentary on an etching by Durer and hatching a plan, never fulfilled, to publish a journal that would reproduce the entirety of Durer’s graphic work — Durer, who called the logarithmic spiral “the eternal line.”) The spiral later became the official emblem of the College de ‘Pataphysique, which issued it in different colors to signify its differentiations of rank.

    Why the spiral? As with all things pataphysical, it is impossible to know. Commentators have pointed to the spiral’s prodigious energy, its suggestion of infinity, its insinuation of madness (recall James Stewart’s dream in Vertigo), its duality of presence and absence; there has even been an attempt to link it to one of Mallarme’s most hermetic speculations. I myself see nothing pataphysical about Ubu, except for his emblem. And I keep coming back to the idea of the persistence of the individual, the hallowing of actual existents. Leibniz, again: “It is not true that two substances may be exactly alike and differ only numerically.” The pataphysicians, too, were at war with indiscernibility — with the melting away of distinctiveness, which they hilariously construed as eccentricity. Strictly speaking, however, they were right: eccentricity is another term for individuation.

    Like Bernoulli, the pataphysicians adopted eadem mutata resurgo as their slogan and the logarithmic spiral as their symbol. They must have relished the apparent contradiction in the Latin words — but I suspect that, like Bernoulli, they saw in them a novel and sagacious way of regarding human trajectories. The rigorous genius of seventeenth-century rationalism and the wild explorers of the twentieth-century imagination endorse the same complication. For there is no contradiction in eadem mutata resurgo unless you believe that change is linear and complete, that development is orderly directionally clear, that a human life must perfectly cohere. But which life does, really? Who ever beheld in human affairs a pure discontinuity, except death? The tracks of the old do not compromise the new; they launch it, and serve as its conscience. Except for desperate people, there is no shame in the persisting substrate. Jarry’s crazy reverence for the specific and the small, his defiant and scatological love of the exception, was a plea for the unassimilability of the human, which is a kind of plea for freedom. His last words were “je cherche, je cherche, je cherche,” I seek, I seek, I seek. Then he asked for a toothpick and died. 

     

    II

    The question of whether excellent old art is preferable to inferior contemporary art is pretty complicated and painful. I am sure, at least, that excellent old art is not enough.

                                                                                                   Donald Judd

    Historical change can be even more inebriating than personal change. For a start, it is less lonely, and can seek vindication in numbers. It promises a thrill of participation and even absorption, though the latter may nullify the agency required for the former. Many of the notions that we use to describe personal change — including the very notion that personal change should be viewed historically — are owed to old theories of historical change, to historiosophies of various kinds, such as the American grail of “redemption.” We are a teleological nation. The other American contribution to the popular understanding of change is the bias toward it, the feeling that change is itself, intrinsically, in its own right, a good; and closely related to this assumption is an interest in its acceleration. We preen ourselves on how often and how fast we move. We have a horror of stillness and of stasis; if we are not gaining ground, then we are losing ground. We detest time and we devour it. This addiction to dynamism is owed to many things — to the competitive frenzy of capitalism, to the epic of the frontier and the song of the open road, to the appetites of immigrant populations, to the unfettered tempo of scientific discovery and technological invention. Our anti-philosophical inclinations have also contributed to it, so that we turned practicality itself into a philosophy.

    In America it was Henry Adams who first realized that the speed of change may be the primary characteristic of modernity. He was stupefied by the amount of scientific, technological, and material progress that he witnessed in his own lifetime. (He was born a decade before the Mexican War and died a few months before the end of the First World War.) He proposed that modern history has “a law of acceleration” which “cannot be supposed to relax its energy to suit the convenience of man.” It was now and henceforth will always be the case, he wrote about the year 1900, that “the next great influx of new forces seemed near at hand, and its style of education promised to be violently coercive.” This is how things looked to Adams a little more than a century ago: “Power leaped from every atom. Man could no longer hold it off. Forces grasped his wrists and flung him about as though he had hold of a live wire or a runaway automobile, which was very nearly the exact truth.” And he concluded: “Prolonged one generation longer, it would require a new social mind.”

    The prophet seems a little quaint now. The pace that horrified him was superseded long ago. We have gone beyond speed to simultaneity. Does the law of the acceleration of historical change imply that every generation will look nostalgically upon the challenges of the previous one? Yet we must not condescend to earlier fears: Adams’ apprehension was more than just a cranky anti-modernism, he lived in the dynamo about which he warned, and for us he should be exemplary for attempting to offer some resistance to it, for refusing to lose his head over all the transformations that he witnessed. The problem that he posed is still with us; it has never been with us more. It may be that nothing in the history of technological progress has more strenuously tested our capacity for equilibrium in flux, for selecting the wisest spiritual and social course in confronting extreme change, than what was done to us, and by us, just this year. I am referring, of course, to generative artificial intelligence. Its sudden availability had the aspect of a magical, or black magical, intervention; all of a sudden it was here and it was everywhere. Now everything, we are assured, is going to be different. Prepare to be swept away, or enjoy the sweeping.

    The velocity terrifies me. I have nothing to add to all the dystopian alarm about what has been unleashed. In this instance I even welcome a measure of hysteria, except of course from Elon Musk, who is merely looking for a way into the action. The harmful potentialities of this great imposture machine, this weapon of the mass destruction of the sense of reality, seem limitless. The history of technology demonstrates that all technologies are deployed before they are adequately understood, but how helpless must we render ourselves? The precipitousness with which the technology corporations release their transformational devices is enough to make you despise capitalism. They are much too vain, out there in California: after all, they know enough to build these contraptions but not enough to understand their effects. How much knowledge is that, really? They are just engineers. They like to think in terms of scale, but the scale of an innovation tells you nothing about its merit. A change in the lives of billions may be a blessing or a curse, or a blessing and a curse. But the expertise of the people who produce these technologies does not extend to the intellectual equipment that is required for evaluating blessings and curses. Ethical responsibility cannot be assessed algorithmically. The values that we must clarify and uphold in an AI world cannot be culled from data sets.

    At the beginning of the digital era we heard a great deal about Prometheus. At the beginning of the AI era we are hearing a great deal about Pandora. I suggest that it is time to dwell on the other member of the family of Titans, on Prometheus’ brother and Pandora’s husband — on Epimetheus, whose name translates as “afterthought” or “he who thinks too late.” Prometheus championed the human race against the gods by stealing fire for us; in Aeschylus’ version, he gave us also arithmetic, agriculture, architecture, “every art of mankind.” As a consequence of Prometheus’ defiance, Zeus angrily arranged for the creation out of clay of the first woman, and for the Olympians to provide her with many gifts. Her name was Pandora, which means “all gift.” To deliver her presents Pandora was dispatched not to Prometheus, who shrewdly suspected Zeus of plotting against humanity, but to the hapless Epimetheus, who is the Fredo Corleone of Greek mythology. Ever zealous for the welfare of humankind, Prometheus, whose name means “forethought,” warned his brother not to accept any gifts from Zeus, but Epimetheus gave the warning no heed. Among Pandora’s gifts was a large storage jar — a jar, not a box — which contained all the evils that afflict us. Epimetheus received her warmly, Pandora opened the jar, the miseries became ours. We are not Pandora, we are Epimetheus. Or rather, we are Prometheus, Pandora, and Epimetheus. Technologically we are living in an Epimethean age. Again and again we prefer enthusiasm over reflection, credulity over prudence. All that remains for us are afterthoughts. We swing vertiginously between being on the cutting edge and being too late.

    And yet, while everybody is praising or denouncing the imminent tectonic shifts, I see some continuities, and their power to console and to fortify is immense. Much to my surprise, I found some consolation and some fortification in an encounter with AI art. I was not predisposed to welcome this lavishly hyped development: brushes and chisels and cameras have been my idea of art’s best instruments. But my friend Bennett Miller, the film director who recently devoted years to an as-yet-unreleased colossal documentary project about the interpretation of the digital age — I have seen enough of it to testify that it holds treasures — threw himself into a long period of experimentation with the images produced by an early version of the AI generator DALL-E, which is designed to translate written prompts into high-fidelity imagery. The software is an inventory of hundreds of millions of images. Miller gave the commands, or prompts, and the program responded with its “understanding” of his pictorial intentions. The prompts were both general and specific. The results invariably surprised him, and there began, for each image, a lengthy process of revision, of interaction between the man and the machine. Thousands of prints were produced. Every one of these compositions reflected the strange dialectic of surprise and design that was characteristic of these many exchanges. Eventually nineteen prints in various sizes were selected for a show at the Gagosian Gallery in New York.

    When confronted by art that is unfamiliar, the most common response is to associate it with art that is familiar — to see old art in new art. This assimilation of the unknown to the known has a basis in the essentially iconographic nature of pictures: images do refer to one another, not only in the minds of their creators but also in the minds of their beholders, so that we can create filiations that help with the reading of things seen for the first time. In the windswept hair of an unforgettable portrait of a girl that Miller calls “Lucy,” I saw Julia Margaret Cameron — a continuity! In his rocky landscapes and dusty wastes I detected Timothy O’Sullivan and Carleton Watkins — another continuity!  (The danger of repairing immediately to earlier and familiar images is that we imprison ourselves in a cage of references and never escape the encrustations of culture, which are often an impediment to perception.) Miller’s pictures were printed in sepia and had the unmistakable look of early nineteenth-century photography. He had asked DALL-E for that effect. The pictures show people and places, abstract studies of fogs and mists, strange juxtapositions of figures and objects, mock-historical events, chilling incidents of individuals falling from obscure crags. All of them have a touch of the uncanny, an oneiric quality, a mood of reverie and realistically represented unreality. Can artificial intelligence have seances? The tells about the medium are in the details of the pictures, in the implausible proportions of heads to bodies, and especially in the eyes of the figures, which are eerie, even creepy. Poor DALL-E, those were the best eyes it could do. 

    The jarring thing about my visit to the gallery was that these images were aesthetically undeniable. Some of them are very beautiful. They please the eye, they provoke the mind. The more I looked at them, the less I worried about their validity. I mean, their validity as art. There are many reasons to distinguish AI art from other kinds of art, but a reactionary panic is foolish, and not only because we must learn to live with these new powers. Miller and DALL-E were engaged in acts of creation that are formally and historically recognizable. This may be helpful: “The mind of artists is full of images which they might be able to produce; therefore, if a man properly using this art and naturally disposed to it were allowed to live many hundreds of years he would be capable — thanks to the power given to man by God — of pouring forth and producing everyday new shapes of men and other creatures the like of which was never seen before nor thought of by any other man.” That was written by Durer in 1523. Another continuity! In an earlier statement of his aesthetic theory, in 1512, Durer similarly described the artist as “full of figures,” which is a fine description, when raised to a mind-numbing magnitude, of Miller’s machine.

    Of course, it was not DALL-E that produced these pictures; it was Bennett Miller. This was a collaboration — but artists have always “partnered” with mechanical innovations. The evidence of human intention is everywhere in these AI works. Many people get hung up about the question of intentionality, because they expect it in a work of art and they cannot attribute it to a computer program, but really the question of intentionality is moot, because DALL-E did not produce these images on its own, and even in a more directly artisanal practice the work of art always exceeds the intentions of its maker. It is important not to mistake human intention for human control. What these AI works lacked was not human intention but human control. Or rather, complete human control. But then we must think carefully about human control in art, and about its limits. Some varieties of art have allowed for more control than others, and other varieties of art have welcomed the incompleteness of the artist’s control or renounced the aspiration to control altogether. Some media are more resistant to the artist’s will than others. Titian put his brush exactly where he wanted to put it, but Pollock’s hurling brush made a friend of randomness. Patterns emerged in Pollock’s greatest paintings, but not because he mastered every drop of his paint. (This was the case, in fact, with more traditional painters, from Rembrandt to Soutine, and the late Titian too, who trusted local chaos.) Duchamp introduced a higher degree of serendipity, so that found objects could be exhibited in art museums. The bizarre juxtapositions of the Surrealists surrendered any allegiance to conventional notions of coherence and instead looked for coherence after the fact. Film directors, their most elaborate set-ups notwithstanding, are always wishing for luck, and when they get certain shots they marvel at their good fortune. My own favorite example of the aesthetics of limited control is the art of ceramics. The artist prepares the clay, shapes it into the form of the vessel, creates the glaze according to a chromatic or iconographical plan, applies the glaze to the surface of the clay — and consigns the whole thing to the fire. For a determined time and at a determined temperature, the fire is sovereign. The finished pot is the result of the action of an uncontrollable force upon a highly articulated object. (I am the grateful owner of a luscious ceramic bust of a woman named Flora by Vally Wieselthier, who was the head of textiles and ceramics at the Wiener Werkstätte, and my legendary cousin; the top of the head is flattened and scorched, but Vally appears to have accepted the fire’s damage as a contribution to the work.)

    So Miller’s dependence on DALL-E was not a violation of the artistic calling, not at all. It may not suit certain tastes, but it cannot be excommunicated. Even in the maelstrom of artificial intelligence, eadem mututa resurgo. In this connection Miller’s experiments represent the latest challenge to Walter Benjamin’s constricted vision of art in “The Work of Art in the Age of Mechanical Reproduction,” an essay that for too long has provided an alibi for philistinism about certain artistic media. “The uniqueness of the work of art is identical to its embeddedness in the context of tradition,” Benjamin wrote, “but the technology of reproduction detaches the reproduced object from the sphere of tradition.” This technology, moreover, plays into the hands of the vulgar masses, with their “desire to ‘get closer’ to things and their equally passionate concern for overcoming each thing’s uniqueness.” All this destroys “the artwork’s auratic mode of existence.”

    That paintings and sculptures possess an aura which cannot be captured by reproductions of them is undeniable. But Benjamin was not railing against posters and tote bags. He was excluding from the realm of art everything that is not made by human hands and is not therefore one of a kind. (He did not discuss the auratic status of non-mechanical reproduction, which was how many Renaissance and early modern painters and their workshops earned their livelihoods.) When he declares that “to an ever-increasing degree, the work reproduced becomes the reproduction of a work designed for reproducibility,” he is referring to photography and film, and denying them aesthetic legitimacy. It is true that there is no unique original of a photograph or a film, even though there are better and worse prints, and the production of photographic and filmic images is certainly mediated by machines. But what is the use of a criterion for visual art that excludes photography and film? I am reminded of Lukacs’ theory of the novel, which was dazzlingly brilliant except for its denial that Dostoevsky wrote novels.

    Anybody who never has an auratic experience before a photograph or a film has eyes but does not see. And anybody who has an auratic experience before every Old Master painting or carving is a fool or a snob. Some of Miller’s images have auras. They cast a spell, they posit a mystery. As with photographs, the image is unique even if its iteration is not. (This is true, by the way, of every line ever written by Shakespeare or any other great writer, which is why bad productions of good plays are tolerable: there remains the auratic language.) Where a genuine artistic sensibility is at work, the mechanical mediation will be no obstacle to art. The machine will be another medium, which like every medium is capable of kitsch or beauty, of objects with presence or without. And meanwhile, as the culture is engorging itself with futurist fevers, men and women with brushes and chisels and cameras will go on with their work, stubbornly adhering to the old methods, which no time and no technology can ruin. The aesthetic honor of a culture anyway depends on the small company of the truly serious, however they choose to create. Having changed, we will return the same. I wish I could be so confident about the impact of artificial intelligence in other spheres of private and public life.   

     

    III

     

    Come, and releive
    And tame, and keep downe with thy light
    Dust that would rise, and dimme my sight.

                                                                                                                Henry Vaughan

     

    But how prosaic, how timid, how glumly realistic, how tempered in the hope for transfiguration, must we be? Did the poet err in inferring from his experience of an ancient marble torso that he must change his life? Is incrementalism, spiritual as well as political, an expression of cowardice? These are the questions that haunt the anti-apocalyptic mentality, and also the liberal one. It would be infinitely sad to settle for too little, for less than might be within our grasp. Whereas there have been no societies that achieved justice by means of revolution, there are reports of souls who went very far towards a state of transcendence, and I cannot work up the impertinence to declare that they are all lies. One of those reports was about a friend of mine. 

