Before Nightfall 

    Leaning in summer tuxes across the balcony

     

    or reclining like nudes with their hair thrown back,

     

    some trees, after high conversation, complained

     

    about having to go back to the deaf earth again.

     

    The leaves pulled on their arms to keep them

     

    from going and to get even closer to whom?

     

    To what? Which essential truth?

     

    As if the human shadows inside the rooms

     

    would give them some clarification,

     

    some formula against the faceless barking . . .

     

    And what did they sense in me but a trembling?

     

    Night stood in the background.

     

    A flame flew into the grass’ eyes.

     

    I did not move, no longer knowing who I was

     

    or if dawn would also come for me.

    Translated from the French by Henri Cole

     

    Mother death

    *   *   *

    Mother death

    you came to him

    so mildly

    so cruelly

    alternating authority with seduction

     

    He out-of-breath following you or fleeing you

     

    In the end

    you wore the features of Morphine

    and clasped her to you

    cruelly

    mildly

     

    I gave his body to flames

    married his ashes to the sea

    and I alone burn

    in the fire of absence   

     

    The Cult of Carl Schmitt

             I

             As a political thinker, the German philosopher Carl Schmitt was enamored of symbols and myths. His biographer has shown that during the 1930s Schmitt was convinced that providing National Socialism with a rational justification was self-contradictory and self-defeating. The alternative that was conceived by Schmitt, a conservative who was an eminent member of the Nazi Party, was to establish the Third Reich’s legitimacy by means of symbolism and imagery culled from the realms of religion and myth. Schmitt’s attraction to symbols and myths stemmed from his skepticism about the value of “concepts,” which he viewed only instrumentally, as Kampfbegriffe or weapons of struggle. As Schmitt explained, about reading Hobbes’ Leviathan, “we learn how concepts can become weapons.” “Every political concept,” he claimed, “is a polemical concept,” a statement that reflects the essential bellicosity of his thought.

    When it came to fathoming the mysteries of human existence, Schmitt insisted that the cognitive value of symbols and myths was far superior to the meager results of conceptual knowledge. This deep mistrust of reason was related to his veneration of “political theology,” which Schmitt introduced into the mainstream of modern political thought. Schmitt’s devaluation of secular knowledge was exemplified by his well-known dictum that “all modern political concepts are secularized theological concepts,” an assertion that reflected his disdain for the legacy of Enlightenment rationalism. That disdain is what has given Schmitt’s thought new life in our own bleak and inflamed times.

             Schmitt was born in 1888 and died in 1985. He was a constitutional theorist who wrote brilliant polemics against parliamentary democracy and on behalf of dictatorial rule. He played a prominent role in providing a pseudo-legal justification for the Nazi seizure of power and was a virulent anti-Semite. During the early 1920s, the myth that captured Schmitt’s imagination was the “myth of the nation,” a trope that Mussolini had refashioned into a core precept of Italian fascism. Schmitt explored this theme in 1923 in the concluding pages of The Crisis of Parliamentary Democracy. His unabashedly enthusiastic treatment of unreason offers an important clue with respect to his future political allegiances.

    Echoing the phraseology of the proto-fascist and anti-Dreyfusard Maurice Barrès, who died in that year, Schmitt extolled Mussolini’s March on Rome as a triumph of “national energy.” He thereby acknowledged fascism’s capacity to infuse modern politics with a vitality that was absent from the stolid proceduralism of political liberalism. Schmitt was present at the University of Munich in 1921 when Max Weber delivered his celebrated lecture on “Science as a Vocation.” Schmitt agreed wholeheartedly with Weber’s characterization of modernity as an “iron cage:” a world in which the corrosive powers of “rationalization” and “disenchantment” had precipitated a crisis of “meaninglessness.”

    Schmitt’s antidote to this malaise, and to the intellectual maturity of liberalism, was his “decisionism” — his reconceptualization of sovereignty as the right to decide on the “state of exception.” The ruler was the one, the only one, who had the power to decree a state of exception, and to enforce it. Schmitt attributed a cultural and even epistemological superiority to the “exception” as opposed to the “norm” and the “rule.” It was the antithesis of Weberian disenchantment. As Schmitt exulted, “In the exception, the power of real life breaks through the crust of a mechanism that has become torpid by repetition.” In keeping with the discourse of political theology, Schmitt stressed the parallels between the “state of exception” in jurisprudence and the “miracle” in theology.

    Schmitt exalted the fascist coup as a historical and philosophical turning point in the struggle to surmount the straitjacket of rule-guided bourgeois “normativism,” a legacy of the Enlightenment that Kulturkritiker such as Nietzsche and Spengler deemed responsible for modernity’s precipitous descent into “nihilism.” For Schmitt, the March on Rome was the state of exception come to life. The scholarly nature of his treatise notwithstanding, Schmitt was unable to conceal his prodigious pro-fascist fervor. “Until now,” he wrote, “the democracy of mankind and parliamentarism has only once been contemptuously pushed aside through the conscious appeal to myth, and that was an example of the irrational power of the national myth. In his famous speech of October 1922 in Naples before the March on Rome, Mussolini said, ‘We have created a myth, this myth is a belief, a noble enthusiasm, it does not need to be reality, it is a striving and a hope, belief and courage. Our myth is the nation, the great nation which we want to make into a concrete reality for ourselves’.”

    Schmitt celebrated Mussolini’s mobilization of the “national myth” as “the most powerful symptom of the decline of the… rationalism of parliamentary thought … [and the] ideology of Anglo-Saxon liberalism.” (We would now call Schmitt’s position “post-liberalism.”) Italian fascism was the harbinger of a brave new world of conservative revolutionary political ascendancy: a glorious form of Herrschaft predicated on the values of “order, discipline, and hierarchy.” Mussolini’s putsch represented much more than a simple “regime change.” It signified a qualitative setback for the “ideas of 1789” and a resounding triumph of the counterrevolutionary ethos, as represented by the “Catholic philosophers of state” — Joseph de Maistre (1753-1821), Louis de Bonald (1754-1840), and the relatively unknown Spaniard Juan Donoso Cortés (1809-1853) — whom Schmitt revered.