    Michael Gerson died last November in Washington DC. He was fifty-eight years old. He was a Christian conservative who gave both Christianity and conservatism a good name. He served in the administration of George W. Bush, first as a speechwriter and then as an assistant to the president on matters of policy. In his former capacity, he wrote the most unforgettable sentence I have ever heard in an inaugural address: “no insignificant person,” Bush said in 2001, “was ever born.” The humanism of those words was thunderous, and cut across all distinctions of right and left, religious and secular. In his latter capacity, Mike was responsible in large measure for the United States President’s Emergency Plan for AIDS Relief, or PEPFAR. It must be the greatest act of mercy that any modern government ever performed: it has so far saved the lives of more than twenty million people. Now that is American imperialism! After his service at the White House, Mike became a columnist for The Washington Post, where his writing unfailingly displayed a natural eloquence. Later, in the gloom of the Trump years, he was, of all the conservative columnists, the most steadfast in his criticism of the president. (President Ubu.) There is perhaps nothing as withering as the contempt of a good man. Even more admirably, Mike, along with his friend Pete Wehner, regularly castigated the Christian evangelical community, his own community, for falling into line behind the leadership of such a sordid figure, such an advertisement for sin. The surest sign of a man’s intellectual honesty is his willingness to criticize his own congregation.

    What fascinated me most about Mike was the obvious depth of his religious belief. I have always been susceptible to the charisma of genuine faith, however rarely I find it. I had a thousand philosophical quarrels with the substance of Mike’s faith, of course, but they were beside the point. Mike exemplified in his person the belief in belief — in thoughtful belief, which is not one of the most salient attributes of religion in America; and he inflected his Christianity with a universal compassion that showed in everything he wrote. May a liberal Jew say that he brought honor to Jesus? He did.

    Mike was afflicted with depression, and cancer, and Parkinson’s. He was cruelly tested. A few months after he died a memorial service was held in the National Cathedral, where in 2019 Mike had delivered a renowned sermon about depression. Among the remembrances was one by his old friend Scott Baker, which included this:   

    On my first visit to the hospital, about a week or so before he died, I was alone in the room with him for a few minutes. He’d been sleeping and suddenly came to. After gathering my presence, he said quietly but with bright eyes, “I’ve been given a special privilege.” I leaned closer. He said, “A woman came to me and said I no longer needed to be a being oriented to the world of physical objects.” This was not the conversation I was expecting. And I understood, to a degree, the role of medication and the stage of things. Some of you may have a scientific explanation for this. But I don’t need to hear it and I won’t believe it. I said, using a Celtic phrase for those rare moments when heaven and earth seem to touch — “Michael, do you feel like you’re in one of those thin places?” And he said — “Oh, yes! Exactly!” When I saw him a week later he couldn’t say much. But his eyes still had those moments of brightness.

    This nearly knocked me over. “A woman came to me and said I no longer needed to be a being oriented to the world of physical objects.” Who was this woman who found these words for this man? Was she a nurse or a sibyl? I am with Baker in his reluctance to attribute the entirety of the experience to chemistry. After all, Mike in his dying was sufficiently in his powers to describe the new dispensation as “a special privilege.” He recognized that the life that was left to him would be an altered life, that he was now another sort of being, that he had been unburdened of his cognitive duties and delivered to a new plane of awareness, in which the material world would no longer be the field of cognition. (And Mike was a journalist, remember, a perspicacious one, for whom the duties of cognition are also a professional responsibility.) He would see less, but his eyes would be happy. Or “bright,” as Baker recalled. Mike’s happiness at his own reduction was the mark of a strong inwardness. He embraced the subtraction as an addition.

    The lines from Henry Vaughan that I have cited above in my friend’s memory come from a poem called “Distraction,” published in 1650.

    O knit me, that am crumbled dust! the heape
    Is all dispers’d, and cheape;
    Give for a handfull, but a thought
    And it is bought;
    Hadst thou
    Made me a starre, a pearle, or a rain-bow,
    The beames I then had shot
    My light had lessend not,
    But now
    I find my selfe the lesse, the more I grow….
    But now since thou didst blesse
    So much,
    I grieve, my God! that thou hast made me such.
    I grieve?
    O, yes! thou know’st I doe; Come, and releive
    And tame, and keepe downe with thy light
    Dust that would rise, and dimme my sight,
    Lest left alone too long
    Amidst the noise, and throng,
    Oppressed I
    Striving to save the whole, by parcells dye.

    I venerate this poem because I have spent a lifetime worried about the price of my worldliness. A rich life in this rich world is a life dispersed, and the soul, once dispersed, is hard to gather together, and to keep long gathered. My distractions, if distractions they were, have been wonderful. They have dripped with meanings. Sometimes I wish I could pray with the poet to be relieved of the material world — but then I remember that there is another side to the whole question. There is the powerful view that the material and visible world is our only avenue of access to what is immaterial and invisible, that it is futile for a corporeal and sensual being to ignore the conditions of its knowledge and its significance, that the beauty of abstract forms begins with the beauty of concrete forms. Poet against poet: “The thing seen becomes the thing unseen,” Wallace Stevens wrote. “The opposite is, or seems to be, impossible.”

    The best that I can conclude is that a compound being’s work is never done. But there was Mike in his hospital bed, emancipated from objects and “parcells,” his sight “dimmed” but acute. What did he see in the “thin place” that brightened his eyes? Thinness of perception was the poet’s dream. I am at a loss to describe Mike’s gain. I do not know how to think or to imagine in the absence of differentiation. But in my ignorance I bow my head before Mike’s affirmation of an undifferentiated reality — “Oh yes! Exactly!” It is more than Bernoulli thought possible, even if the human truth may have been on Bernoulli’s side.

    On Reparations

    My subject is really three subjects that together constitute a single theme at the heart of American life. First, slavery itself — that form of human relations by which, for more than two centuries, white persons exerted unappeasable power over black persons as if they were tools or livestock. When speaking about this subject, I try to keep in mind an admonition from William Wells Brown, a fugitive from slavery who spoke in the antebellum years to audiences in the North who were eager to hear in lurid detail what he had endured in the South. Most left disappointed. “I would whisper to you of slavery,” he told them. “Slavery cannot be represented; it can never be represented.” Reticence from a man who had known the thing itself should give pause to anyone who presumes to speak of it now.

    Second, there was — and is — the aftermath of racial subjugation that long outlasted the institution of slavery. For black Americans, that experience extended in space and time far beyond the Jim Crow South, and even many who have attained prosperity or renown still know it today in the form of condescension or contempt. This, too, is something of which no white person can have more than nominal knowledge.

    And finally there is the question of reparations — our shorthand word for the idea that a decent society must accept responsibility in the present for injustices perpetrated in the past. What this would mean in practice raises a host of moral, political, and personal questions — all of them urgent and none of them simple.

    What connection should one feel to acts committed or omitted before one was born? How can the cost be calculated of living at the mercy of a person who claims to own you, and of knowing that the same will be true for your children and their children? Even if one could compute the cost, who would fund the reparations, and to whom should they be paid? Would they be subject to means-testing and paid on a graduated scale like a sort of reverse income tax? In a society where identity is increasingly fluid and self-defined, who would decide who qualifies and who does not? Adjudicating these questions — and there are many more — will no doubt open more cracks in our already fractured country. But evading them, as the phrase goes, is not an option.

    A good place to begin is with Thomas Jefferson, who was both a fervent democrat and an unrepentant slaveowner. As such, he embodied what some would call the tragic paradox of early America and others would call bald hypocrisy. In 1775, when news of revolution in the colonies reached the mother country, Samuel Johnson inquired with acid scorn, “How is it we hear the loudest yelps for liberty among the drivers of Negroes?” Jefferson was at the bullseye of that question, and he knew it. “I tremble for my country,” he famously wrote, “when I reflect that God is just, and [that] his justice does not sleep forever.” His choice of word — “tremble” — tells us that, like many slaveholders, he feared that when justice came, it would come not as reconciliation but as retribution.

    Some fifty years later, the editors of Freedom’s Journal, America’s first periodical written and published by black people, agreed with him. “National sins,” they wrote, “have always been followed by national calamities.” But no one — neither the enslavers nor the enslaved — could foresee when or at what scale the calamity would come. Just before daybreak on April 12, 1861 — not quite thirty-five years after Jefferson’s death — it came. That morning, partisans of slavery, feeling both enraged and emboldened by the election to the presidency of a man who had promised to place slavery “in the course of ultimate extinction,” launched an artillery assault on Fort Sumter in Charleston harbor. President Lincoln responded by calling up seventy-five thousand volunteers to suppress what he called a “domestic insurrection.”

    After a three-month lull, the conflict resumed some forty miles from the nation’s capital, at Manassas, Virginia. As so often at the outset of war, both sides expected little more than a carnival show with pop guns. In the North, volunteers waved bits of rope with which they promised to lace up the rebels like trussed hogs. In the South, slaveowners boasted that all the blood to be spilled would barely fill a thimble. We know how those predictions turned out. Over four years of slaughter at places of previously small note — Shiloh, Antietam, Chancellorsville, Vicksburg, Gettysburg, Chickamauga — the scale of the calamity revealed itself. Writing about the first on that grisly list, General Grant recalled that the earth at Shiloh was “so covered with dead that it would have been possible to walk . . . in any direction, stepping on dead bodies, without a foot touching the ground.” Before the war was over, at least three quarters of a million bodies (equivalent to some eight million today) had been put under the ground, including roughly seventy thousand black soldiers who gave their lives fighting for the Union, not to mention countless formerly enslaved persons who, abandoned by their former masters, died of disease or starvation.

    President Lincoln never formally joined any church, but like most Americans of his time he was a believer. In his second inaugural address, delivered on March 4, 1865, on the steps of our recently desecrated Capitol, he quoted Matthew 18 — “woe to that man by whom the offense cometh” — to say that suffering on such a scale could only be due to the righteous wrath of God. And he was careful to identify the provoking sin not as southern slavery but as “American slavery.” Then he spoke a terrifying sentence, concluding with a line from Psalm 19: “If God wills that [the war] continue until all the wealth piled by the bondsman’s two hundred and fifty years of unrequited toil shall be sunk and until every drop of blood drawn with the lash shall be paid by another drawn with the sword, as was said three thousand years ago so still it must be said ‘the judgments of the Lord are true and righteous altogether.’” One could read that famous sentence — and I suspect many people have read it this way — as meaning that the debt owed by white Americans to black Americans had now been paid, in blood. We don’t know how Lincoln, had he lived, would have tried to reconstruct the shattered nation; but we do know enough to doubt that he regarded the bloodletting as a full accounting.

    Years before the first shots were fired, the black writer and abolitionist Martin Delany already had called for a “national indemnity … for the unparalleled wrongs, undisguised impositions, and unmitigated oppression” endured by black people since the first enslaved Africans arrived in the seventeenth century. The most egregious wrong, slavery itself, was dealt a blow early in the war by the Confiscation Acts, then was fatally wounded by the Emancipation Proclamation, and was finally killed off by the Thirteenth Amendment. But with slavery destroyed, the nation was left with an unanswered question: in what currency could the indemnity possibly be paid?

    Some thought that formerly enslaved persons should be offered what the legal scholar Boris Bittker, drawing fifty years ago on the tort-law concept of compensatory damages, called “pecuniary solace for the past.” In fact, there already existed a tradition of paying damages in the context of emancipation. But this tradition stood in obverse, or better to say, perverse, relation to what we think of today as reparations: it was about money flowing not to the formerly enslaved but to their former enslavers. After the American Revolution and the War of 1812, slave owners demanded restitution for human property that had fled to, or been seized by, the British. President Lincoln himself tried to convince the relatively few slaveholders in Delaware to accept payment in exchange for manumission — but they balked. As part of the Emancipation Act abolishing slavery in Washington, DC, Congress appropriated a million dollars (a lot of money in 1862) for compensating slaveholders for their loss.

    After the war, some formerly enslaved persons tried to get the money flowing in the other direction — that is, from, rather than to, their former masters. In the summer of 1865, Jourdon Anderson, who had been liberated by the Union army in Tennessee and found refuge in Ohio, received a letter from his former master asking him to come back “home” to help with the autumn harvest. He was assured that this time he would be paid for his labor. Though Tennessee had been one of the few slave states where it was not illegal to teach a slave to read, he was illiterate — so with the help of the man for whom he now worked, he dictated his reply. As in so many writings by fugitives, his resilience is manifest in his humor:

    Dayton, Ohio, August 7, 1865

    To my old Master, Colonel P. H. Anderson, Big Spring, Tennessee

    Sir:

    Although you shot at me twice before I left you, I did not want to hear of your being hurt, and am glad you are still living.

    He concluded his letter with a flourish: “P.S. — Say howdy to George Carter, and thank him for taking the pistol from you when you were shooting at me.”

    In between, no doubt assisted with the numbers by his employer, he gets down to business:

    I served you faithfully for thirty-two years, and Mandy [his wife] twenty years. At $25 a month for me, and $2 a week for Mandy, our earnings would amount to $11,680. Add to this the interest for the time our wages have been kept back, and deduct what you paid for our clothing, and three doctor’s visits to me, and pulling a tooth for Mandy, and the balance will show what we are in justice entitled to. Please send the money by Adams Express, in care of V. Winters, Esq., Dayton, Ohio.

    He knew, of course, that he would never see a cent.

    But even as Anderson and many others talked into the wind, the idea of money reparations was evolving into the idea that the federal government should provide formerly enslaved persons with grants of free land. Hope arose — naïve hope, as it turned out — that, in the words of W.E.B. DuBois, “all the chief problems of Emancipation might be settled by establishing the slaves on the forfeited lands of their masters.”

     

    That may sound like a radical plan out of Mao’s China or Castro’s Cuba — but in fact there were precedents in nineteenth-century America. In 1862, on the Sea Islands off the coast of South Carolina, which had been captured by Union forces early in the war, the federal government granted to former slaves free housing, modest wages, and basic rations in exchange for cotton cultivation on small plots of land. Three years later, General William T. Sherman issued Field Order 15, which assigned ownership of hundreds of thousands of abandoned acres along the coast from Charleston to Florida to some forty thousand former slaves.

    But those were wartime measures. As soon as peacetime returned, the “poetry” of the idea, DuBois wrote, collided with the “prose” of reality. With the return to power of a federal administration friendly to the white South, promises to the freedmen were revoked, property returned to former Confederate landowners, and the dream of black homesteads “melted quickly away.” Toward the end of his life, Frederick Douglass bitterly remarked that “when the serfs of Russia were emancipated, they were given three acres of ground upon which they could live and make a living. But not so for America’s slaves, who were “sent away empty-handed, without money, without friends and without a foot of land upon which to stand.”

    Land, of course, was not the only essential asset of which black people had been deprived. Education was another. “Let us atone for our sins,” wrote the leaders of the American Missionary Association on the eve of the war, “by furnishing schools and the means of improvement for the children, upon whose parents we have inflicted such fearful evils.” It was too late for the parents, but perhaps the children might be saved.

    But this, too, proved to be a dream deferred. After federal troops withdrew from the South in 1877, black children were subjected to what can only be called a terrorist campaign. Parents who dared send their children to school were fired by their white employers. Teachers and students were beaten. Schools were torched. And even when terror abated, black schools were grossly underfunded. As late as 1912 in Lowndes County, Virginia, for every dollar spent on education for a black child more than thirty dollars were spent for a white child. By 1950, the disparities had narrowed, but they remained enormous. In Mississippi, black public schools received approximately $32.00 of state support per student while white schools received roughly four times as much. When it came to funding education, black Americans got the table scraps. And once the struggle against separate and unequal schools got under way, black children were greeted by police dogs and firehoses in the South, and by obscenities and white flight in the North.

    So the debt owed by white America to black Americans continued to accrue. It grew through the sharecropping system that locked agricultural workers into inescapable cycles of debt. It was compounded by the system of convict labor by which black men were snatched off the streets for such putative crimes as “vagrancy,” and forced to work unpaid in factories or mines. It persisted into the twentieth century as the United States built the semblance of a welfare state from which millions of African Americans were excluded. The signature program of the New Deal, the Social Security Act of 1935, exempted agricultural and domestic laborers who, in the South, were overwhelmingly black. Black military veterans were excluded, too, not de jure but de facto, from the Serviceman’s Adjustment Act of 1944 (better known as the G.I. Bill). At just the moment when a college degree began to supplant the high school diploma as the minimum credential for entering the middle class, most black veterans, who came overwhelmingly from the South, failed to qualify because their schooling had been negligible, or because, no matter how qualified they might be, most colleges would not admit them.

    The larcenies that I have enumerated so far were measurable forms of theft that help to explain why black Americans have owned so little that could be passed on to their children, and why the median wealth of black families today is barely one seventh of that of white families. Yet there is another list of immeasurable injuries: frat boys posing in blackface; black men shoved aside so white women might pass on the sidewalk; beaches segregated to keep black bodies — deemed noxious or sexually enticing — away from white bodies; and, of course, the ghastly regularity of beatings and lynchings. These pathologies haunted black writers such as Richard Wright, who wrote of them with icy rage, and James Baldwin, who wrote of them with sorrow and pity, as when, flying to Atlanta over woodland, he imagined that the “rust-red earth of Georgia . . . acquired its color from the blood that had dripped down from these trees.”

    In this dark and capacious literature, one recent instance stands out for me. In her book The Warmth of Other Suns, Isabel Wilkerson writes of an elderly black man named George Starling, whom she interviewed at his home in Harlem around 1990. Mr. Starling recalled going as a boy some seventy years earlier to the local drugstore in his hometown of Eustis, Florida, with the plan of buying an ice cream cone. The pharmacist liked to greet his black customers by addressing a question to a little terrier he kept with him in the store. “What would you rather do,” he would ask the dog, “Be a [n-word] or die?” — at which point the well-trained pet would flip onto its back, shut its eyes, and play dead. For white patrons, this canine comedy act was hilariously entertaining. For black children, there is no fathoming the damage it did to their souls.

    This appalling history alone — of which I have given only a minimal sketch — makes the moral case for some form of reparations irrefutable. But it does not answer the political question of whether reparations in any conventional sense are conceivable.

    Until recently, most Americans hardly thought about this question at all. Through the nineteenth century and into the mid-twentieth century— from Martin Delany in the 1850s to Queen Mother Audley Moore in the 1950s — black Americans issued impassioned calls for recompense, even sometimes proposing dollar amounts per person or per family. By and large, these demands were dismissed, ignored, or, as in the case of Callie House, leader of the National Ex-Slave Mutual Relief, Bounty, and Pension Association, silenced by imprisonment.

    But around the middle of the last century, propelled by two world-historical events, the reputation of reparations began to change. The first event took place abroad: the campaign to exterminate the Jews of Europe, led by Germany and abetted, acquiesced in, or cheered on by many other nations. This was the blasted world of which Camus said that “only the stones are innocent.” The second event took place here in the United States: the movement to secure basic civil rights for millions of black Americans who were still living under a white supremacist regime to which the Nazis had turned for inspiration in devising their own typologies of race.

    It is always dangerous to go down the road of analogies, which can lead to a grotesque exercise I heard Leon Wieseltier describe many years ago as “comparative calamitology.” There is no ranking system for crimes against humanity. There are no scales by which to weigh the worth of Jews sent by rail to the gas chambers against the worth of Africans sent by sea into oblivion. In thinking about history, differences are always more salient than commonalities. One difference is that for some fraction of the victims of the Nazi crimes, reparations entailed calculating the value of homes lost, businesses seized, art works stolen; whereas the victims of slavery, by definition, owned nothing, including themselves. Slave owners, moreover, had incentive to keep their human chattel alive, whereas the Nazi murderers assessed their success by the efficiency of the killing.

    Yet these two crimes, hideously unique as they were, rooted in distinctive traditions of bigotry and hate, one committed largely out of public sight, the other carried out openly while masquerading as a form of benevolence, confront us with a common question: once the horror stopped, what did these societies owe to the survivors and their posterity?

    In the wake of the Second World War, when words like “genocide” and “Holocaust” were just entering public discourse as names for the unnamable, the German philosopher Karl Jaspers tried to answer this question. In 1946, at the University of Heidelberg, he delivered a lecture called “The Question of German Guilt,” in which he attempted to thread the needle between accusing all Germans of collaboration and urging all Germans to accept that “all are co-responsible” for the way they are governed. All, “without exception,” he concluded, “share in the political liability” for “deeds done by their state.” And so “all must cooperate in making amends to be brought into legal form.”

    What Jaspers called “political guilt” turned out to be deep and wide enough in post-war Germany to support restitution of stolen property to some Jewish families, and payments to the nascent state of Israel. These attempts at mitigation — or reparation, as it came to be known — were by no means met with universal approval. Many Germans denied involvement in, or even knowledge of, the satanic work of the Third Reich, while others took private pride in its dashed dreams. As for Israelis, some opposed accepting “contaminated dollars,” while others likened the whole business to Esau, in Genesis 25, selling his birthright for a mess of pottage. Still, the fact that a major European nation was trying to own up to its crimes was not lost on those who, in the 1950s, began to press the United States to do the same.

    The most celebrated champion of racial justice in midcentury America, Martin Luther King, Jr., is not usually counted among them. As far as I know, he never used the term “reparations.” When he did speak about the past, it was with fierce but abbreviated anger, as when he remarked not long before his death that “a society that has done something special against the Negro for hundreds of years must now do something special for the Negro.” Dr. King was as free from recrimination as any justly aggrieved person can be. But he knew that, in the absence of redress, time alone does not erase past injustice. And so, in 1964, we find him writing that “the ancient common law has always provided a remedy for the appropriation of the labor of one human being by another. This law should be made to apply for American Negroes. The payment should be in the form of a massive program by the Government of special, compensatory measures which could be regarded as a settlement in accordance with the accepted practice of common law.”

    Dr. King was joined in this view by others with whom he is not usually associated, notably Malcolm X, who, around the same time, reopened the land question by demanding a black national homeland, pointing out that a country that provided lavish foreign aid to Europe and Latin America had no excuse for failing to do the same for people whom it treated as foreigners on its own soil. James Forman, speaking in 1969 from the pulpit of Riverside Church in upper Manhattan, called upon white churches and synagogues to put up five hundred million dollars as a kind of jump-start for a national reparations program.

    Such a monetary approach was encouraged not only by the German precedent, but also by homegrown efforts in the United States. In 1946, the same year that Jaspers spoke at Heidelberg, Congress created the Indian Claims Commission as a mediator between Native Americans and the federal government. Since then, from Alaska to North Carolina, several billion dollars have been paid out by federal and state governments in settlement of land claims — a big-sounding number, but in aggregate it amounts to less than a thousand dollars per person. Payments were typically made to tribes or individuals through land trusts that dispensed funds earned by lease or sale. In some cases, land has been transferred to private corporations in which claimants are awarded shares of stock. These arrangements almost always include a provision requiring the beneficiaries to relinquish all further claim for the return of ancient tribal lands.

    Another official act of reparation occurred in 1988, when Congress, with bi-partisan support, passed the Civil Liberties Act, by which the United States officially apologized to Americans of Japanese descent who had been thrown into detention camps during World War II. Almost fifty years after the disgraceful internment, payments of twenty thousand dollars — a sum meager in practice but consequential in principle — were authorized for living individuals, but no provision was made for children of deceased internees, much less for what today we would call “descendant communities.” As the historian Bruce Weiner writes, “the specter of claims by other groups wronged by the U.S. government loomed in the background of the congressional debates.”

    As some feared and others hoped, that specter has now moved to the foreground. In fact, much of the world — not just the United States — is teeming with reparations talk. Some of it is cynical, designed to inflame resentment among the supplicants — as in the demand by Poland’s ruling nationalist party that Germany compensate Poland to the tune of one trillion dollars for its invasion and occupation eighty years ago. Some of it is sincere, such as Mohammed Hanif’s anguished call, in the face of the recent catastrophic floods in Pakistan, that developed nations, which for centuries have poured carbon into the atmosphere, must “pay the communities that they have helped to drown” — just one voice in a growing chorus of demands that the Global North settle its “climate debt” to the Global South. Other variations, so far at least, are mainly talking points among intellectuals, such as Thomas Piketty’s call for France to restore to the Haitian government some portion of the staggering sums that nation was forced to pay after independence to indemnify former slaveholders. In our own country, some advocates of reparations propose distributing trillions of dollars to everyone who can demonstrate descent from an enslaved ancestor and who, for some designated period, has identified as black.

    Heartfelt as they may be, such purely monetary approaches are doomed, I think, to languish in what the human rights scholar Elazar Barkan, in his book The Guilt of Nations, calls “political fantasyland.” They face overwhelming obstacles: competing claims by other groups or nations; rivalry and discord among prospective beneficiaries; and the mind-boggling price tag attached to any meaningful attempt to give back what was taken away. It is a cautionary fact that, right now in the United States, public hostility to the very idea of group preferences seems likely soon to kill off affirmative action in college admissions, which for the past fifty years has been a relatively small form of reparations under camouflage.

    And yet, inspired in part by a powerful essay by Ta-Nehisi Coates published in The Atlantic not quite a decade ago, the question of slavery reparations has been gaining attention across a swath of American life. Led by black intellectuals, including William Darity and Kirsten Mullen, Randall Kennedy, Adolph Reed, Ruth Simmons, Glenn Loury, Robin Kelley, Mary Bassett, Earl Lewis, and John McWhorter, a vigorous debate is under way over what form, if any, reparations should take. Meanwhile, apologies are flowing from universities, municipalities, and businesses for their complicity not only in slavery but in subsequent forms of racial exploitation. Some elite universities are offering tuition waivers to descendants of enslaved persons — as well as to members of federally designated Native American tribes — and making promises to invest in “descendant communities.” In September 2020, the California Assembly established a task force charged with making recommendations for reparations to black Californians. A month later, in Washington, DC, Representatives Clyburn and Moulton introduced a bill, co-sponsored in the upper house by Senator Warnock, that would provide federal loan guarantees and education subsidies to descendants of black World War II veterans who were denied their GI benefits. House Resolution 40, first introduced by Representative Conyers three decades ago and named for General Sherman’s promise of forty acres per emancipated person, calls for a commission to design a national reparations plan, and has now garnered more than two hundred co-sponsors. Depending on one’s point of view, these are either baby steps or signs that the dam is breaking.

    At stake in all these efforts is a fundamental question — we might call it the statutes-of-limitations question — broached by the philosopher Susan Neiman in a book called Learning from the Germans: Race and the Memory of Evil. “Do the sins of the fathers contaminate the children?” she asks. “And if so, for how long?” It is a serious question, but it is also, because it will never yield an actionable answer, an academic question in the pejorative sense of the word. Some readers of the Bible discern an answer in Numbers 14:18, where we find the Lord “visiting the iniquity of the fathers upon the children unto the third and fourth generation.” That verse seems to say that sin travels undiminished through time. Other readers, citing Ezekiel 18:20, find that “the son shall not bear the iniquity of the father, neither shall the father bear the iniquity of the son: the righteousness of the righteous shall be upon him, and the wickedness of the wicked shall be upon him.” On this view, moral culpability belongs not to families, tribes, or nations but only and always to individuals. Each of these assertions begets objections from advocates of the other because, like the Constitution, the Bible will always be read by readers devoted to mutually canceling convictions.

    If one turns to secular texts, one finds writers from Aeschylus and Sophocles to Hawthorne and Faulkner wrestling with the sins-of-the-fathers theme and leaving us with the same conundrum. Edmund Burke, in the wake of the French Revolution, decried the idea of holding individuals responsible for what he called a “pedigree of crimes” committed in the past by some class, party, or sect to which they may belong. But Burke also wrote that society “is a partnership… between those who are living, those who are dead, and those who are to be born.” If history confers on people in the present neither credit nor blame for what happened in the past, what kind of partnership exists across time?

    Our nation is badly overdue in facing this question. But seeking a consensual answer is like wading into quicksand. I suspect that most people believe both the Nay and the Yay of the matter — that no one living today is to blame for the sins of the past, but that everyone has a responsibility to help redress them.

    In pondering what this might actually mean, I came upon a book, Reconsidering Reparations, written recently by Olúfẹ́mi O. Táíwò, a young scholar at Georgetown University, who speaks of reparations not as payback or getting even or settling scores, but as what he calls a “construction project.” He wants to refocus the debate away from the destructive past and onto a constructive future. “What if building the just world,” he asks, “was reparations?” He means, I think, that we must proceed with full awareness that the dire challenges of our time — climate change, disparities in health care and education amplified by the COVID pandemic, gun violence, state violence in the form of bad policing, misused and inequitable incarceration, to name just a few — all have disproportionate effect on persons left vulnerable by history, notably but by no means only black persons. This version of reparations does not gloss over penalties exacted in the past by racial cruelty, but it looks to a future in which human dignity will count for more and more and race will count for less and less.

    Martin Luther King, Jr. shared this view. Back in the twentieth century, when our politics were positively congenial compared with now, he understood that targeting reparations solely for black Americans was a political impossibility. He correctly predicted that “many white workers whose economic condition is not too far removed from the economic condition of his black brother, will find it difficult to accept a ‘Negro Bill of Rights,” which seeks to give special consideration to the Negro … and does not take into sufficient account their plight.” But such resistance, with which in fact he sympathized, did not dissuade him from the principle of redress itself. On the contrary, he envisioned something more daring, more ambitious, and more inclusive — an idea of reparations that was not post-racial but cross-racial. “It is a simple matter of justice,” he said, “that America, in dealing creatively with the task of raising the Negro from backwardness, should also be rescuing a large stratum of the forgotten white poor.”

    Today, as we tally up the human consequences of corporate globalism, I hardly need reiterate that a great many white Americans feel as demeaned and discarded as black Americans, and just as forgotten. In the grim metrics of poverty rates, infant mortality, and maternal deaths in childbirth, black Americans and Native Americans continue to hold the lead. But in the distribution of suffering, as measured by other markers such as opioid addiction, alcoholism, and suicide, the racial gap is closing — not so much because black or indigenous people are rising but because a great many white people are falling. They are falling toward what the scholars Anne Case and Angus Deaton, in a harrowing book of the same name, call “deaths of despair.”

    This multi-racial reality can only be addressed with a multi-racial response — a plan of the sort envisioned by King and his close ally Bayard Rustin, who, as the young historian Timothy Shenk reminds us, urged a “shifting away from race-based initiatives toward universal economic policies whose benefits would, in practice” flow disproportionately to African Americans because they have been disproportionately dispossessed. Beginning with a robust defense of the right to vote, such a response must include subsidized housing for low-income Americans; improved access to health care; investments in public transportation; expanded child tax credits; pre-school and wrap-around services for all children of the sort that affluent families take for granted. It must include renewed investment in community colleges, historically black colleges and universities, tribal, and regional public colleges, where low-income white students as well as students of color are likely to enroll. At elite private colleges, it should mean less dependence on the blunt instrument of standardized testing, and more bridge programs for recruiting and preparing children from low-asset families, white as well as non-white. I know that all this sounds like a fanciful wish list, and a partial one at that — but it is no departure from the American creed of equal opportunity, in which both parties profess to believe, but which is undercut by structural inequities in American life.

    I have no doubt that a racially inclusive approach to repairing our society stands a better chance than any restitutive effort that is racially exclusive. I believe this in part for a positive reason: that despite ferocious resistance, our leadership in politics, culture, and business is slowly but surely becoming less monochrome. I believe it, too, for the negative reason that deprivation and despair observe no racial boundary lines. Politicians have been all too good for all too long at pitting people with small means against one another; but the populist anger emanating today from both left and right presents an opportunity to turn antagonism into alliance. Reparations narrowly conceived will stoke anger and resentment, but reparations broadly imagined can be a force for unity and reconciliation.