    Following the Great War, the political challenge that Schmitt confronted was how to “actualize” the tenets of counterrevolutionary thought in a godless secular age whose assault on the twin pillars of traditional political authority, throne and altar, had eliminated absolute monarchy as a viable political option. Schmitt’s French doppelgänger, Charles Maurras, the leader of the Action Française, grappled with this dilemma as well. Schmitt was an avid reader of Action Française, which Maurras edited, and he regarded Maurras as France’s most interesting thinker. Maurras, despite his counterrevolutionary revulsion against the legacy of 1789, remained anachronistically wedded to monarchism. Schmitt, by contrast, opted for a Flucht nach vorne, what we would call a forward defense, which is to say, he went on the attack. At the dawn of what he believed would be a new post-liberal era, Schmitt made a definitive break with all forms of traditionalism with his particular doctrine of dictatorship.

    Schmitt found ample ideological support for his authoritarian credo in the counterrevolutionary doctrines of Maistre and Donoso Cortés, both of whom occupied a privileged position in Schmitt’s pantheon of esteemed intellectual precursors. In 1821, in Les Soirées de St. Petersbourg, Maistre — like Schmitt a proponent of “political theology” — exalted the figure of the Executioner as God’s emissary on earth and an agent of Divine justice. Maistre apotheosized the Executioner as a puissance créatrice, a creative force, and an être extraordinaire, an extraordinary being. Maistre maintained that, in view of humanity’s innate propensity for evil, the Executioner was the ultimate guarantor of secular order. As such, he alone separated human society from a headlong descent into anarchy and chaos.

    Yet it was Donoso Cortés’ unmatched political clairvoyance that expanded Schmitt’s horizons, thereby allowing Schmitt to transcend the constraints of traditional conservatism, whose gaze — as the case of Charles Maurras demonstrated — was obsessively and counter-productively fixated on the past. In Political Theology, Schmitt praised Donoso Cortés as a paragon of “decisionistic thinking and a Catholic philosopher of state who was intensely conscious of the metaphysical kernel of all politics.” According to Schmitt, Donoso Cortés was the only counterrevolutionary thinker who drew the proper conclusion from the “Scythian fury” of the revolutions of 1848, which “godless anarchists” such as Bakunin and Proudhon had directed against the forces of the ancien régime: that absolute monarchy had indisputably become a thing of the past. It was over. As Schmitt put it in Political Theology, insofar as “there were no more kings, the epoch of royalism had reached its end.” The conclusion that Donoso Cortés drew was that because “[monarchical] legitimacy no longer existed in the traditional sense… there was only one solution: dictatorship.”

    Donoso Cortés exalted dictatorship as an inviolable and sacrosanct decision — a decision, that, as Schmitt explained, is “independent of argumentative substantiation” and that “terminates any further discussion about whether there may still be some doubt.” Schmitt’s encounter with Donoso Cortés’ “decisionism” was the “primal scene” of his political philosophy. It determined what Schmitt described in Roman Catholicism as Political Form in 1925 as the “complex oppositorum” between political theology and secular political rule. Schmitt embraced Donoso Cortés’ Christological understanding of anarchists and socialist as agents of the Antichrist, as political actors whose goal it was to “disseminate Satan.” For Schmitt, Donoso Cortés had correctly understood that the momentous battle between “absolute monarchy” and “godless anarchism” was not merely another profane political conflict. Instead it was a struggle that anticipated the Last Judgment.

    Donoso Cortés’ apocalyptic view of politics as a final struggle between Good and Evil became the cornerstone of Schmitt’s “decisionism.” Schmitt praised decision as a force that “frees itself from all normative ties and thereby becomes absolute.” Hence, according to Schmitt, it was the “royal road” to dictatorship. As he explained in Political Theology:

    The true significance of counterrevolutionary philosophers of state [such as Maistre, de Bonald, and Donoso Cortés] lies in the consistency with which they decide. They heightened the moment of the decision to such an extent that the notion of legitimacy . . . was finally dissolved. As soon as Donoso Cortés realized that the period of monarchy had come to an end because there no longer were kings . . . he brought his decisionism to its logical conclusion: he demanded a political dictatorship. . . Donoso Cortés was convinced that the final battle had arrived. In the face of radical evil, the only solution is dictatorship.

    Donoso Cortés’ epiphany concerning the political-theological significance of dictatorship anticipated the Grand Inquisitor episode of The Brothers Karamazov. The important parallels between Schmitt’s views on dictatorship and Dostoevsky’s allegorical treatment of it were not lost on the renegade Jewish theologian Jacob Taubes. Following World War II, Taubes wrestled profoundly with Schmitt, whom he called the “apocalyptic prophet of the counterrevolution,” and with whom he had an interesting correspondence. Taubes’ reflections concerning the totemic significance that Schmitt attributed to Dostoevsky’s parable about the political consequences of human sinfulness are worth citing:

    I had quickly come to see Carl Schmitt as an incarnation of Dostoevsky’s Grand Inquisitor. During a stormy conversation at Plettenberg in 1980, Schmitt told me that anyone who failed to see that the Grand Inquisitor was right about the sentimentality of Jesuitical piety had grasped neither what a Church was for, nor what Dostoevsky—contrary to his own conviction—had “really conveyed, compelled by the sheer force of the way in which he posed the problem.” I always read Carl Schmitt with interest, often captivated by his intellectual brilliance and pithy style. But in every word I sensed something alien to me, the kind of fear and anxiety one has before a storm, an anxiety that lies concealed in the secularized messianic art of Marxism. Carl Schmitt seemed to me to be the Grand Inquisitor of all heretics.

    Support for Taubes’ intuition about Schmitt and the Grand Inquisitor as fraternal spirits is provided by a friend from Schmitt’s Munich days. In a letter in February 1922, Hermann Merk suggested to Schmitt, half-seriously, that, “if someone were to establish a Lehrstuhl at the University of Munich for the justification of the Spanish Inquisition, you would be the ideal person to occupy it, and I would be your most devoted student!”

    Schmitt’s glorification of dictatorship as a sovereign decision that “terminates any further discussion” resurfaced in his landmark debate in 1931 with Hans Kelsen, the eminent jurist and legal philosopher who was forced to leave Germany two years later because he was a Jew, about who is the “Guardian of the Constitution.” Schmitt’s numerous champions have portrayed his defense of executive sovereignty as a last-ditch attempt to safeguard the Weimar Republic against the encroachments of political extremism, both left and right. They have neglected to consider the political-theological underpinnings of Schmitt’s worldview. In the colloquy with Schmitt, Kelsen, a vociferous champion of Rechtsstaatlichkeit (rule of law), advocated strengthening the federal constitutional court as the instance of last resort. Schmitt, conversely, basing himself on Article 48, the Weimar Constitution’s notorious emergency powers proviso, argued in favor of a “sovereign” presidential dictatorship. In light of Schmitt’s strong commitment to the paradigm of political theology, it is difficult to avoid the conclusion that, in the debate with Kelsen, he favored “saving” democracy by destroying its institutional and normative guarantees. As Jürgen Habermas has aptly commented, “Anyone who would want to replace a constitutional court by appointing the head of the executive branch as the “Guardian of the Constitution” — as Carl Schmitt wanted to do in his day with the German president — twists the meaning of the separation of powers in the constitutional state into its very opposite.”

    A year later, in July 1932, Schmitt played a key role in the infamous Preussenschlag controversy, Chancellor Franz von Papen’s constitutional coup against Prussia’s Social Democratic government. Schmitt vigorously argued the case on behalf of the Reich before the federal court in Leipzig. As chancellor, von Papen had contributed significantly to Prussia’s civic disarray by lifting the federal ban against the SA, in an ill-conceived attempt to curry favor with the Nazis. In January 1933, von Papen was named as Hitler’s vice-chancellor. In April, he appointed Schmitt to draft legislation that merged the Länder with the federal government in Berlin. By eliminating the last vestiges of provincial legal autonomy, the Gleichschaltung (synchronization) measures promulgated by Schmitt effectively sounded the death knell of the Weimar Republic. They marked a point of no return on the way to the Nazis’ consolidation of totalitarian rule.

    In light of Schmitt’s concerted efforts to undermine the Weimar Republic’s constitutional stability, as well as the significant role that he played in providing the nascent Hitler-Staat with a veneer of juridical legitimacy, it is not surprising that after the war he was known as the “gravedigger of the Weimar Republic.” The pivotal role that Schmitt played in contributing to the Weimar Republic’s demise cannot be understood apart from his underlying commitment to the counterrevolutionary political theology of Maistre, de Bonald, and Donoso Cortés. In keeping with their visceral aversion to the heritage of “1789,” Schmitt viewed political liberalism’s fitful ascent during the nineteenth century with similar contempt. Following the revolutions of 1848, Donoso Cortés — an intrepid defender of monarchism and an ideological precursor of the “clerico-fascism” of Franco and Salazar — condemned the heretical strivings of a new generation of political radicals as “Satanism” pure and simple.

    True to his counterrevolutionary lineage, Schmitt’s lifelong ideological animus against parliamentarism and the rule of law was motivated by a similar set of political-theological concerns. Schmitt, too, displayed a visceral aversion to the precepts of modern secularism and its political corollaries: humanism, liberalism, constitutionalism, and social democracy. Consequently, following the Nazi seizure of power, Schmitt had no compunction about glorifying the Hitler-Diktatur as a “Katechon,” a “restrainer” or “bulwark” who staves off the advent of the Antichrist, whose contemporary “agents” were the godless and heretical representatives of the political left: liberals, socialists, Bolshevists, communists, anarchists, and of course Jews.

     

              Schmitt’s glorification of the “national myth” comes in a chapter of The Crisis of Parliamentary Democracy devoted to “Irrationalist Theories of the Direct Use of Force.” His treatment of this theme was nothing if not timely. In October 1917, the Bolsheviks, led by Lenin, overthrew Alexander Kerensky’s Provisional Government and set the stage for seventy-four years of murderous dictatorial rule. The events in Russia had a significant ripple effect. In 1919, Bolshevik-inspired “council republics” were proclaimed in Bavaria and Hungary. Within months, however, both regimes were ruthlessly suppressed by counterrevolutionary militias that reveled in profligate acts of “White Terror.”

    Among paramilitary veterans groups, such as the German Freikorps and the Italian squadre d’azione, violence was elevated to the level of a secular religion. In Central and Eastern Europe, right-wing forces frequently targeted Jews, whom they associated with the “Bolshevik menace,” notwithstanding the fact that the vast majority of Jews were steadfastly opposed to communism. In Germany, antisemitism was the ideological catalyst behind the assassination of prominent Jewish politicians such as the Bavarian Prime Minister Kurt Eisner in 1919 and Foreign Minister Walther Rathenau in 1922. In Russia and Eastern Europe, heightened antisemitism incited indiscriminate and bloody pogroms. During the Russian Civil War, from 1918 to 1921, counterrevolutionary armies in Ukraine murdered an estimated thirty thousand Jews.

    During the war Schmitt was stationed in Munich, where he worked in the intelligence services of the German General Staff. His primary assignment was to monitor contacts between left-wing politicians and pacifists in neighboring Switzerland. The White Terror in Munich — much of which Schmitt witnessed first-hand — was especially bloody. Over six hundred people lost their lives, numerous sympathizers of the “council-republics” were summarily executed after the hostilities had ceased. Similarly, in Hungary, when Béla Kun’s Soviet Republic imploded in August 1919, 1,500 persons were killed, over three times the number of those who perished at the hands of the “Reds.”

    The political tumult that rocked Germany following the left-wing revolution in November 1918, when workers’ and soldiers’ councils proliferated in the wake of the Kaiserreich’s collapse, might accurately be described as a permanent “state of emergency.” Both the war years — when civilian rule was de facto suspended in favor of the Ludendorff-Hindenburg dictatorship — and the prolongation of martial law during the postwar period conditioned Schmitt to accept the Ausnahmezustand, or state of emergency, as the new normal. It became one of his contributions to the vocabulary of modern political philosophy. It reinforced his commitment to authoritarian rule as well as his innate mistrust of civilian interference in politics. Schmitt’s inaugural lecture at the University of Strasbourg, in 1916, had examined the constitutional (staatsrechtlich) parameters of “Dictatorship and State of Siege.” The superiority of dictatorship over “constitutionalism” and “legalism” — both of which hampered the political sovereign’s ability to act forcefully and decisively in a state of emergency — became the defining theme of Schmitt’s work. It was not by chance, therefore, that in 1921 Schmitt selected Dictatorship as the theme, and the stark title, of one of his first major scholarly works.

    The apotheosis of political violence that accompanied the Great War and the spate of civil wars that followed conditioned Schmitt’s famous reconceptualization of politics in The Concept of the Political, in 1927, as the capacity to distinguish “friends” from “enemies.” That was it: the essence, indeed the entirety, of politics. By seeking to ground sovereignty through war as the ultima ratio of politics, Schmitt sought to oppose the growing consensus in favor of international cooperation that followed the League of Nation’s founding in 1919. Following the precedent set in that year by Spengler’s Prussianism and Socialism, Schmitt furnished an urgent brief in support of the values of Prussian militarism. “The concepts of friend, enemy, and struggle [Kampf],” Schmitt insisted, “receive their real meaning insofar as they relate to and preserve the real possibility of physical annihilation. War follows from enmity, [from] the existential negation of another being.” “The political enemy,” he continued, “is the other, the alien, and it suffices that in his essence he is something existentially other and alien in an especially intensive sense . . . War, the readiness for death of fighting men, the physical annihilation of other men who stand on the side of the enemy, all that has no normative, only an existential meaning.” Those must be some of the most chilling words written in modernity. Schmitt’s account of politics wished to replace a rational world of norms and rules with a pre-rational order of visceral ruthlessness in which tolerance was inimical to survival and war was eternal.