    Despite our social acerbities, there are hints of progress — if not always under the banner of reparations. There is renewed awareness of historical precedents, such as the federal settlement in 1974 with victims of the notorious Tuskegee experiment, whereby the U.S. Public Health Service, for forty years, left hundreds of black men with syphilis untreated while studying them as medical specimens; and of compensation authorized in 1994 by the Florida State Legislature for descendants of victims of a white mob that, seventy years earlier, had murdered residents of the black community of Rosewood before burning the town to the ground. The city of Evanston is using a marijuana tax, of all things, to help fund housing grants for black residents whose families were damaged by red-lining or predatory mortgages. Though no reparations have yet been paid to victims of the notorious Indian boarding schools where for centuries children were abused and traumatized, Secretary of the Interior Deb Haaland is pushing for memorialization of the horrors, and for revitalization of the tribal languages and practices whose eradication was the schools’ prime purpose.

    Meanwhile, individuals descended from slaveowners are seeking out persons whose ancestors were enslaved, and vice-versa, for reconciliation and mutual education. The National Memorial for Peace and Justice in Montgomery, Alabama, conceived by Bryan Stevenson, and the Museum of African-American History and Culture founded by Lonnie Bunch, hold great promise for building an American future that will be less ignorant and more honest.

    At the core of all these efforts — civic and local, personal and national — is an idea articulated long ago by Isaiah Berlin in his great essay on liberty:

    What oppressed classes or nationalities . . . want is simply recognition (of their class or nation, or color or race) as an independent source of human activity, as an entity with a will of its own (whether it is good or legitimate, or not) and not to be ruled, educated, guided, with however light a hand, as being not quite fully human, and therefore not quite fully free.

    I hear him here not as the Olympian Sir Isaiah, but in the voice of his boyhood self, as a child in tsarist and then Bolshevik Russia, where he was mocked and shunned for no reason other than that he was a Jew. What I hear in this passage is the universal craving for recognition that is the precondition of human freedom. It is the same craving that Ta-Nehisi Coates expresses when he defines reparations as “the full acceptance of our collective biography and its consequences.” It is the keynote of African-American literature, from the fugitive slave narratives, to Zora Neale Hurston’s insistence that the “oldest human longing… is self-revelation,” to the opening of Ralph Ellison’s Invisible Man: “I am an invisible man . . . simply because people refuse to see me.” This is a matter on which African Americans have had an authoritative voice.

    But not a proprietary voice. We hear the same theme from working-class whites in Louisiana, of whom the sociologist Arlie Hochschild writes: “You are a stranger in your own land. You do not recognize yourself in how others see you. It is a struggle to feel seen and honored.” It is the same theme that torments Tommy Orange, who writes in his novel There, There about Native Americans “fighting for decades to be recognized as a present-tense people,” and the same captured by Arthur Miller in four famous words about a middle-class white man sinking toward the abyss: “Attention must be paid.”

    Among its most heartbreaking expressions is Dr. King’s multicultural masterpiece, Letter from a Birmingham Jail, in which he writes of “the degenerating sense of nobodiness” by which black Americans have been purposefully afflicted for so long. He draws in that work on Socrates, Augustine, and Aquinas, then leaps forward to Niebuhr and Tillich via Jefferson and Lincoln; but his real authority is his six-year-old daughter. To the white ministers who have scolded him for what they consider his impatience and inflammatory tactics, he replies that he has had to tell his daughter that the local public amusement park is closed to “colored children.” As she tries to grasp what he is saying, he is forced to watch “depressing clouds of inferiority begin to form in her little mental sky,” along with an incipient “bitterness toward white people.” She is a child of slavery and of the Jim Crow South. In another sense, however, she has no color or ancestry or place of birth. She is just a child who wants to play with other children while her parents look on from near enough to make her feel safe, but far enough to make her feel proud. She is anyone’s child — and anyone with a scintilla of conscience cannot abide what is being done to her.

    Thinking about that child makes me wonder if reparations — freighted word that it is, all but guaranteed to trigger reproval from proponents and vitriol from opponents — is quite the right word for what we owe to the future. Perhaps the better word is “recognition,” whose etymology means to know again, to recognize, that is, to re-know, re-learn, the truth of human equality, a truth that we all possess in childhood before losing it to someone else’s animus or ideology, or to the encroachment of our own prejudice or self-interest.

    Whichever word we prefer, it signifies the dream by which Dr. King was possessed: to repair what he called the broken “network of mutuality” that was, according to his religion, both the origin and destiny of humankind. He set his sight not on the crimes of the past but on what another great dreamer, Herman Melville, called “the prospective precedents of the future.” He was engaged, as Professor Táíwò would have it, in the work of construction. The reconstructed world that he imagined — still, for now, a dream world — will be a place where anyone’s remediable suffering is an affront to us all.

    From Queer to Gay to Queer

    I am a direct beneficiary of the most successful social movement in American history. I am a gay man. Born in 1983 when a mysterious disease was beginning to decimate an earlier generation of gay men against a backdrop of societal indifference, I now live in a country where gay people can marry, serve openly in the military, and are legally protected from discrimination. Public polling regularly indicates that a large majority of Americans are accepting of their gay and lesbian fellow citizens, a majority that, thanks to the broadmindedness of younger generations, grows larger every year. Excepting some conservative subcultural redoubts and a few professional sports leagues, openly gay people can now be found in practically every arena of American life. The presidential candidacy of Pete Buttigieg suggests that the election of an openly gay person to the highest office in the land could happen within my lifetime.

    This welcome state of affairs would have been unimaginable to all but the most clairvoyant of gay people (and, for that matter, straight people) born in the middle of the last century. As an historian of the gay experience who came to understand the fact of his own nature around the time that our leaders were busy passing measures aimed at stigmatizing gay people (the military’s “Don’t Ask, Don’t Tell” policy and the paradoxically named Defense of Marriage Act), it was certainly unimaginable to me. For what qualifies the gay movement as more successful than any of the other campaigns for equality waged by American minority groups is both the extent of the transformation that has been achieved (in both law and public attitudes) and the rapidity with which it occurred. 

    It is increasingly difficult to remember today, but within living memory the homosexual was the most despised figure in the American imagination. Diagnosed as mentally ill by the medical establishment, condemned as heathens from the pulpit of every major religious denomination, their conduct deemed illegal by the state, gay men and women — commonly referred to as “perverts,” “sex deviants,” and even less pleasant epithets — once occupied a place comparable to that of the dissident in a totalitarian regime. Between 1946 and 1961, the year before Illinois became the first state to decriminalize homosexual acts between consenting adults, state and municipal governments imposed some one million criminal penalties upon gay people for offenses ranging from holding hands to dancing to sex, a legal regime approximating what Christopher Isherwood memorably described as a “heterosexual dictatorship.” Indeed, when it came to gay people, the legal system sanctioned illegality, in the form of the “gay panic” defense that enabled assailants to justify their violent, even homicidal assaults on gay men as fits of temporary insanity “provoked” by a homosexual’s “indecent advance.” The Postal Service impounded gay literary magazines and the FBI spied on gay rights organizations. Declared enemies of the state by leaders of both political parties, gay people were prohibited from working for the federal government until 1975, and barred from holding security clearances for another two decades. 

    Such was the revulsion that homosexuality aroused among the general public that, in the year I was born, Edwin Edwards, the notoriously corrupt governor of Louisiana, quipped that “the only way I can lose this election is if I’m caught in bed with either a dead girl or a live boy.” Edwards might have intended his remark as a joke, but he expressed an important, if rarely acknowledged, axiom about American public life, which was that the only thing as bad as murdering a member of the opposite sex was loving a member of the same one. 

    In 2004, President George W. Bush won reelection after campaigning for a constitutional amendment to ban same-sex marriage. While that effort failed, over two dozen states eventually adopted anti-gay marriage amendments to their constitutions. But hearts and minds were already beginning to change. The year Bush attempted to enshrine discrimination in our country’s founding document, sixty percent of Americans opposed same-sex marriage and only thirty-one percent supported it. Within fifteen years, those figures had reversed, representing the most dramatic shift in public opinion about a social issue in the history of polling. Today Pete Buttigieg serves in the Cabinet, where the greatest controversy surrounding his sexual orientation was the complaint that he took too much paternity leave.

    This astonishing metamorphosis in the status of the homosexual from what one elderly gay man once described to me as America’s “last lepers” into full and equal members of society has had a profound impact on gay and straight people alike. By coming out of their closets, gay men and women helped the country overcome one of its most deep-seated yet irrational fears, which was ultimately a fear of difference. This national coming out has transformed relationships between friends, colleagues, even strangers. (It is often strangers who threaten gay people most, which is why the quotidian act of holding hands with one’s partner in public can be a courageous act.) Most significant is the change that has happened within families, where the revelation of a loved one’s homosexuality less frequently leads to the rejection and banishment that used to be the norm. 

    Acknowledging progress is often difficult for those fighting to achieve it, as doing so can feel like complacency when so much important work remains to be done. If gay rights activists have been hesitant to trumpet their victories, their opponents have demonstrated the opposite tendency, treating each concession to the dignity of gay people as yet another precipitous step in the decline of Western civilization. Decriminalizing homosexuality, they warned, would lead to “special rights” — that is, equal treatment — for homosexuals, which would in turn lead to the recognition of gay marriages, the legalization of polygamy and bestiality, and the rebuilding of Sodom and Gomorrah. When, in 1996, the Supreme Court struck down a constitutional amendment in Colorado that would have prohibited the state from protecting gay people from discrimination, Justice Antonin Scalia prophesied that, as a consequence of this protection, laws against polygamy would eventually fall. Seven years later, when the Court struck down a Texas law prohibiting private sexual acts between persons of the same sex, Scalia added “state laws against bigamy…adult incest, prostitution, masturbation, adultery, fornication, bestiality and obscenity…” as next on the legal chopping block.

    So swift has been the transformation of the legal landscape that conservatives have often been unable to describe it in terms other than the conspiratorial. Reviewing one such tract, a book called The Homosexual Network, in National Review in the early 1980’s, the conservative commentator Joseph Sobran remarked that the book’s “most important lesson” is one that “transcends homosexuality.” Most worrisome to Sobran was how “a very small number of people, united on behalf of a cause heartily despised by the great majority of others, can, even in a democracy, gain unbelievable leverage.” The charge that liberal elites impose their will on conservative majorities has long been a staple of American populist rhetoric, and many conservatives criticize the legal victories for gay equality on the grounds that they were decided by “activist judges.” But Sobran’s lament about the ability of “despised” homosexuals to “gain unbelievable leverage” over the mass of decent God-fearing Americans “even in a democracy” missed the mark. For whatever one thinks about the aims of the gay rights movement, its undeniable success is not a repudiation of democracy but a vindication of it. 

    That movement is widely believed to have begun with the Stonewall Uprising of 1969, when the patrons at a gay bar in Greenwich Village fought back against a police raid. (Even the provision of liquor to homosexuals was once illegal.) Over the course of three days and nights, hundreds of angry homosexuals joined the fray, and the spirit of gay liberation was set free. “Do You Think Homosexuals Are Revolting?” a pamphlet distributed in the exhilarating weeks following the unrest cheekily asked. “You Bet Your Sweet Ass We Are.”

    The riot in downtown New York, which was reported in newspapers across the country, was without question a pivotal moment in the history of gay America. News of the homosexuals who had, so contrary to type, bravely resisted state oppression made a profound impact on individual gay men and lesbians, helping them come to terms with their sexuality and recognize that they were a part of something much larger than themselves. But while Stonewall was the birthplace of gay liberation, the movement for gay civic equality had begun much earlier. After some fizzling starts in Los Angeles and San Francisco in the early 1950’s, the effort found its footing in the more staid precincts of Washington, D.C. The leaders of this cause may not have been “revolting” drag queens, but they were revolutionaries, of a sort. 

    The central figure was a Harvard-trained astronomer named Franklin E. Kameny. In 1957, Kameny was fired from his job with the Army Map Service on account of his homosexuality. Thousands of people had already been terminated on such grounds, but Kameny was the first to challenge his dismissal, a decision that would, in the words of the legal scholar William Eskridge, eventually make him “the Rosa Parks and the Martin Luther King and the Thurgood Marshall of the gay rights movement.’” In 1960, Kameny appealed to the Supreme Court to restore his job. The petition that he wrote invoked the noblest aspirations of the American founding: life, liberty and the pursuit of happiness. To the government’s claim that his firing was justified on account of its right to prohibit those engaged in “immoral” conduct, Kameny replied with what was, for its time, a radical, even scandalous, retort: “Petitioner asserts, flatly, unequivocally, and absolutely uncompromisingly, that homosexuality, whether by mere inclination or by overt act, is not only not immoral, but that, for those choosing voluntarily to engage in homosexual acts, such acts are moral in a real and positive sense, and are good, right, and desirable, socially and personally.” He continued: “In their being nothing more than a reflection of ancient primitive, archaic, obsolete taboos and prejudices, the policies are an incongruous, anachronistic relic of the Stone Age carried over into the Space Age — and a harmful relic!” 

    Inspired by the African-American civil rights movement, Kameny expressed his outrage at being treated as a “second-rate citizen,” and like the leaders of that heroic struggle he appealed to America’s revolutionary founding document for redress: 

    We may commence with the Declaration of Independence, and its affirmation, as an “inalienable right,” that of “the pursuit of happiness.” Surely a most fundamental, unobjectionable, and unexceptionable element in human happiness is the right to bestow affection upon, and to receive affection from whom one wishes. Yet, upon pain of severe penalty, the government itself would abridge this right for the homosexual.

    Kameny’s arguments may have been revolutionary, but his goals were not. He had no desire to overturn the American government; he just wanted it to live up to its self-proclaimed principles. When his appeal to the Supreme Court was denied, Kameny founded the first sustained organization in the United States to represent the interests of “homophiles” (as some gays called themselves at the time), the Mattachine Society of Washington, D.C., in which capacity he led peaceful protests, wrote letters to every member of Congress, and engaged in public awareness campaigns. In 1965 — four years before Stonewall — Kameny organized the first picket for gay rights outside the White House. Men were required to wear jackets and ties; women, blouses and skirts reaching below the knee. “If you’re asking for equal employment rights,” he instructed his nine comrades, “look employable.” Eight years later, he played a crucial role in lobbying the American Psychiatric Association to remove homosexuality from its register of mental disorders. 

    To the younger and more militant gay liberationists of New York and San Francisco, Kameny’s dedication to liberal reform reeked of assimilationism. Many of them came to view Kameny with contempt, speaking of him in the same tones with which black nationalists derided Martin Luther King, Jr. With his fussy dress codes, his carefully typewritten letters, and his veneration of the Constitution, Kameny was a practitioner of dreaded “respectability politics,” which for radicals (then and now) has been the great scourge of American liberalism. But Kameny was no conformist. In his petition in 1960, he declared: 

    These entire proceedings, from the Civil Service Commission regulation through its administration and the consequent adverse personnel actions, to respondents’ courtroom arguments, are a classic, textbook exercise in the imposition of conformity for the sake of nothing else than conformity, and of the rigorous suppression of dissent, difference, and non-conformity. There is no more reason or need for a citizen’s sexual tastes or habits to conform to those of the majority than there is for his gastronomic ones to do so, and there is certainly no rational basis for making his employment, whether private or by the government, contingent upon such conformity.

    In 2015 — fifty years after staging his picket outside the White House, and four years after his death at the age of eighty-six Kameny was vindicated when the very Supreme Court that had refused to hear his case of wrongful termination ruled that the Constitution recognized the right of same-sex couples to marry. Obergefell v. Hodges was a momentous victory for the American principle of equality before the law, achieved through the American principles of freedom of expression and freedom of association. (Today it is not uncommon for gay couples to include excerpts from Justice Anthony Kennedy’s majority opinion among the readings at their wedding ceremonies). Five years later the Court completed the work of Kameny and his legatees in Bostock v. Clayton County, ruling that the Civil Rights Act of 1964 protects gay and transgender people from discrimination in the same way that it does other minority groups. By this point, the court was mainly tying up loose ends, as the private sector had already begun instituting its own nondiscrimination policies. Finally, it seemed, America had put the gay question to rest.