    Another one of Schmitt’s main goals in The Concept of the Political was to perpetuate the bellicist ethos of the Frontgeneration. It was an objective that was shared by other conservative revolutionary intellectuals: for example, Ernst Jünger, a conservative and a remarkable writer, whose fifty-year correspondence with Schmitt began in 1930 and ended in 1983. As Habermas has noted, “Schmitt was fascinated by the First World War’s Storms of Steel, to use the title of Ernst Jünger’s war diary…A people welded together in a battle for life and death asserts its uniqueness against both external enemies and traitors within its own ranks.” At one point Schmitt, invoking a metaphor taken from marksmanship, proclaimed that “the zenith of Great Politics is the moment when the enemy comes clearly into view as the enemy.” In The Concept of the Political, Schmitt also sought to combat the spirit of anti-militarism and international comity that, in response to the unprecedented carnage of World War I, had encouraged the expansion of international law in order to ensure a peaceful resolution of regional disputes — a movement that culminated in 1928 in the Kellogg-Briand Pact, which quixotically sought to outlaw war as an instrument of national policy.

    The Social Darwinist undercurrent of The Concept of the Political — Schmitt’s insinuation that preparation for war is the raison d’être of “the political” — anticipated his controversial Grossraum doctrine of the early 1940s, which brazenly redefined “natural right” as the “right of the strongest.” Although Schmitt’s champions have sought to portray him as nothing more than a political realist in the tradition of Machiavelli and Hobbes, Schmitt’s “existential” glorification of “war” as the “readiness for death of fighting men, the physical annihilation of men who stand on the side of the enemy … [hence] the existential negation of another being” is significantly at odds with that tradition. After all, the point of Hobbes’ Leviathan was to transcend the war of all against all by means of a civil compact, not to celebrate and expand it.

    The ideological and political turmoil that convulsed Europe following World War I left Schmitt with a permanent fear of political instability. It also inculcated in Schmitt a hypertrophic and abiding fear of “Jewish Bolshevism.” As Paul Hanebrink observes in The Myth of Judeo-Bolshevism, “From the Vatican to Paris salons to paramilitary barracks in the south of Hungary, the history of the Munich Republic of Councils seemed proof of a Jewish plot to overthrow civilization and impose foreign rule on the nations of Europe.” Schmitt’s diaries from the 1910s are suffused with antisemitic invective. They betray a preoccupation with Jews that borders on the clinical. His Judeophobia was especially acute in the case of the assimilated Jews whom he encountered regularly during his student years and his career as a university professor. According to Schmitt, the major problem with assimilated Jews was that they made it nearly impossible to establish a clear divide between “friends” and “enemies.”

    In a diary entry on October 13, 1914, Schmitt spoke about his “Jewish complex,” the confusing amalgam of fascination and revulsion that he felt toward Jews. Although German Jews superficially resembled “normal Germans,” Schmitt held that, on a more profound level, the differences that separated these two peoples were vast. Ultimately, Schmitt’s Judeophobia — which intensified during the “Judeo-Bolshevist” hysteria that coincided with the suppression of the Bavarian Räterepublik in April 1919 — metamorphosed into one of the defining features of his work. Schmitt’s lifelong animus against political liberalism, which culminated in his confrontation withs Kelsen’s “normativism,” was inseparable from his fears concerning the “disintegrative” and “corrosive” character of Jewish influence. His conservative revolutionary allies excoriated the Weimar Republic as a Judenrepublik; it was, they claimed, undeutsch. In The Crisis of Parliamentary Democracy, Schmitt asserted that Artgleichheit, or “racial sameness,” was one of the indispensable hallmarks of the “leader-democracy” (Führerdemokratie) that he envisioned as parliamentary democracy’s successor.

    As Schmitt’s diaries amply attest, he viewed the Jews as the Drahtzieher, or “string pullers,” who were secretly orchestrating these fateful developments from behind the scenes. Already in the 1920s, Schmitt’s sweeping critique of “political liberalism” and “total mechanization” flirted with the idea of a “Jewish world conspiracy” — a notion that was, among conservative revolutionary intellectuals, a truism. Schmitt’s indictment of modernity as an “age of neutralizations and depoliticizations” overlapped with the ascendancy of what the historian Shulamit Volkov has called “antisemitism as a cultural code.” In the discourse of Central European Zivilisationskritik, the agenda of antisemitism was often advanced under the semantic camouflage of a critique of “modernity,” “capitalism,” “technology,” and “liberalism.” Antisemites alleged that in all of these domains Jews played a deleterious and outsized role. A watershed in this line of attack was Werner Sombart’s well-known treatise The Jews in Modern Capitalism, which appeared in 1911, in which he highlighted the affinities between the Jews as a “nomadic desert people” and the “extraterritoriality” of contemporary international finance, and attributed the Jews’ economic success to their “rootlessness,” which, he claimed, engendered a mentality that was averse to firm conviction and conducive to abstract calculation.

    After 1933, when the political situation became more propitious, Schmitt was free to propound his antisemitic views unabashedly and without fear of reprisal. He wasted no time. The semantic violence that was implicit in Schmitt’s disdain for Kelsen’s “legal positivism” now left nothing to the imagination. In 1934, in an essay called “National Socialist Legal Thinking,” Schmitt explicitly celebrated the Nazi legal revolution as a victory of the German over the tyranny of Jewish “legalism.” According to Schmitt, the Volk’s triumph was abetted by its return to “the natural forms of order that emerge from Blut und Boden [blood and soil].” Schmitt added that “normativism’s” predominance under Weimar was due to the “influx of the alien Jewish Volk.” A corrosive infatuation with “legalism,” claimed Schmitt, was “one of the peculiarities of the Jewish people, who for thousands of years have lived not as a state on a piece of land, but solely in the law and norm, which in the true sense of the word are ‘existentially normativistic.’” With Hitler in power, the antisemitic animus that was implicit in Schmitt’s critique of parliamentarism in the 1920s emerged in all its hatefulness.

    II

    Not only was Schmitt enamored of political myths. He was also an adept self-mythologizer. After the war, this talent proved invaluable in the course of his struggle for rehabilitation.

    During the initial years of Nazi rule, Schmitt’s influence was omnipresent. In the words of his former student Waldemar Gurian, who fled Germany and became an important scholar of totalitarianism and a Catholic political theorist in the United States, Schmitt was the de facto “Crown Jurist of the Third Reich.” Following the Nazi seizure of power, Schmitt accumulated, with astonishing speed, an impressive array of offices and titles. In July 1933, Hermann Goering appointed Schmitt to the Prussian State Council. Schmitt was also named to the presidium of Hans Frank’s Academy of German Law. In 1934, Schmitt accepted a prestigious appointment to the faculty of law at the University of Berlin. He served on the executive committee of the Association of National Socialist German Jurists and was editor-in-chief of the Association’s journal, the Deutsche Juristen-Zeitung.

    In July 1934, Schmitt furnished a legal brief justifying Hitler’s bloody purge of the SA on June 30, 1934 — the Night of the Long Knives. It was called “The Führer Protects the Law,” which became a famous slogan. Schmitt’s opinion was a resounding endorsement of the Führerprinzip as the wellspring of legitimacy. It is difficult to construe Schmitt’s article other than as a writ for unrestrained autocratic lawlessness.

    Already in Political Theology, twelve years earlier, Schmitt had asserted that the sovereign must operate from a position outside of the constitution, at a permanent remove from the constraints of “legality.” One of the reasons that, after 1945, Schmitt found it difficult to shake the “gravedigger of the Weimar Republic” epithet was the widely shared view that, in his capacity as “Crown Jurist of the Third Reich,” Schmitt had merely transposed his earlier glorification of the “state of emergencyto the post-1933 circumstances.

    Schmitt’s talent for self-mythologization became evident with the publication of Ex Captivitate Salus, a memoir, or more precisely an apologia pro vita sua, in 1950. Invoking Herman Melville’s novella Benito Cereno — the tale of a ship captain who, in the aftermath of a mutiny, must do the rebellious crew’s dastardly bidding — Schmitt confabulated the legend that his cooperation with the Nazis merely reflected a desperate struggle for survival. He insisted that his support for the regime had been, from start to finish, involuntary: the actions of someone who, to all intents and purposes, had a gun pointed at his head. Schmitt’s self-exculpatory claims are factually unsustainable. But the facts have not dissuaded a devout coterie of loyalists from accepting the Benito Cereno conceit. In the English-speaking world, the cult of Carl Schmitt was first orchestrated by a clique of postmodern Salon-Bolshevists, and more recently by a little but loud movement of “post-liberals.”

    The legend of Schmitt’s innocence derives from two articles that were published in the SS weekly Das Schwarze Korps in December 1936, which questioned Schmitt’s National Socialist bona fides. The articles portrayed Schmitt as an opportunist who had belatedly joined the party in order to advance his career and to camouflage his pro-Catholic loyalties. Schmitt’s detractors — one of whom, Reinhard Höhn, was a colleague of Schmitt’s at the University of Berlin — were political rivals who resented his meteoric rise to prominence in Nazi legal circles. Moreover, since Schmitt was widely regarded as a protégé of Hans Frank — the politician who eventually headed the Nazi occupation of Poland, oversaw four extermination camps, and was convicted for crimes against humanity at Nuremberg and executed — his adversaries hoped that, by attacking Schmitt, they could also interfere with Frank’s political ambitions. Following the attacks, Schmitt was stripped of his party offices. Thanks to Göring’s patronage, he was permitted to keep his University of Berlin professorship and his position as Prussian state counselor. When viewed through the lens of the unending intraparty squabbles that were endemic to Nazi rule, however, the temporary setback that Schmitt experienced was hardly proof of heterodoxy. Moreover, following his rehabilitation by the SS, Schmitt was permitted to travel and lecture freely. Later Schmitt’s opponents were themselves ignominiously sacked.

    Ever resourceful, with one eye trained on the impending outbreak of war, Schmitt reinvented himself as a specialist in geopolitics. Schmitt’s doctrine of Grossraum relied on Social Darwinist arguments concerning the “natural right” of so-called “large space nations” (Grossraum Völker) to subsume “small space nations” (Kleinraum Völker), thereby making a mockery of existing international law. In essence, Schmitt’s geopolitical thought underwrote the Third Reich’s draconian plans for Eastern European hegemony, the Drang nach Osten. Schmitt outlined his geopolitical theories in “Raum and Grossraum in International Law,” a lecture that he presented in Kiel on April 1, 1939, a fortnight after the German invasion of Czechoslovakia. In his lecture, Schmitt invoked the precedent of the Monroe Doctrine to justify the supremacy of the Grossdeutsches Reich or “Greater Germany” in Central Europe. (Hitler was so enamored of Schmitt’s Monroe Doctrine analogy that he immediately included it in a speech in the Reichstag, warning President Roosevelt to refrain from intervention in the event of a future European war, which was in fact only four months away.) Schmitt’s arguments summarily disqualified existing international law and traditional claims to state sovereignty on the part of so-called “small space nations.” As the refugee scholar Franz Neumann observed in Behemoth, one of the first great studies of National Socialism, Schmitt’s Grossraum doctrine underwrote Hitler’s “Grossdeutsches Reich [as] the creator of its own international law for its own Raum or space.” Neumann aptly denounced Schmitt’s concept as little more than pseudo-scientific cover for the Third Reich’s geopolitical ambitions: “It offers a fine illustration of the perversion of genuine scientific considerations in the interest of National Socialist imperialism.”

    The fact that Schmitt’s doctrine of Grossraum seemed to lack the customary obeisances to Nazi race doctrine — one of the main arguments brandished by Schmitt’s defenders to downplay his contribution to Nazi foreign policy doctrine — is immaterial, since this omission also had a tactical side: it imparted a measure of credibility to Schmitt’s theories in international law circles that they would have otherwise lacked.

    Nor was the idiolect of Nazi race thinking entirely absent from Schmitt’s arguments. In “Grossraum and International Law,” Schmitt’s disparagement of Jews as an “artfremde Volksgruppe” — a “racially alien people” — was tantamount to a death warrant, since, according to the tenets of Grossraum, “racially alien” groups were devoid of legal standing. Nazi Grossraum doctrine — Schmitt’s included — was predicated on the twofold imperatives of Raum and Boden, “space” and “soil.” Since Jews were deemed a “rootless” or bodenloses people, they were denied the legal protections that accrued to “rooted” or bodenständige Völker.