     

    II 

     

    One of the most puzzling aspects of our contemporary political debate has been the reemergence of gay rights — or, in the parlance of our times, “LGBTQ rights” — as a subject of fierce public controversy. The major battleground is the public schools, where, over the past several years, states and municipalities across the country have passed laws prohibiting discussion of subjects pertaining to sexual orientation and gender identity in early grade levels. Some of the rhetoric surrounding these efforts (describing schoolteachers as “groomers”) has a distinctly menacing tone, invoking ugly stereotypes of gay men as pedophiles.

    But just as the rhetoric of the anti-gay right harks back to a darker time, the language of some of those purporting to speak on behalf of “LGBTQ people” has assumed something of a retro quality as well. The most visible manifestation of this development has been the revival of the word represented by the last letter in that cumbersome acronym: “queer.” A decade ago, the New York Times had printed this word — commonly regarded as a slur — only eighty-five times in the paper’s entire history. In 2022 alone, the Times published it well over six hundred times. (Pamela Paul published these figures in her Times column last October.) Once difficult to find on the website or in the literature of the country’s leading gay rights organization, the Human Rights Campaign (HRC), “queer” is rapidly replacing “gay” and “lesbian” in our discourse. Last year, in a six-and-a-half-minute video introducing herself, HRC’s new president did not once utter those words. She did employ “queer.” 

    Like nearly all words, “queer” has several meanings, and its usage has evolved over time. Seventy years ago, some masculine “straight-acting” gay men favored “queer” as a means of differentiating themselves from their more effeminate brothers, whom they derided as “fairies.” (Gays are as capable as any minority group of replicating among themselves the prejudice that they endure in mainstream society, a lamentable form of self-hatred that often stigmatizes the more flamboyant, the more gender nonconforming, the “swish” who could not “pass” for straight if his life depended on it. As Kameny himself argued, homosexuals “are as honest and as dishonest, as reliable and as unreliable, as industrious and as lazy, as conscientious and as irresponsible, as liberal and as conservative, as religious and as irreligious, as much law-abiding and law-breaking as is the citizenry at large.”) The most common usage of “queer,” however, was as a derogatory epithet. It ranked with “faggot,” and was often the last word a gay man heard before having his head bashed in. 

    Around the late 1980’s, justifiably angered at the societal apathy towards the AIDS crisis, some left-wing gays and lesbians defiantly appropriated “queer” from the homophobes. The radical direct-action group Queer Nation outed closeted public figures and famously disrupted a taping of the “Arsenio Hall Show” to protest the appearance of the gay-bashing comedian Andrew Dice Clay. Today, in its most innocuous application, “queer” can serve as a concise label for the entire LGBTQ community — not all transgender people are homosexuals, and many lesbians feel left out by the term “gay.” Popular television shows such as Queer Eye for the Straight Guy and Queer as Folk do not carry a political connotation so much as they do a playful one. To adopt a critical “queer” approach — to examine literature, film, art, historical episodes, or relationships for homosexual subtexts — can be a valid method of analysis. Adopting a slur used by one’s enemies, according to this reasoning, robs the word of its ability to harm. 

    Some argue that the embrace of “queer” over “gay” represents a natural evolution in the use of language, no different from the way in which “gay” started to replace “homosexual” and “homophile” in the 1970’s. But whether used pejoratively, proudly, or as a matter of mere linguistic convenience, “queer” has always been a loaded word, encompassing meanings and implications that the more neutral “gay” lacks. Some of those who embrace “queer” liken themselves to African-Americans who have reclaimed “nigger.” But the comparison doesn’t wash. Where university course books abound in Queer Studies classes, there are no course offerings, mercifully, in N-word Studies. (See the difference? Having reluctantly used the word once I don’t wish to use it again.) You will never hear Oprah Winfrey, Henry Louis Gates, Jr., or Hakeem Jeffries use this word to refer to themselves or another black person. The disgusting word has of course been given a new lease on life in popular African-American culture, particularly in hip-hop, where it is commonplace, the result of a complicated psychology and sociology; but there, too, all the entertainment pleasure notwithstanding, it grates. 

    The Oxford English Dictionary defines “queer” adjectivally as “strange, odd, peculiar, eccentric, in appearance or character.” As a noun, “queer” denotes a “questionable character, suspicious, dubious.” Many of those who embrace “queer” over “gay” do so precisely because it connotes marginalization. All minorities have found a certain dark glamor in deviance, a kind of reverse prestige in marginalization, even if none have ever wished to pay the price. Many gays — like many straights — reject the mainstream, which they find stifling and oppressive, and they wish to subvert it. “Queer,” in this sense, implies less a sexual orientation than a socio-political one. Identifying herself as “queer past gay,” the late radical feminist author bell hooks said that being queer is not “about who you’re having sex with — that can be a dimension of it — but queer as being about the self that is at odds with everything around it and it has to invent and create and find a place to speak and to thrive and to live.” After years of rejection by society, acceptance can mean the end of dissidence, of coolness, of the romance of rebellion. 

    Such an expansive definition, however, means that anyone — including heterosexuals — can now identify as queer. Not long ago a male journalist “came out” as queer on Twitter while making sure to note that “I’m attracted to a wide range of women, but not men at all.” In case this identity saga seemed illogical, he explained that “embracing being queer was as much an intellectual journey as it was other areas. Just the way I think of structural oppression comes from not feeling heteronormative in my thinking about things.” What regular gay people strived long and hard to transform into one identity attribute among many, to make as relevant to a person’s character as their eye color or shoe size, queers seek to italicize and imbue with transgression. “Queerness” is an attempt to revive homosexuality’s lost radical splendor, which is the inevitable consequence of the attainment of rights and the spread of decency. “Queerness” is a means by which anyone — regardless of sexual orientation — can assume a posture of defiance against mainstream society and bourgeois values.

    The first thing a gay person understands about their sexual orientation is that they harbor a dangerous secret, one requiring them to pretend that they are something that they are not. For gay people, the process of coming out is sacred, marking the point when they stop living a lie and begin living in truth. For this reason, a heterosexual who “comes out” as queer disrespects a long and harsh struggle and reeks of identity slumming, like the episode of “Seinfeld” in which Jerry’s dentist converts to Judaism “just for the jokes.” The pose is a moral travesty. The British lesbian writer Julie Bindel has observed that “queer” has increasingly come to describe “anyone who decides that admitting to being heterosexual is boring.” 

    The proliferation of functionally straight people declaring themselves queer has been a subject of bemused ridicule among actual gay people for some time. But the adoption of various queer identities is no longer an isolated trend. Over the past decade, the proportion of Generation Z (those born after 1997) which identifies as LGBT has tripled to twenty-one percent. (One poll puts the figure at forty percent). Among millennials (those born between 1980 and 1997), this figure doubled from slightly over five percent to ten and a half percent. The rapid rise in LGBT identification is a phenomenon exclusive to young people; the fraction of Generation X, Baby Boomers, and those born before 1946 who identify as LGBT has remained roughly stable (at 4.2 percent, 2.6 percent, and .8 percent, respectively). 

    Some might argue that this increase in LGBT identification among the young is the natural, and welcome, result of America becoming more tolerant of diverse sexual and gender identities; that, just as the number of left-handed people increased once we stopped forcing kids to write with their right hands, so has the number of people willing to acknowledge their LGBT identity similarly grown. But the increase in LGBT identity has not correlated with a rise in same-sex behavior. In 2008, five percent of Americans under thirty identified as LGBT, and a similar number reported engaging in same-sex relations. By 2021, while the proportion of this cohort identifying as LGBT more than tripled, only half of them reported same-sex sexual activity.

    This incongruence is owed partly to the increase in the number of people, particularly young people, identifying as bisexual. More than half of LGBT Americans, fifty-seven percent, define themselves this way. Yet among those married or cohabitating, they are overwhelmingly paired with a member of the opposite sex. This has led to the curious outcome whereby LGBT Americans — a group once known quaintly as “the gay community” — are now more likely to be married or living with someone of the opposite sex (twenty-two percent) than with someone of the same sex (sixteen percent). Queerness, then, is increasingly becoming just another trend that gay people innovate (like fashionable neighborhoods, music, clothing, and other forms of cultural expression) and straight people adopt. 

    The rise in LGBT identity is also a markedly political development. Across time, cultures, and geography, homosexuality has always been a naturally occurring and randomly distributed phenomenon, “numbering its adherents everywhere,” as Proust wrote, “among the people, in the army, in the church, in the prison, on the throne.” Gay people can be found among every race, class, nationality, and political camp; the only way in which they are uniform is in the nature of their same-sex attraction. And yet, from 2008 to 2021, LGBT identification tripled among self-identified “very liberal” college students while rising only three to nine percent among those who are slightly liberal, moderate, and conservative. Today, while five percent of “very conservative” college students identify as LGBT, a full half of “very liberal” students do. Even accounting for the entirely understandable fact that gay people tend to be more liberal than the rest of the general population (a trend that has been decreasing along with the political saliency of homosexuality), there is no explanation for this massive disparity other than that it is exogenously influenced. 

    Heavily influenced by social media and the broader political environment, the biological identity of gayness is being superseded by the subjective identity of queerness. Whereas the former is innate and has no inherent political ramifications, the latter can be freely chosen and is politically radical. According to the Foundation for Individual Rights and Expression, a very liberal white female college student who supports shouting down a campus speaker has a seventy percent likelihood of identifying as LGBT. Unsurprisingly, there are psychological consequences for those who decide to put themselves “at odds with everything around” them. Despite the growing societal acceptance of homosexuality, the number of LGBT students reporting mental health issues has soared over the past decade. “It is possible that the groups which report worse mental health — such as young LGBT and very liberal people — have disproportionately shaped, and been shaped by, a new left-modernist culture,” writes Eric Kaufmann of Birkbeck College, who has studied the rise in LGBT identity among youth. “This zeitgeist values transgressing social boundaries while valorizing vulnerability and victimhood.”

    A zeitgeist of transgression and victimhood is one that, by definition, will never be satisfied. It will forever be in opposition. “I feel an inexplicable amount of rage witnessing the Senate likely to overcome the filibuster to vote to codify marriage rights for same-sex couples.” These words condemning last year’s belated legislative codification of marriage equality came not from a fire-breathing evangelical preacher, but from the deputy director for Transgender Justice at the American Civil Liberties Union, a leading figure of the queer left named Chase Strangio. 

    A significant part of my career has (begrudgingly) been devoted to marriage-related litigation. I find it disappointing how much time and resources went into fighting for inclusion in the deeply flawed and fundamentally violent institution of civil marriage. I believe in many ways, the mainstream LGBTQ legal movement caused significant harm in further entrenching the institution of marriage as an organizing structure of US civil society.

    Even equality, for him, is not worth the renunciation of the glamour of outsiderhood. 

    This cleaving to marginality helps to explain the queer aversion to Pete Buttigieg, whose most vocal opponents were found not among the homophobic right but among the queer left, who saw in the former mayor of South Bend a paragon of “homonormativity.” During the campaign of 2020, a group of activists calling themselves “Queers Against Pete” attempted to disrupt his events. In a screed for The New Republic that the magazine later retracted, the writer Dale Peck derided Buttigieg as “Mary Pete,” the gay version of an Uncle Tom. That Buttigieg is not a “socialist” or a “revolutionary” offended Masha Gessen of The New Yorker, who bemoaned his appeal to “older, white, straight people,” a quality that rendered him “a straight politician in a gay man’s body.” There is something repulsive about the policing of authenticity, and historically it has been one of the most destructive ways in which members of a minority turn on each other. 

    Reflecting upon a TIME magazine cover featuring Buttigieg and his husband standing outside their home, Greta LaFleur, a professor of American Studies at Yale, considered how “our first gay first family might actually be a straight one.” For those confused as to how a same-sex couple could qualify as “straight,” LaFleur explained: “If straight people can be queer — as so many of them seem so impatient to explain to me — can’t gay people also be straight?” The title of this ugly little diatribe? “Heterosexuality Without Women.” LaFleur never delineated just what she meant by “heterosexuality,” imputing it to the Buttigiegs based upon their appearance (“I wondered, for a second, if they were actually wearing the same pair of pants,”) traditionalism (the image reeked of “Norman Rockwell,”) and sexual modesty (“there’s actually no sex at center stage”).

    It is important to say clearly, therefore, that aside from same-sex attraction, there is no “correct” way to be gay, just as there is no “correct” way to be left-handed, and to claim otherwise is not progressive but regressive, foisting upon gay people the same gendered expectations and roles from which they fought so long and hard to break free. These critics are like the progressive fools of the 1980s who said that Margaret Thatcher was not really a woman, and their doctrinaire definitions are pernicious. That Buttigieg has chosen a life of white picket fences, childrearing, and monogamy makes him no less of a gay man than one who opts for a life of childless hedonism in the gay ghetto. Of course Buttigieg is gay. What he isn’t is queer. 

    With its insistence that gay people adhere to a very narrow set of political and identitarian commitments, to a particular definition that delegitimates everything outside of itself, political queerness is deeply illiberal. This is in stark opposition to the spirit of the mainstream gay rights movement, which was liberal in every sense — philosophically, temperamentally, and procedurally. It achieved its liberal aspirations (securing equality) by striving for liberal aims (access to marriage and the military) via liberal means (at the ballot box, through the courts, and in the public square). Appealing to liberal values, it accomplished an incredible revolution in human consciousness, radically transforming how Americans viewed a once despised minority. And it did so animated by the liberal belief that inclusion does not require the erasure of one’s own particular identity, or even the tempering of it. By design, the gay movement was capacious, and made room for queers in its vision of an America where sexual orientation was no longer a barrier to equal citizenship. Queerness, alas, has no room for gays. 

    The victory of the gay movement and its usurpation by the queer one represents an ominous succession. The gay movement sought to reform laws and attitudes so that they would align with America’s founding liberal principles; the queer movement posits that such principles are intrinsically oppressive and therefore deserving of denigration. The gay movement was grounded in objective fact; the queer movement is rooted in Gnostic postmodernism. For the gay movement, homosexuality was something to be treated as any other benign human trait, whereas the queer movement imbues same-sex desire and gender nonconformity with a revolutionary socio-political valence. (Not for the first time, revolution is deemed more important than rights.) And whereas the gay movement strived for mainstream acceptance of gay people, the queer movement finds the very concept of a mainstream malevolent, a form of “structural violence.” Illiberal in its tactics, antinomian in its ideology, scornful of ordinary people and how they choose to live, and glorifying marginalization, queerness is a betrayal of the gay movement, and of gay people themselves. 

     

    III

     

    The foundations of queer politics lie in queer theory. Like the other tributaries of post-structuralist thought, queer theory explains the entirety of human relations — indeed, of human existence itself — in terms of power. In his pioneering History of Sexuality, Michel Foucault posited that homosexuality is a socially constructed identity that was imposed upon a set of practices in the middle of the nineteenth century. “Homosexuality appeared as one of the forms of sexuality when it was transposed from the practice of sodomy onto a kind of superior androgyny, a hermaphroditism of the soul,” he wrote. “The sodomite had been a temporary sinner; the homosexual was now a species.” The homosexual did not exist until this point; he was created by “discourses” that privileged the “normal.” The classification of homosexuality, and the subsequent “creation” of the homosexual, was another bourgeois capitalist tool of oppression. 

    Foucault was right to contend that the concept of sexual orientation, and the subsequent “invention” of the homosexual, were uniquely modern. Where he erred was in his claim that this new understanding was an oppressive deployment of discursive power. On the contrary, it was the single most liberating development in the history of homosexuality, in that it allowed society to understand gay people as a distinct minority group that could seek legal recognition and protection. 

    When you work your way through their ostentatiously abstruse vocabulary, the intent of the queer theorists becomes clear: revolution against the “normal,” however it happens to be understood. “Queer is by definition whatever is at odds with the normal, the legitimate, the dominant,” David Halperin, one of the leading academic queer theorists, explained in 1995 in Saint Foucault: Towards a Gay Historiography. In this analysis, expanding our conception of the normal — which the gay movement stupendously achieved — is worse than insufficient. It is a sordid collaboration with power. (This is how the extension of hard-won marriage rights to gay people becomes the strengthening of a “fundamentally violent institution.”) Standing among the vanguard that is striving to hasten our redemption, our glorious human future, is a never-ending obligation. “Normalizing the queer would be, after all, its sad finish,” Judith Butler, one of the grand poobahs of queer theory, explains. Only liberation from the normal will do. Lacking a normative dimension to its analysis, queer theory is, at its essence, nihilistic. “There is nothing in particular to which [queer] necessarily refers,” Halperin writes. “It is an identity without an essence.” Which allows for an ideology without limits. 

    In 1984, in her influential article “Thinking Sex: Notes for a Radical Theory of the Politics of Sexuality,” Gayle Rubin delineated the consequences of such an ideology. Widely considered to be one of the foundational texts of queer theory, Rubin’s thesis is that “sex is always political.” Hip to the fact that “sexuality is impervious to political analysis as long as it is primarily conceived as a biological phenomenon or an aspect of individual psychology,” she must therefore negate biology, psychology, and the historical record. Rubin is a cultural anthropologist; like the other leading queer theorists, she has no formal training in the hard sciences or history. This absence of knowledge is of no hindrance to the queer theorists, of course. Biology, psychology, and even in history all are mere “discourses” shaped by those holding “power,” and all must bow before the tyranny of the emancipatory theory. 

    Heavily influenced by Marx, the queer theorists neatly apply his economic analysis to sexual relations. In place of his pyramidical class system with its oppressive capitalists on top and oppressed proletarians toiling down below, Rubin constructs a “sexual hierarchy” in the form of a “charmed circle” reinforcing a system of laws that “operate to coerce everyone towards normality.” In the middle of this circle sits the various forms of privileged sexuality: “heterosexual, marital, monogamous, reproductive, and non-commercial. It should be coupled, relational, within the same generation, and occur at home.” Existing precariously on the circle’s “outer limits” is “bad, abnormal, unnatural, damned sexuality,” as well as sex that is “homosexual, unmarried, promiscuous, non-procreative, or commercial.” Rubin’s description of how this sexual system operates parodies the Marxist dialectic of class struggle:

    Differences in social value create friction among these groups, who engage in political contest to alter or maintain their place in the ranking. Contemporary sexual politics should be reconceptualized in terms of the emergence and on-going development of this system, its social relations, the ideologies which interpret it, and its characteristic modes of conflict.

    The sexual hierarchy is of a piece with the other forms of oppression that exist within bourgeois societies. “All these hierarchies of sexual value — religious, psychiatric, and popular — function in much the same ways as do ideological systems of racism, ethnocentrism, and religious chauvinism,” Rubin writes. “They rationalize the well-being of the sexually privileged and the adversity of the sexual rabble.” 

    According to Rubin, Western societies vigilantly police their systems of sexual oppression lest the acceptance of any form of “abnormal” sexuality spark the “domino theory of sexual peril” whereby the entire structure would collapse. “If anything is permitted to cross this erotic DMZ, the barrier against scary sex will crumble and something unspeakable will skitter across,” she declares. The goal, then, should be not to expand the “charmed circle” so as to include homosexuality, but do away with it altogether. Foreshadowing the attacks on Pete Buttigieg and other “cisgender white gay men” that has become such a staple of queer discourse, Rubin observes that while “most homosexuality is still on the bad side of the line… if it is coupled and monogamous, the society is beginning to recognize that it includes the full range of human interaction.” That, believe it or not, is a bad thing. By contrast, she complains that “promiscuous homosexuality, sadomasochism, fetishism, transsexuality, and cross-generational encounters are still viewed as unmodulated horrors incapable of affection, love, free choice, kindness, or transcendence.” 

    Most gay people would be repelled at seeing their sexual orientation, a core aspect of their identity, conflated with pastimes such as “sadomasochism” and “fetishism.” Elsewhere Rubin lists homosexuality alongside other “innocuous behaviors” such as “prostitution, obscenity, or recreational drug use.” But if the biological phenomenon of sexual orientation is no more legitimate a basis for sexual identity than anything else, and all notions of boundaries and propriety are mere instruments of power dynamics, then there is no justification — moral, philosophical, or legal — for deeming a homosexual identity more valid than a sadomasochistic or fetishistic one. (The Reverend Jerry Falwell agreed.) The happiness of the many is to be held hostage to the cheap transgressiveness of the few. Devoid of any limiting principle, queer theory compels its adherents to wage perpetual war against the “normal” — often from the precious and protected ramparts of the faculty lounge.

    This ethos of self-imposed marginalization is a recipe for permanent despair, but for its advocates it is thrilling all the same, for one must forever be seeking novel ways to épater la bourgeoisie. “Sexualities keep marching out of the Diagnostic and Statistical Manual and on to the pages of social history,” Rubin marvels. “At present, several other groups are trying to emulate the success of homosexuals. Bisexuals, sadomasochists, individuals who prefer cross-generational encounters, transsexuals, and transvestites are all in various states of community formation and identity acquisition.” She has seen the future and it is queer. 

    In their contention that homosexuality is a series of freely chosen acts, a voluntary persona rather than an inborn identity (a claim directly at odds with the most fundamental premise of the gay rights movement), the queer theorists are in odd alignment with the reactionary forces which have everywhere sought to repress gay people. And this is not the only notion that the queer theorists share with their far-right antagonists; the two sides operate in a perverse symbiosis. Rubin seems keen on validating the portents of anti-gay bigots who argue that toleration of homosexuality will open the floodgates to other moral depredations. Her warning is like Scalia’s. “Sodomy laws, adult incest laws…clearly interfere with consensual behavior and impose criminal penalties on it,” she writes. “If it is difficult for gay people to find employment where they do not have to pretend, it is doubly and triply so for more exotically sexed individuals. Sadomasochists leave their fetish clothes at home, and know that they must be especially careful to conceal their real identities. An exposed pedophile would probably be stoned out of the office.” 

    This lament for the plight of pedophiles — one of several groups whom Rubin sympathetically describes, alongside homosexuals, as “erotic dissidents” — is not an isolated one. Throughout her canonical essay Rubin decries the treatment of those preferring “cross-generational encounters,” a euphemism that she employs not in reference to the May-December romance. “Adults who deviate too much from conventional standards of sexual conduct are often denied contact with the young, even their own,” she laments, along with the fact that “members of the teaching professions are closely monitored for signs of sexual misconduct.” Rubin lauds the notorious North American Man Boy Love Association (NAMBLA) for its opposition to child pornography laws. “Although the Supreme Court has also ruled that it is a constitutional right to possess obscene material for private use, some child pornography laws prohibit even the private possession of any sexual material involving minors.” The horror! America’s treatment of pedophiles brings to her mind nothing so much as the twinned Red and Lavender Scares of the McCarthy era: 

    Like communists and homosexuals in the 1950s, boylovers are so stigmatized that it is difficult to find defenders for their civil liberties, let alone for their erotic orientation. Consequently, the police have feasted on them. Local police, the FBI, and watchdog postal inspectors have joined to build a huge apparatus whose sole aim is to wipe out the community of men who love underaged youth. In twenty years or so, when some of the smoke has cleared, it will be much easier to show that these men have been the victims of a savage and undeserved witch hunt. A lot of people will be embarrassed by their collaboration with this persecution, but it will be too late to do much good for those men who have spent their lives in prison. 

    The defense of pedophilia is a running theme in the literature of queer theory. Describing the transformation of sexual acts into sexual orientation in his History of Sexuality, Foucault relates the story of a nineteenth-century French farmhand who “had obtained a few caresses from a little girl” and was subsequently reported to the authorities by her parents. “What is the significant thing about this story?” Foucault asks. “The pettiness of it all; the fact that this everyday occurrence in the life of village sexuality, these inconsequential bucolic pleasures, could become, from a certain time, the object not only of a collective intolerance but of a judicial action, a medical intervention, a careful clinical examination, and an entire theoretical elaboration.” The possibility that the “bucolic pleasures” Foucault so elegiacally describes in this rhapsody to child molestation might not have been “inconsequential” for the “little girl” does not vex him. No, what concerns Foucault is that the behavior of the farmhand is seized upon by jurists, doctors, clinicians, magistrates, and all the other lickspittles of “power.” Foucault is shaken by how “our society — and it was doubtless the first in history to take such measures — assembled around these timeless gestures, these barely furtive pleasures between simple-minded adults and alert children, a whole machinery for speechifying, analyzing, and investigating.” In the late 1970s Foucault advocated for abolishing France’s age of consent laws, and in 2021 he was accused posthumously of raping boys as young as eight while living in Tunisia in the late 1960s. 

    For the queer theorists, the taboo on “cross-generational” or “intergenerational” sex is just another deplorable boundary to “queerness.” “Why is age — unlike, say, race or class — understood as a sexualized power-differential protected by law?” asks Annamarie Jagose in Queer Theory: An Introduction. “Is it possible to eroticize children in an ethical way? These are the questions commonly raised — and by no means yet resolved — in the controversy over intergenerational sex.” Judith Buterl, an internationally renowned practitioner of the rhetorical question, smuggles pedophilia into a long list including a number of worthy concerns: “If marriage and the military are to remain contested zones, as they surely should, it will be crucial to maintain a political culture of contestation on these and other parallel issues, such as the legitimacy and legality of public zones of sexual exchange, intergenerational sex, adoption outside marriage, increased research and testing for AIDS, and transgender politics. All of these are debated issues, but where can the debate, the contest, take place?” Are pedophiles, then, merely queer? 

    Thankfully, Rubin’s prescience is as deficient as her ethics, and her prediction that sometime in the not-too-distant future “it will be much easier to show” that “boylovers” were the “victims of a savage and undeserved witch hunt” in the way that gay men and lesbians were purged from the federal government has not come to pass. While its normalization of pedophilia — suddenly the dream of normality is valid! — remains on the margins, where decency and empathy decree it should be, queer theory has managed to infect our public life in other ways, mainly through its deconstruction of the sex binary and the supplanting of sex with gender. 

    The idea for which Butler is most famous — that gender is a social construct — is an important notion, even if thinkers from Plato to Wollstonecraft to Mill had recognized it long before she did. (To be sure, Butler’s claim that gender is entirely a social construct is far more sweeping and radical than what any of these earlier philosophers proposed.) Socially imposed gender norms can be a prison for many people, especially gay men and lesbians, who by their very nature as same-sex-attracted beings challenge the traditional notions of what it means to be a man or a woman. One of the great achievements of the gay movement was to rupture the conflation between biological sex and socially constructed gender; a man need not be stereotypically masculine in order to qualify as a man, nor need a woman be stereotypically feminine to count as a woman. Blurring the gender binary has helped all of us — gay, straight, bisexual — to live our lives free of gendered expectations and roles. 

    But there are limits to what social constructionism can explain. While gender may be, as Butler contends, in significant part “performative,” biological sex is not. It is real, immutable, and, among humans, dimorphic. The sex binary is certainly essential to homosexuality; without it, gay men and women would have no ability to comprehend themselves or to explain their same-sex orientation. If “man” and “woman” are not stable categories, then neither are “gay” and “lesbian.” These realities are at odds with the ascendant ideology of gender, which holds that the very existence of binaries and categories are mechanisms of oppression. By arguing that both biological sex and the sex binary are social constructions, gender ideology truncates gay identity by conceptualizing it as a halfway point to another sex. It also makes a mockery of transgender identity, which relies on the existence of the sex binary in an even more essential way. The renowned transgender economist Deirdre McCloskey entitled her memoir about her transition Crossing, evoking the process of traveling from one side of a boundary to another. 

    Until fairly recently, the term “transgender” referred to those with gender dysphoria, the psychological term, and the medical diagnosis, describing the severe sense of unease that one feels at the discordance between their biological sex and their gender identity. This condition affects an extremely small number of people. Today, the meaning of “transgender” has been broadened to include anyone who does not conform to stereotypical gender roles, a process of etymological imperialism that threatens to delegitimate gay men and lesbians. The Human Rights Campaign, for instance, defines “transgender” as “an umbrella term for people whose gender identity and/or expression is different from cultural expectations based on the sex they were assigned at birth,” a meaning so far-reaching as to comprise every gay person, who, by dint of their attraction to members of the same sex, expresses their gender in ways which are at odds with “cultural expectations.” A slide presentation recently delivered at my old elementary school described a “transgender person” as “someone whose gender identity or gender expression does not correspond with their sex assigned at birth,” which would make many effeminate men and masculine women transgender, and unwittingly invokes the nineteenth-century theory of “sexual inversion” that conceptualizes gay people as heterosexuals born in the wrong body. 

    It is ideas such as these which Republican politicians have cited as evidence for their claim that America’s public schools have become hotbeds of radical queer and gender theory. At first blush, this fracas seems like a rehash of the perennial battle over school curricula. From the Scopes trial to the Reagan-era clash over abstinence education, these controversies are invariably framed as contests between enlightened modernizers and neanderthal reactionaries. While claims of a nationwide effort to “groom” prepubescent children show the signs of an all-American moral panic, it is unfortunately the case that some of the central tenets of queer theory have escaped the ivory tower and found their way into some public schools. Materials published by the San Diego Unified School District, for instance, call for a “linguistic revolution to move beyond gender binaries,” whereby men are to be called “people with a penis” and women “people with a vulva.” A document promulgated by the Portland Public Schools maintains that the gender binary is a vestige of “white colonizers” and that terms such as “girls and boys,” “ladies and gentleman,” and “mom and dad” should be replaced with “people,” “folx,” and “guardians.” An education guide for teachers in Grades 3-8 promulgated by the Human Rights Campaign advises replacing the term “Snowman” with “Snowperson” so that students be made to “understand the differences between gender identity, sexual orientation and sex assigned at birth.”

    In 2016, the Gay-Straight Alliance Network — an informal association of support groups for gay students with some four thousand chapters across the country — officially changed its name to the Genders & Sexualities Alliance Network, purportedly at the insistence of the “countless youth leaders who understand their genders and sexualities to be uniquely theirs and have moved beyond the labels of gay and straight, and the limits of a binary gender system.” A nine point manifesto drafted by the organization, explicitly inspired by the Black Panther Party’s Ten-Point Program, calls for “the abolition of the police, ICE, Borders and the Judicial System,” “Decolonization and Reparations for all Indigenous and Black People,” and “an End of the Cisgender Heterosexual Patriarchy.”

    The educators advancing this agenda surely think of themselves as well-intentioned, and the impulse to make schools — long sites of trauma for gay and transgender youth — more welcoming is salutary. But by inculcating young people in the tenets of radical gender ideology, these would-be revolutionaries are actually doing harm, proliferating sloppy and dogmatic ideas about some of the most fundamental dimensions of human life, exploiting the good will that the gay movement finally accrued, and confusing and hurting the very students they purport to help. 

     

    IV

     

    It was to be expected, as societal approval of homosexuality soared and legal equality for gay people was finally achieved, that the infrastructure of the gay rights movement would be deployed on behalf of transgender people. So long as the aims and the tactics of the movement remain the same — securing legal equality and social acceptance — this is a worthy endeavor. Beholden to the concepts of radical gender ideology, however, the movement has gone beyond seeking for trans people what it won for gays, evolving from being a force that changed reality by transforming public attitudes into something that opposes reality itself. 