    With the publication of Schmitt’s Grossraum essays, and the adoption of his Monroe Doctrine analogy by the Führer, Schmitt’s “comeback” was virtually assured. As a reporter for The Times of London remarked about Schmitt’s address in Kiel in April 1939: “Hitherto, no German statesman has given a precise definition of Hitler’s aims in Eastern Europe. But perhaps a recent statement by Prof. Carl Schmitt, a Nazi expert on constitutional law, may be taken as a trustworthy guide. Schmitt’s Grossraum concept was rapidly embraced by a cadre of high-ranking SS officers attached to the Reich Security Main Office (RSHA) in Berlin. Infusing Schmitt’s approach with a more explicit völkisch-ideological orientation, they proceeded to invoke Grossraum as a pseudo-legal justification for a Nazi-dominated Europe, for German continental hegemony — a strategy that was predicated on the idea of German racial supremacy, in keeping with Nazism’s understanding of Deutschtum, or Germanness, as Herrenrasse, or the master race.

     

              Schmitt’s postwar apologetics suffered a posthumous blow in 2011, when his diaries from the early 1930s were published. They meticulously document Schmitt’s reactions to National Socialism’s political ascent. In an entry in February 1932, for example, Schmitt avowed that, in the upcoming presidential elections, he planned on voting for Hitler. On January 30, 1933, the day of the Nazi seizure of power, Schmitt remarked: “At the Café Kutschera [in Berlin], where I learned that Hitler had become chancellor and Papen vice-chancellor. Excited, happy, satisfied.” The reasons for Schmitt’s “excitement” at the café are not hard to fathom. He realized that Hitler’s rise to power guaranteed the demise of the Weimar “system,” an entity that Schmitt viewed with contempt and whose downfall he had sought to hasten. Whatever reservations Schmitt may have harbored concerning the advent of Nazi rule prior to January 30, 1933 dissipated rather quickly.

    This conclusion is supported by Schmitt’s reaction to the Reichstag’s approval of the Enabling Act of March 23, which allowed Hitler to legislate by decree. In his comments, which were published in the Deutsche-Juristen Zeitung, not only did Schmitt hail the Act’s passage, he went so far as to attribute constitutional status to the emergency decrees that had been promulgated by the nascent Hitler-state. Thereby, he added, these decrees superseded the legal provisions of the Weimar Republic, whose constitution technically remained in effect. In a follow-up article that was published on May 12 in the Westdeutscher Beobachter, called “The Good Law of the German Revolution,” Schmitt reaffirmed, unequivocally and emphatically, that “the good law of the German Revolution is not dependent on respecting the legality of the Weimar ‘System’ and its constitution.” Gone was the distinction that he had established in his book Dictatorship between “commissarial” (temporary) and “sovereign” (permanent) dictatorship. If ever there was a “sovereign” dictatorship, it was Hitler’s.

    The numerous political and legal commentaries that Schmitt penned in support of the Nazi dictatorship — many of which appeared in official Nazi publications such as the Völkischer Beobachter and the Westdeutscher Beobachter — are extremely revealing with respect to Schmitt’s attitudes at the time. They demonstrate that Schmitt’s accommodation to Nazi rule was speedy, seamless, and unstinting. It was as though, with Hitler’s Machtantritt, a dam had burst, and the new political circumstances allowed Schmitt to freely express political views that during Weimar he had been forced to suppress. The republication last year of Schmitt’s Nazi writings helped to resolve a major controversy that beset Schmitt scholarship for decades: whether January 30, 1933 marked a break with or a continuation of Schmitt’s previous political self-understanding.

    One important measure of the continuities in Schmitt’s worldview is the persistence of race thinking. Prior to the publication of Schmitt’s diaries (the most recent installment, Tagebücher 1924–1929, appeared in 2018), Schmitt’s champions often appealed for a “pluralistic” and “differentiated” understanding of his legacy, an interpretive tack that dissuaded scholars from focusing too much on Schmitt’s anti-Semitism. Yet as evidence of Schmitt’s Judaeophobia began to mount, such appeals rapidly devolved into repression and denial. The publication of Schmitt’s diaries has demonstrated that the “Jewish complex” to which Schmitt alluded in 1914 was merely the tip of the iceberg, the harbinger of a fevered anti-Judaism that crested during the Nazi period.

    In his diary in November 1931, Schmitt excoriated the left-wing Romanian poet and historian Valeriu Marcu as a “horrible Jew, of the dumb and superficial variety.” A month later, on Christmas Eve, Schmitt recounted having sung Christmas songs in his Berlin apartment and being overwhelmed by the “shame and scandal of living in a Judenstadt [Jew-city], insulted and shamed by Jews.” Schmitt’s wrath was often directed against assimilated Jews. In his eyes, by trying to pass themselves off as authentically German, they were doubly guilty. As he wrote on March 19, 1933: “Hopeful because of the Nazis, rage at the Jew [Erich] Kaufmann and the imposture of these assimilated Jews.”

    Kaufmann was one of Schmitt’s colleagues on the law faculty of the University of Berlin. His name surfaced in a letter of denunciation that Schmitt wrote to the Minister of Education on December 14, 1934. In his missive, Schmitt claimed that Kaufmann’s presence was a “slap in the face [to the] National Socialist students.” It was not Kaufmann’s pedagogical abilities, continued Schmitt, that were in question. Instead, it was Kaufmann’s status as an assimilated Jew that mattered; or, as Schmitt put it, Kaufmann’s deleterious “influence on German spiritual life and German youth.” As Schmitt urged in conclusion: “Especially today, when the German Volk and German students are being educated through a process of National Socialist schooling, this type of Jewish infiltration and influence must be rigorously avoided.” Kaufmann was promptly dismissed.

    After the war, Schmitt remained unrepentant and defiant. His journals from the years 1947-1951 are suffused with crude antisemitism. Schmitt derogated Jews as “Isra-Elites,” arguing that they were the only “elites” to have survived the war. And in a classic case of “Holocaust inversion” — transforming victims into perpetrators and perpetrators into victims — he claimed that the Jews had been World War II’s real victors. In September 1945, Schmitt was arrested by the Allies in a “general sweep” and interned as a possible “security threat.” Following his release, Schmitt was re-arrested in March 1947. He was transferred to Nuremberg, where he was interrogated by the American prosecutor Robert Kempner as a “potential defendant.” The indictment centered on Schmitt’s Grossraum articles, which Allied prosecutors regarded as a blueprint for Nazi Germany’s “war of annihilation” in the East. Schmitt avoided prosecution — a direct link between his theories and Nazi policy was not legally demonstrable — and was released two months later.