    The examples of this illusory program lie all around us. The steady erasure of the word “woman” in favor of the dehumanizing “pregnant person,” “menstruators,” and “bodies with vaginas.” The athletic triumphs of natal men competing in women’s sports competitions. The placement of natal men in women’s rape shelters and prisons. The ACLU’s expurgation of the words “woman,” “she,” and “her” from a Ruth Bader Ginsburg quotation extolling the importance of abortion rights. Facebook offering its users the option of seventy-one genders. Recently trying to locate the men’s room at a restaurant, I could only smile at the sign that sought to cause the least possible offense: “This is a bathroom with urinals and stalls.” 

    It used to be conservatives who told gay people that their sexuality could be corrected, that gay men finding “the right girl” (or, in the case of lesbians, “the right guy”) would fix their condition. Now it is self-fashioned progressives who instruct gays that they must get over their archaic attraction to people of the same-sex. According to the BBC style guide, a “homosexual” is a person who is “attracted to people of their own gender,” a linguistic legerdemain that, by virtue of the mantra that “trans women are women and trans men are men,” has led to lesbians being called “vagina fetishists” for their refusal to date “people with a penis.” In her lauded book The Right to Sex, the Oxford philosopher Amia Srinivasan asks us to “consider the gay men who express delighted disgust at vaginas … Is this the expression of an innate, and thus permissible revulsion — or a learned and suspect misogyny?” It happens that one of my earliest memories of the terrifying recognition that I might be different from other boys transpired when one of my bunkmates at summer camp unveiled a nudie mag hidden beneath his bed. We all huddled around, and when he turned to the page on which the object of our desires spread her legs, I felt a pit in my stomach as my bunkmates erupted in cries of adolescent exaltation. I can assure Professor Srinivasan that the basis of my reaction to that photograph, which I understood immediately as something I needed to keep secret, and which became a source of shame for years, was the furthest thing from “learned.” 

    The conflation of gender nonconformity with transgenderism has predictably resulted in an explosion in the number of young people identifying as transgender. Many if not most of these children are likely to be gay. In 2021 a study of boys with gender dysphoria found only a 12.2% persistence rate, and of the 87.8% who desisted, 63.6% grew up to be gay. Placing gender dysphoric children on puberty blockers, while perhaps necessary for an extremely small number undergoing severe distress, disrupts the stage of human development when sexual orientation becomes recognizable. “Gender-affirming care” involves procedures that can lead to a lifetime of being unable to achieve orgasm, and in most cases results in sterilization. The not insignificant number of those who undergo transition only to regret it later, the growing constituency known as “detransitioners,” commonly cite internalized homophobia as the impetus for believing they were trans — the false hope that, by changing their sex, they could rid themselves of their unwanted same-sex attraction. Staff at the United Kingdom’s leading gender identity clinic for young people (recently forced to shut down following a government investigation which faulted it for rushing young people to transition) used to morbidly joke that, thanks to their work, “there would be no gay people left.” 

    More recently than we would care to admit, gay people were institutionalized, lobotomized, and subjected to electroshock therapy, all in the attempt to “make” them straight. Today the inhuman practice of “conversion therapy” is outlawed in many states, and rightfully so. But a similar campaign is afoot to conflate this discredited practice with talk therapy for gender dysphoria, so that a child’s assertion that they are transgender would be sufficient grounds to place them on the path to gender reassignment surgery. Under this dispensation, anything short of “affirming” a transgender child’s identity would be considered a human rights violation. According to the Human Rights Campaign, “being transgender is not a phase, and trying to dismiss it as such can be harmful,” a claim at odds with the available scientific research and the experiences of other advanced democracies such as Finland, Sweden, and the United Kingdom, which have all imposed stricter standards for the disbursement of puberty blockers to gender dysphoric children. 

    Gays have for decades been falsely accused of trying to “convert” children to their “lifestyle.” Ironically, it is now gay children who, by having their gender nonconformity misdiagnosed as gender dysphoria, are most at risk of undergoing a new form of conversion therapy. For what else are we to call the phenomenon by which children who would otherwise grow up to be healthy gay adults are encouraged to undergo irreversible medical interventions? This is conversion therapy, progressive-style. 

    The long march of what Rubin calls “identity acquisition” has no end, and in their incessant quest for norms against which to rebel, the advocates of queerness invent ever more obscure identities to embrace. As being gay no longer carries the cachet that it once did in progressive spaces, and public figures such as Caitlyn Jenner demonstrate that even transgender people can be Republicans, the progressive avant-garde has had to create new categories on the outermost limits of the “charmed circle” through which to stake their claim on marginality, and thereby on virtue. hence the emergence of the latest boutique identity to fasten itself onto the LGBT community: nonbinary. 

    Adopted by those who identify as existing outside the gender binary, the term “nonbinary” actually reifies the system that it is meant to deconstruct. By anointing themselves the possessors of a special and exclusive status — those who are neither male nor female — the members of this caste, this sexual-social avant-garde, relegate the rest of us to a sort of gender purgatory. “In reality, everybody is non-binary,” explains the political philosopher Rebecca Reilly-Cooper. “We all actively participate in some gender norms, passively acquiesce with others, and positively rail against others still. So to call oneself non-binary is in fact to create a new false binary. It also often seems to involve, at least implicitly, placing oneself on the more complex and interesting side of that binary, enabling the non-binary person to claim to be both misunderstood and politically oppressed by the binary cisgender people.”

    But apart from the infinitesimally small number of people born with both male and female sex characteristics (known as intersex), the concept of nonbinary is nonsensical. It is not an orientation (like homosexuality) or a medical condition (like gender dysphoria), but a political statement. Literally embodying the triumph of gender over sex, it is the queering of the self. The illogicality of the proposition, and the details of its real-life consequences, do not trouble those promoting it. “Clark prefers they/them/he pronouns and would like to be known as my kid/my son who is nonbinary,” the mother of a nonbinary kindergartner announced in a social media post with the pride that one reserves for sharing the news of their child’s acceptance into Harvard. “My son who is nonbinary” is as paradoxical as “nonbinary lesbian,” considering that the definition of a lesbian is a woman attracted to other women

    Mimicking the work of gay historians who have endeavored to document the pervasiveness of homosexuality throughout the span of human existence, queer activists have ransacked the past for validation of their identities. The principal result of this revisionist project to “queer” history has been the erasure of gay people, and women. One can scarcely read about the Stonewall Uprising today without being informed that it was “trans women of color,” not gay men and lesbians, who led the revolt; the elevation of two figures in particular, Marsha P. Johnson and Sylvia Rivera, can only be described as a form of secular apotheosis. The list of famous figures (almost all women) posthumously claimed as having been transgender or nonbinary meanwhile grows at an impressive clip. Queen Hatshepsut, Joan of Arc, Vita Sackville-West, Radclyffe Hall, Louisa May Alcott, Marlene Dietrich — all have been classified as either transgender men or nonbinary, as anything other than what they were: women. Apparently, because these women refused to conform to stereotypical notions of femininity, excelled at traditionally male pursuits, and exhibited character traits commonly associated with men (strength, outspokenness, ambition), they were not actually women. Such interpretations are deeply regressive, and downplay the pervasive sexism that motivated some women to unshackle themselves from oppressive gender roles. 

    In 2020, “to ensure all members of the LGBTQ community feel welcome,” the famed gay Chicago neighborhood of Boystown was renamed “Northalsted.” Last year, in an article about the legacy of West Side Story, a contributor to the New York Times denigrated this classic and moving work of Americana as the creation of “four white men,” their homosexuality (never mind their Jewishness) offering no exculpation for their part in the racist patriarchy. In progressive spaces today, there are few social offenses worse than “dead-naming” a transgender person — to identify them by their given name rather than their chosen one. We have yet to devise a neologism for the process by which women and gay people are being queered out of existence.

    Walt Whitman rhapsodized about the “unifying force” of the “dear love of comrades,” and gay writers across the generations have expounded upon the egalitarian promise of same-sex love. Transcending all lines of race, class, nationality, and social caste, the gay community is, by nature, representative of the whole of mankind. One of the most enriching aspects of being gay is the ability to venture anywhere in the world — from the remotest hamlet to the most bustling city — and find one’s brothers and sisters. But queerness, with its relentless creation of new sexual and gender identities, seeks to atomize us, and rather than toppling hierarchies it inverts them. “Trans people are sacred,” declares Joan of Arc in a recent production at Shakespeare’s Globe in London that envisioned the titular character as nonbinary. “We are the divine.” Hypocritically for a movement purporting to be progressive, queerness is the ultimate status symbol of a new elite, signifying one’s place above the “cishet” (cisgender heterosexual) masses. “Gay is good,” Frank Kameny valiantly assured his fellow homosexuals. “Queer is better,” our new leaders glibly declare. 

     

    V

     

    To understand where queerness inevitably leads, consider the case of Sam Brinton. 

    Until late last year, Brinton was the deputy assistant secretary of spent fuel and waste disposition in the Office of Nuclear Energy at the Department of Energy in Washington, D.C. What distinguished Brinton from being just another Washington bureaucrat with a highfalutin’ title was their (Brinton uses they/them/their pronouns) status as the “first openly genderfluid” employee of the federal government, “genderfluid” being a gender identity that changes over time. According to one website, the frequency of this variance “can be occasionally, every month, every week, every day, to even every few moments a day depending upon the person.” 

    Aside from nuclear waste, Brinton’s other passion is “pup play,” a type of sexual fetish whose devotees adorn themselves in leather outfits and perform the rituals of a dog and its master. We know this because Brinton spoke frequently in public venues about the most intimate details of his sex life, traveling the country to deliver seminars on subjects such as “Spanking: From Calculus To Chemistry.” Visiting the campus of Rensselaer Polytechnic Institute for a lecture on kink in 2017, Brinton discussed “how he enjoys tying up his significant other like a table, and eating his dinner on him while he watches Star Trek.” (The article in which this description appears was published before Brinton “came out” as genderfluid, thus the use of the masculine pronoun). Brinton is also a member of the Sisters of Perpetual Indulgence, a group of drag queens who take on the personas of nuns, where he is known as “Sister Ray Dee O’Active.” At a “Lavender Mass” in 2021, Brinton sang a song in tribute to “Daddy Fauci.” 

    Prior to his appointment at the Department of Energy, Brinton had worked as a nuclear waste advisor in the Trump administration, and held a high-profile job with the Trevor Project, an LGBTQ suicide prevention hotline. Brinton’s expertise in this latter effort was hard-earned: as a young boy he was sent by their parents to a conversion therapist whose ghastly course of treatment included “tiny needles being stuck into my fingers and then pictures of explicit acts between men would be shown and I’d be electrocuted.” As they would later recount in the New York Times, “the therapist ordered me bound to a table to have ice, heat and electricity applied to my body.” In 2014, Brinton testified about their ordeal before the United Nations Convention Against Torture, alongside the mother of Michael Brown and a former inmate at the U.S. military prison in Guantanamo Bay. Brinton’s status as a conversion therapy victim made them a star on the LGBTQ activism circuit, earning them a place on the red carpet at the Academy Awards in 2018. 

    In their adoption of an eccentric gender identity, and the flaunting of their sexual kinks, and their resistance against the normal, Brinton was the epitome of the “queer” public servant — the antithesis of “homonormative” Pete Buttigieg. On their first day of work, Brinton posted a photo of themselves on Instagram vamping for the camera resplendent in stiletto heels, bright red lipstick, and a crimson dress. We had come a long way from Frank Kameny telling his fellow Mattachine Society members marching outside the White House in 1965, “If you’re asking for equal employment rights, look employable.” 

    Yet just a few months into Brinton’s tenure, the wisdom of Kameny’s admonition was confirmed when Brinton was charged with felony theft for allegedly stealing a woman’s suitcase worth $2,325 from a carousel at Minneapolis Airport. A few weeks later Brinton was again charged with theft for absconding with a woman’s bag in Las Vegas. After the Department of Energy fired Brinton, their status as a “survivor” of conversion therapy was called into question. According to a leading anti-conversion therapy activist, Brinton had refused to tell him either the name of their therapist or the clinic where their supposed torture occurred, making them, in the words of the activist, “the only survivor of conversion therapy I’ve encountered since 1998” to withhold such information. In light of this record, many of the other claims Brinton had made during their time in the limelight — that they had advised Michelle Obama on her footwear, or that they had secured a clause in their government contract releasing them from having to be in the same room as Mike Pence — began to look, well, queer. 

    In struggling for the right to serve their country, all that gay people ever asked for was to be treated equally. They did not insist upon different codes of dress or standards of conduct, nor did they feel the exhibitionistic need to share their sexual proclivities in public. (Indeed, it was the false perception of them as sex-obsessed that gay people had to overcome). The basis upon which gay people were discriminated — homosexuality — is an immutable trait, not a novel and freely chosen identity that changes by the hour. That Brinton was a suspect character ought to have been obvious long before they were promoted by the LGBTQ movement as a spokesperson, or hired by the federal government as a trailblazer for civil rights. But by 2022, no one in the LGBTQ movement, or in the leadership of a Democratic presidential administration, would state the obvious. And how could they? Queer had triumphed over gay. I gather that the reaction to the Brinton affair among the vast majority of gay people was similar to what every day Muslims feel following a terrorist attack. Where are the moderate gay leaders willing to come out and say that homosexuality is a religion of peace? 

    The words that oppressed groups choose to describe themselves are an indicator of their inner condition, of their self-respect or their lack of it. The words are synecdoches, informing us about how a group’s members perceive themselves and what they aspire to be. “Gay” was proclaimed with pride, and with the aspiration that a group of marginalized people might be recognized as part of the human whole. “Queer” is shouted with rejection, and the resigned expectation — the hope, even — that its adherents will remain forever on the margins. Queer has no faith in tolerance; on the contrary, it despises the concept as synonymous with sufferance. In its refusal to take yes for an answer, an essential avowal for any member of a minority group who gains the right to live equally in a free and open society, queerness is undoing decades of incontrovertible progress. It is a refusal to accept acceptance. 

    In America, being an individual and being a part of the mainstream are not antithetical propositions. For minority groups in Europe, the process of emancipation, the granting of recognition and rights, was conditional on the abandonment of difference. In America, no such grubby exchange is required. Here assimilation is not the same as homogenization. There is indeed a beautiful tradition of otherness in being gay, and one still comes across gay people who affectingly mourn what they feel has been lost with the triumph of gay equality and the mainstreaming of gay life. They resent the expectation that they should straighten up and get married and present themselves like Pete Buttigieg, and they speak with a sense of nostalgic sorrow about the rites and rituals of the old gay subculture. They endured discrimination, but they knew happiness. They miss the thrill of being a sexual outlaw, the feeling that they are getting away with something of which society disapproves. This sentiment is found almost exclusively among gay men of an older generation (lesbians being far too practical for such indulgences). But the important point is this: gay people can be gay in any way they wish to be gay. Otherness — or alterity, as the theorists like to say — does not need to be surrendered in exchange for acceptance.

    Most gay people have no interest being conscripted into a furious ideological battering ram against bourgeois values, the sex binary, and the societal mainstream, and if the attempt to associate them with such a dead-end project succeeds, it will not be on their account. It will succeed because the forces of reaction, working in perverse synergy with the forces of queerness, make it so. At a time when reactionary homophobia is enjoying a resurgence, queerness plays directly into its hands. If the values represented by “LGBTQ” come to be seen by a majority of the public as hostile to their own — rather than as a confirmation of those values, which is what the older generation of gay activists, the valiant heroes of our cause, insisted — then gay people will suffer the consequences. It is long past time to recognize queerness for what it has become: a parasite on the gay rights movement, and on gay identity itself. Successive generations of gay men and women did not survive social ostracism, medicalized torture, governmental oppression, and a deadly plague only for the beneficiaries of their sacrifice to go back to being queers.

    The Left and The Nation-State

    For many years, professors of international politics have been telling us about the decline of the nation-state and the coming transcendence of the Westphalian system. But the political critique of the nation-state comes most often from men and women on the left, who condemn its parochialism, its tendency to produce nationalist fanaticism and xenophobia, its repression of minorities. Many of them yearn for a cosmopolitan alternative, a world without borders and border guards. And yet, at this moment, much of the world or, better, the Western part of it, including many Western leftists, is rallying in support of a beleaguered Ukraine, a classic nation-state that has in the past been guilty of all the sins I just listed. The world and the West are right to rally. Why is that?

    I live on the left and argue often with my fellow leftists about the value of the nation-state and of the international order, or disorder, of sovereign states. The arguments are sometimes concrete and practical, about immigration, say, or the treatment of minorities — good things to argue about (I will come to them). But the arguments are more often theoretical, since in practice the leftists who argue with me have been remarkably supportive of the creation of new states and, especially, nation-states. Their political choices over the last seventy-five years give little evidence of cosmopolitanism.

    They celebrated the end of the European empires and the creation of independent, mostly multi-ethnic, states across Africa — and many of them then supported nationalist secessions in Biafra and South Sudan. Leftists who recognized the evil of Stalinism rejoiced when East European nation-states were liberated from Soviet domination — and watched without regret the breakup of the Soviet Union (a modern-style empire) that produced fifteen new nation-states: Lithuania; Latvia and Estonia in the north; Ukraine and Belarus in the center; Armenia and Georgia in the south; and the Muslim states of Central Asia. Some older leftists were disappointed by the collapse of Yugoslavia (remembering Tito’s nationalist defiance of Stalin), but they mostly joined in supporting the liberation of Bosnia, Kosovo, and Montenegro from Serbian rule. Leftists around the world supported the creation of an Algerian nation-state and a united Vietnamese nation-state. Here in the United States, they have championed the independence and self-determination of all the states of Central and South America. And many of them today are eager to promote Palestinian, Kurdish, and Tibetan independence, which would add three nation-states to the world — each of them with borders and border police. In fact, opposition to colonialism and great power (and regional) hegemony seems to lead, quite naturally, to repeated endorsements of the nation-state. 

    There is, however, one exception, one refusal of endorsement: the nation-state of Israel. Many leftists believe that it should not exist. Anti-Zionism is the latest left pathology, not so different (for those of us who have an ear for these things) from the love affair with authoritarian regimes that stand against “the West.” Still, Israel is a strange exception, especially right now, since it is a nation-state remarkably similar to Ukraine. Both these countries are the creation of peoples with strong national commitments; both Jews and Ukrainians experienced murderous oppression in the recent past — the Nazi Holocaust and the political famine organized by Stalin. Both dreamed of self-determination and political independence. And both have achieved sovereignty in territory that includes a minority population of roughly twenty percent. 

    I speak only of “green-line” Israel here, not of the occupied West Bank. It is possible, and I believe morally necessary, to oppose the occupation and support the Jewish right to a state — which is, indeed, no different from the Ukrainian right. The new ultra-nationalist government in Israel doesn’t understand that this right, like every national right, has limits. It is limited by the rights of the nation that comes next. But to make the oppression of the Palestinians a reason for the elimination and then the replacement of Israel is an example of ultra-nationalism turned around — and no better for the turning. The nation that comes first also has rights.

    In any case, the Israeli exception proves the rule: in practice, there are not many signs of leftist hostility to the nation-state. Criticism, yes, but never (almost never) a critique that is also a call for elimination. My defense of the nation-state here is also an argument against eliminationism in the Israeli case — or, if it matters, anywhere else. 

    There is an easy explanation for the left’s historical support of sovereignty and nation-statehood: classic anti-imperialism. Though more can be said for empires than leftists usually say — once established, they often make for tolerance and peace — their rule is necessarily authoritarian and often brutally authoritarian. Moreover, it is the rule of foreigners, soldiers, and bureaucrats sent from some distant center — or of local collaborators who are viewed with suspicion and hatred by the people they rule. Whenever popular politics is possible, it takes on, again and again, the same political form: a movement for independence, for national liberation. The movement isn’t necessarily democratic. It often produces a new authoritarianism — but now the rulers are genuinely local; they don’t serve foreign masters; they serve themselves. It is a hard truth that men and women prefer to be ruled, whatever the character of the rule, by rulers of their own “kind.” I know some leftists who don’t believe in “kinds”; but even they have supported (almost) all the national liberation struggles.

    What justifies their support, whether they admit it or not, is this crucial idea: that there is in fact a local “kind,” that the men and women who live here constitute a “people” and share a language, a culture, and a history (real and imagined). This is what makes the territory that they inhabit a political place. I mean by that a place where liberation and self-government are possible. Empires have never been political places, though the imperial center usually was — the city of Rome, where plebes and patricians competed for power, or Little England, where Liberals and Labor challenged the Tories. The world is full of actual and potential political places.

    The world itself, however, is not a political place, though there are some left militants (and liberal philosophers) who pretend that it is. Geographical enclosure and some version of peoplehood are the prerequisites of self-government (there has to be a collective “self”). The kingdoms of ancient Israel and the city-states of ancient Greece — these were among the earliest political places, where recognized if ill-defined borders made possible the creation of a common life. The modern nation-state is the standard political place in the world today. Leftists know it well, for it is pretty much the only place where the left, or at least the democratic left, has been politically successful. The sense of peoplehood, the solidarity of the citizens, was critical to the victories of social democracy after the Second World War — and to the establishment and maintenance of the welfare state.

    When men and women come together to create institutions and practices that they recognize as their own, they will also, always, attribute value to their creation — and this is a value that the rest of us, whatever our political convictions, should acknowledge (even if we are critical of parts of the creation). If an invading army crosses the border and threatens their institutions and practices, these same people will fight to defend what they have created — and the rest of us, or most of us, will recognize the justice of their resistance. By contrast, if the common life has been usurped by an authoritarian gang, then it is likely that the invaders will not be resisted. Hence the difference between Iraq, where the American invasion was unopposed if not welcomed by most Iraqis (the occupation was a different story), and Ukraine, where the immediate resistance to the Russian invasion proved that the country was the political place of the Ukrainian people. 

    So the nation-state is a place of value. I acknowledge, however, that there is much to worry about, and not only in theory. The central problem, and the primary source of left hostility, has to do with the necessary enclosure, which leaves “others” within and without. There are better and worse ways of dealing with these “others,” but the problem of their existence cannot be avoided. There is no way of drawing a line, establishing a border, without leaving some people on each side who would probably be better off on the other side. And there is no common life, no political place, without a border.

    Consider first the “others” within. There are many ways to accommodate national, ethnic, and religious minorities — and one way not to do that: subordination, with its usual accompaniments of discrimination, inequality, and repression. I will consider three versions of accommodation, all of which are consistent, or can be consistent, with leftist commitments. First is the invitation to assimilate, to take on, at least in public, the language, culture, and even the history of the majority nation and become fully equal citizens — relegating old beliefs and practices to the familial sphere. This is the French model, and it has been remarkably successful, though it remains unclear whether it will work with a large population of Muslim immigrants. Success here would represent a triumph for the nation-state: one nation, one culture, with no remainders.

    French-style civic nationalism is the preference of those left activists who acknowledge the possible value of the nation-state. But it doesn’t always work, as the Turkish case suggests. Turkey, like France, invites all its inhabitants to assimilate and take on a common Turkishness. But when the invitation is refused — when Kurds, for example, reject the name “Mountain Turks” and seek cultural and language rights — the invitation to assimilate becomes a demand, and the civic nation turns into a repressive state, hostile to its recalcitrant minorities. Then we have to look for other ways of dealing with those minorities.

    The second version of accommodation is multiculturalism: the public recognition of different cultures alongside the majority culture and some form of public support for each of them — extending, perhaps, to a promise that minority men and women will be represented at every level of political and social life. Multiculturalism can take hard and soft forms; hardness, favored by many “woke” leftists, comes with a demand for rigid quotas, politically correct school textbooks that feature minority history and censure the majority’s past and present sins, an official commitment never to offend minority sensibilities, and financial support for the reproduction of minority cultures and religions. 

    This sort of thing has provoked a backlash from defenders of the majority culture and the nation-state, who insist that majorities as well as minorities have rights. Which is true, of course: everyone has rights. It would be a strange position for leftists who believe in democracy to deny the right of cultural expression to a majority of the state’s inhabitants. Multiculturalism works best when the majority culture is firmly established but very lightly enforced, when the majority, for example, fixes the public calendar and its holidays but allows room for minority groups to organize their own celebrations — or when national history is taught proudly but also honestly in the public schools, with room for each new wave of revisionists. I can imagine a liberal nation-state where minority groups have no difficulty asserting themselves politically and expressing themselves culturally: this is not a utopian fantasy. 

    But it is also important to say that multiculturalism only works if everyone’s citizenship is as valuable as everyone else’s. Equal citizenship should produce a soft multi-culturalism, where all the minorities live comfortably, if sometimes competitively, with each other and with the majority nation. Given full equality, no one would actually need hardline guarantees of political representation, social ease, or cultural reproduction.

    The third version of accommodation is designed for national minorities who are at the same time regional majorities and who ask for autonomy where they live. Autonomy can take different forms, but all of them fall short of secession, so they are compatible with a nation-state whose official culture, overall economy, and foreign policy are shaped by a nation-wide democratic majority. Refusals of autonomy are likely to produce movements for national liberation (as with the Kurds), but there are minority “peoples” whose history and culture permit them to live peacefully within what we might think of as a “near” nation-state, where differences are relatively small — one view, not everyone’s, of the Quebecois in Canada. Autonomy for Crimea and Donbas, at least in matters of language, might have been the way to go in Ukraine after 2014, though the Russian puppeteers would never have agreed — and only the smartest Ukrainian nationalists would have gone along. But now the Russian invasion may well turn all Ukraine into a single civic nation, French-style.

    There are probably other ways of accommodating minorities — and different versions of these three — but all of them are tested by the single standard of equality. Do minority men and women function in politics, society, and economy on a par with the men and women of the majority? Are careers open to talents? Are civil servants equally civil to all the people they deal with? Do the police respect cultural differences? There are right answers to these questions, but they often don’t come naturally to the national majority; they require political struggle. But this cannot be a reason to reject the nation-state, or any particular nation-state, so long as the rights of criticism and opposition are in place or can be fought for. Has there ever been a state of any sort in which political struggle wasn’t necessary?

    What is most important for my purposes here is that the right answers to the questions I posed above are politically possible in the nation-state generally and in each particular case. They had better be possible, since it appears that most people, and most “peoples,” prefer this political formation.

    What about the “others” without? One common leftist answer is simply to let them in: open the borders. Over time, this would probably mean the “transcendence” of the nation-state, or at least the end of those nation-states that are most attractive to migrants. We would have to expect, then, resistance from the majority nation, defending “their own” political place. Though borders are far from open, we see this already in rightwing arguments about “replacement.” Do not expect good faith in arguments like this. A Polish politician from the nationalist right claimed some years ago that taking in five thousand Syrian refugees would endanger the Polishness of Poland. There are thirty-eight million Poles.

    Actually, taking in a million Syrians, as the Germans did in 2015-2016, would not make Poland less Polish, though it might make Polishness less provincial — probably a good thing for the Poles as it would be for any national majority. Leftists should defend a generous immigration policy on behalf of refugees and asylum seekers (more on this below), but I don’t think that the call for open borders makes political sense; nor would it serve the goal of political victory. Activists on the left, if they hope to win, need to respect the particularity of each political place and the common life created within it. These are, after all, places that they hope to govern. When in power they will defend social and economic equality and work to create a strong welfare system — relying on the sense of mutuality and shared interests among the citizens. Mutuality and shared interests are produced, and can only be reproduced, in enclosed political places.

    Is the European Union an exception to this rule? I don’t think so, but it is an interesting attempt at revision. It is a “union” that does not abolish the nation-states that it incorporates, and so it raises two new questions: Is Europe itself a political place? And can there be a hierarchy of political places, such that Europe is the nation-state of the Europeans while Poland, France, and Germany remain the nation-states of their own peoples? A federal scheme of some sort, with defined jurisdictions and protection for all the “others” within. But there would still be, there still are, “others” without. If the European Union is a political place, it is a political place with borders.

    I don’t mean to suggest that solidarity is not possible across borders; American, NATO, and EU support for Ukraine is a moving example of international solidarity. The extent of the support is greater than most people expected, though possibly not yet sufficient. In the past, however, internationalism has been tenuous and difficult to sustain, as the history of the left in World War One and in the run-up to World War Two demonstrates. 

    Immigration policy is a critical test of solidarity across borders. In all nation-states, the first expression of solidarity is the commitment to fellow nationals in trouble abroad. When the Soviet Union collapsed, for example, Finland provided a refuge for thousands of Russo-Finns who might have had a hard time in the new Russia — and put them all on a fast road to citizenship. This is a common practice: remember how Greece, in the years after the First World War, took in huge numbers of Greeks who had been living in Ottoman Turkey, or how the West Germans, after 1945, took in refugees from what had been East Prussia. The Israeli “Law of Return” is the only example of this commitment to nationals abroad that has come under criticism. Another exception that proves the rule. 

    Yet this first solidarity should not exclude a willingness to take in non-national refugees and asylum-seekers. The numbers will always be a subject for democratic debate, but we should look for strong support for the admission of refugees in these debates. No one is more at risk in our world than stateless men and women, driven from their homelands by persecution or civil war, with no place to go. They are the actual cosmopolitans. They might be citizens of the world if the world was a political place capable of granting citizenship — but it isn’t, and so refugees are citizens nowhere, desperately in need of help.

    We can get some sense of specific moral obligations to non-nationals abroad if we consider what immigration policy should be like here in the United States. I doubt that the United States is, strictly speaking, a nation-state, though we may be (however it looks right now) in the process of forming ourselves into a single American nation. At this moment, we are a nation of nationalities, multi-cultural, multi-racial, multi-ethnic, and multi-religious. Recognizing our pluralism, we bar any cultural, racial, or religious establishments. But we do have a political establishment, a constitutional democracy, and some degree of shared commitment to it — which should shape our own debates about immigration.

    Americans have clear obligations abroad. Democratic and freedom-loving dissidents fleeing oppressive regimes are among the immigrants we should always welcome: they are already political kinfolk. Refugees fleeing from oppressive regimes that the American government has promoted and supported are also people for whom we already have responsibility. And we are clearly obligated to the thousands of men and women who cooperated with us in one or another of our foreign adventures or who “came out” as democrats, trade unionists, or feminists under our cover — they too are, all of them, prospective Americans. American leftists should be proud of the cover we provided in places such as Afghanistan and Iraq, even if there was much else that they rightly criticized.

    The number of immigrants that we ought to welcome may seem large, but it really doesn’t threaten to “replace” the American majority (if anything like that exists). Indeed, these immigrants are likely to “Americanize” fairly quickly in one of the two versions that we offer: they will assimilate, learn English, admire George Washington, and venerate the Constitution, or they will form one of the resident cultures in our (soft) multiculturalism. Something of both is most likely, as it was among the earlier immigrants of the 1840s, the 1890s, and after — who became good citizens and sustained a (second) common life in ethnic or religious versions.

    So it is possible in our own state and in nation-states such as those I began with, whose creation leftists supported, to deal decently and justly with “others” inside and out. But nothing is easy, not in this political formation or in any other; no one can promise success. It will always be necessary to fight for decency and justice and to oppose ultra-nationalists and racist and religious bigots within the nation-state — just as leftists opposed arrogant imperialists in the past and as they (better, some of them) opposed totalitarian militants and apologists. Still, the nation-state is the political place where the left has had, from the beginning — say, France in 1789 — the best chance of achieving its goals. Transcending the nation-state is a project without any prospect of success, nor would left activists be likely to find allies among citizens of the world. Again, the world is not a political place. 

    Think about this: men and women on the left know how to organize political parties, labor unions, and social movements in the places where they currently live. They wouldn’t know how to organize among the global multitudes — billions of people, speaking a thousand languages, with radically different religions and political cultures. Solidarity with humanity is no doubt a fine thing, and help for embattled peoples abroad is morally necessary, but leftists should realize that they need fellow citizens.