    The experience left Schmitt embittered. He regarded himself and his fellow Germans as the victims of the Allies’ “discriminatory concept of war” and their indefensible “moralization of punishment.” Schmitt’s objections were consistent with his earlier fulminations against “just war” doctrine and the Versailles Treaty’s “war guilt” clause. In 1958, in his foreword to the Spanish edition of his memoir, Schmitt lamented that the Allied legal proceedings had resulted in the unjustifiable “criminalization of an entire people.” He continued: “As Germany lay on the ground, defeated… the Russians and the Americans undertook mass internments and defamed entire categories of the German population. The Americans termed their method ‘automatic arrest.’ This means that thousands and hundreds of thousands of members of certain demographic groups — for example all high-level civil servants — were summarily stripped of their rights and taken to a camp.” The un-self-awareness — or sheer mendacity — of such passages is breathtaking.

    Schmitt’s exclusive focus on German suffering was characteristic of the mood of “repression” and “silence” that prevailed in postwar Germany. Schmitt excoriated the Nuremberg Tribunal as a violation of the time-honored legal maxim nulla poena sine lege — one cannot be punished for doing something that is not forbidden by law. By the same token, he gave little thought to the question of what form of punishment would be appropriate for the unprecedented criminality and mass atrocities that had been perpetrated by the Third Reich and its functionaries. Nor did Schmitt display a modicum of sympathy for the victims of Nazi Bevölkerungspolitik: the six million Jews who perished in Nazi death camps; the three million Soviet POWs who died in German captivity; the twelve million slave laborers who were dragooned to toil in German armaments factories; and so forth. Instead, he callously rationalized these misdeeds as unavoidable “casualties of war.” In Schmitt’s account, they were victims without perpetrators. Schmitt also liked to attribute the war’s tragic outcome to the “all-conquering progress of modern technology,” whose “dislocations” he proceeded to enumerate, mocking the liberal idea of “progress” along the way: “’Progress’ in the appropriation of the human individual, ‘progress’ in mass criminalization and mass automation. A giant apparatus indiscriminately swallows up hundreds of thousands of people. The old Leviathan appears almost cozy by comparison.”

    Following the war — and before Schmitt’s own apologetics had time to take root — some observers recognized the significant contribution that Schmitt had made to consolidating Nazi rule. In Deutsche Daseinsverfehlung in 1946, Ernst Niekisch accused Schmitt’s “friend-enemy” distinction of having furnished the “algorithm of bestiality” that was ruthlessly put into practice by the SA and SS. Similarly, Rudolf Smend, a former colleague at the law faculty of the University of Berlin, denounced Schmitt as a legal “pioneer of the National Socialist system of violence.” But Schmitt himself systematically eschewed questions of responsibility, personal as well as collective. Like the majority of his countrymen, he demonstrated little enthusiasm for probing the historical origins of the “German catastrophe.”

    From a legal and constitutional standpoint, the Federal Republic of Germany — whose Grundgesetz, or Basic Law, was codified in 1949 — was Schmitt’s worst nightmare. In stark contrast to Weimar, the Bonn Republic was intentionally conceived as a parliamentary system. Its architects expressly sought to forestall the temptations of executive overreach that, under von Hindenburg’s presidency between 1925 and 1934, had plagued German democracy, thereby paving the way for Hitler. The entire project was anathema to Schmitt. He disparaged defenders of the Grundgesetz as “Grundgesetzler” (human rights-lings) and mocked Grundrechte or “basic freedoms” as the “inalienable rights of donkeys.” For Schmitt, the Federal Republic represented a double abnegation of politics, insofar as it elevated the “anti-political” institutions of “parliament” and “judicial review” above the prerogatives state sovereignty. Schmitt’s own bête noire was the federal constitutional court, whose seat was in Karlsruhe. Schmitt composed a sophomoric satirical poem, which he circulated among friends, comparing the justices to lemurs. (“In Karlsruhe there grows a rubber tree/Lemurs scurry around/They append the ‘value’ of ‘freedom’ to the rubber tree.”) Schmitt excoriated the Bonn Republic as a “Justizstaat” — implying that it was not a “real state” — which elevated abstract “values” such as “human dignity” over “authority.” One of Schmitt’s final works was called The Tyranny of Values.

    III

    Following Schmitt’s death in 1985, the German right leaped into action to popularize Schmitt’s critique of German democracy. As the Junge Freiheit, the flagship publication of the Neue Rechte (New Right), put it: “Whoever sleeps with the Grundgesetz under his pillow has no need of Carl Schmitt. Conversely, whoever recognizes that the Grundgesetz is a prison in which the German res publica has been interned reaches for his work.” During the European refugee crisis of 2015-2016, the right-wing ideologue Götz Kubitschek, co-founder of the Institut für Staatspolitik — a conservative revolutionary think tank allied with the far-right political party Alternative for Germany (AfD) — cited Schmitt’s “state of exception” as an argument for implementing emergency measures to rebuff the influx of Syrian immigrants. Alluding also to Schmitt’s “friend-enemy” dichotomy, Kubitschek declared:

    I am convinced that in a “state of exception” … as the threats to one’s own group along ethnic, cultural, and civic lines become clear, so does the question of who ‘We are’ and who ‘We are not’… In other words, when people in this land have had enough, the question of [political] loyalty is bound to arise, as it does already when it is a question of customs, values, and the legal statutes that Islam places on the conduct of everyday life.

    The New Right regarded the refugee crisis, which rocked Chancellor Angela Merkel’s governing coalition to its foundations, as a classical Schmittian “state of emergency” — as a situation that, like the Algeria crisis in France in 1958 that paved the way for General Charles de Gaulle’s coup, portended the Bundesrepublik’s abolition and its replacement by an ethno-populist dictatorship. That Kubitschek’s advocacy of an executive decree banning asylum-seekers violated the Grundgesetz, as well as the tenets of European Union immigration law, seemed a matter of little concern.

    Schmitt’s posthumous influence on German political culture has been enormous. During the 1950s, Schmitt’s site of exile in Plettenburg became a favored pilgrimage destination among radical conservative jurists who were disaffected with the Federal Republic’s Verwestlichung (turn to the West) under Konrad Adenauer’s chancellorship in 1949-1962. Among Schmitt’s numerous acolytes was the jurist and future member of the Karlsruhe Constitutional Court, Ernst-Wolfgang Böckenförde, who applied Schmittian maxims in rulings that involved purported “social welfare” encroachments on state autonomy. And following German reunification in 1990, Schmitt’s intellectual currency skyrocketed. German conservatives asserted that the time had come to replace the “de-politicizations” and “neutralizations” of the liberal Bonn Republic with the prerogatives of a “self-confident nation” (selbstbewusste Nation), in keeping with the Bismarck-era traditions of étatisme and Machtpolitik. Who better to guide the Berlin Republic’s transformation in accordance with these precepts than Carl Schmitt?

    During the 1990s, a contingent of radical conservative intellectuals undertook a public campaign to rehabilitate Schmitt, along with the reputations of like-minded conservative revolutionary thinkers such as Ernst Jünger and Martin Heidegger. Prior to reunification, it had been difficult for Schmitt to escape the taint of his earlier career as the Third Reich’s “Crown Jurist.” Following the collapse of the Berlin Wall, however, a chorus of national conservatives argued that, after forty years of democratic stability, the time had come to lift the taboo. Schmitt was resurrected as a deutscher Klassiker, a “German classic.” Notwithstanding the objections that were raised by a handful of intellectuals, his rehabilitation seemed complete.

    Schmitt’s rehabilitation in Germany was merely the prelude to a multifaceted international revival of his work. Already during the 1990s, those who were disillusioned with neoliberal triumphalism and the “end of history” ransacked Schmitt’s corpus in search of political alternatives. And the ranks of the disillusioned were not confined to the right. Left-wing critics of TINA — the acronym for “there is no alternative,” derived from Herbert Spencer and popularized by Margaret Thatcher, to indicate an acceptance of the liberal order — thought that they had found the support they needed in Schmitt’s claim in The Crisis of Parliamentary Democracy that liberalism and democracy were mutually exclusive political forms. As Alan Wolfe noted in The Future of Liberalism, “To the extent that there is a revival of Schmitt’s ideas taking place in Europe and the United States, it is not because of what is happening on the right. It is because Schmitt has become something of a hero to the postmodern left.”

    Schmitt’s arguments about the endemic corruptions of Western liberalism became increasingly popular among former Marxists who, following the collapse of communism and the discrediting of Marx’s “metaphysics of class struggle,” sought out alternative paradigms of contestation among non-Marxist sources. In light of the fact that the proletariat, the putative “gravedigger of capitalism,” was now comfortably ensconced amid the mind-numbing blandishments of bourgeois consumerism, the prospects of realizing the utopia of a “classless society” seemed more distant than ever.

    Nominally, these self-styled “left Schmittians” embraced Schmitt’s no-holds-barred critique of liberalism in the name of “radical democracy.” Ultimately, however, their animus against the normative safeguards of liberalism proved so powerful and all-consuming that, much like Schmitt, they ended up countenancing brazenly authoritarian political solutions. In their haste to transcend the liberal democratic status quo, the left Schmittians were not averse to flirting with the temptations that Jacob Talmon long ago described as “totalitarian democracy.” They reprised an authoritarian political lineage that stretched from the Jacobin dictatorship of 1793-1794 to Lenin’s What is to Be Done? (1902) to the Chavismo that, since the late 1990s, has made state socialist autocracy a permanent feature of the Latin American political landscape.

    To restate Schmitt’s critique of liberal democracy in Rousseauian terms: whereas democracy strove to realize the “general will” or “universality,” liberalism, which was predicated on “interests,” was incapable of rising above “particularism,” or the mere “will of all,” which never rose to a higher unanimity. Schmitt claimed that “parliamentarism,” as a sphere of “representation” in which “interests” reigned supreme, inherently subverted the universalist strivings of democracy qua popular sovereignty. Hence Schmitt’s conclusion that liberalism and democracy inherently operated at cross purposes. (This is one of Victor Orban’s favorite refrains.) On the basis of these criticisms, Schmitt cynically dismissed parliament as little more than a Schwatzbude or “gossip chamber.” Following the lead of Donoso Cortés, he disparaged the bourgeoisie as spineless and effete, a class that was prone to endless discussion but incapable of a sovereign decision. During the 1920s Schmitt’s political hopes centered on the prospects of a Führerdemokratie, or leader-democracy, a term that for Schmitt and Schmittians is not at all oxymoronic: a form of political authoritarianism that was shorn of pluralism and constitutional interferences, a political system that replaced the liberal idea of “representation” with the “identity” between Führer and Volk, “leader” and “people.” Recall that Schmitt held that political obligation was grounded in “faith” and “myth” as opposed to rational consent. The identity between “leader” and “people” would be reinforced by a emotional emotional bond.

    For ex-Marxists, Schmitt’s critique of political liberalism possessed numerous advantages. Unlike Marxism, it was not tied to an outmoded Hegelian philosophy of history that naively culminated in the grand soir of socialism. Nor was it wedded to an equally anachronistic understanding of the proletariat as the “universal class”: a class that, as Marx had claimed, epitomized all of the injustices of bourgeois society, while being systematically deprived of its benefits. From an empirical standpoint, the “laboring society” of nineteenth-century industrialism on which Marx had predicated his “critique of political economy” had, to all intents and purposes, disappeared. The demise of the factory system meant that the ideas of “class” and “class struggle” had likewise forfeited their centrality. Instead, as sociologists never tired of pointing out, “social stratification” and “status differentiation” had replaced “class” as the interpretive keys to understanding modern society. It was not hard to see that, shorn of “class struggle,” Marx’s theory of revolution had become obsolete.

    The 1960s confirmed that the locus and the nature of political struggle had fundamentally shifted. Conflict was no longer confined to the shop floor or the workplace. Instead, the “new social movements” demonstrated that political contestation had been pluralized. Feminism, gay liberation, the civil rights movement, and environmentalism had exposed the analytical inadequacies of “class analysis.” The new sites of struggle centered on “post-material values” and cultural themes that transcended the economistic focus of traditional Marxism. Among post-Marxists, Gramsci’s notion of “hegemony” played a crucial role, insofar as it directly addressed the cultural dimension that Marx’s critique of political economy had neglected.

    For left Schmittians searching for new forms of contestation in order to combat the “Washington consensus,” Schmitt’s rejection of political liberalism seemed to offer possibilities of radical struggle that the parliamentary left had long abandoned. Hence, Schmitt’s left-wing disciples enthusiastically embraced his “friend-enemy” opposition for infusing radical politics with an ethos of permanent conflict. As Chantal Mouffe argued in The Challenge of Carl Schmitt in 1999, Schmitt’s “concept of the political” anticipated a new era of “political agonism,” in which the consensual politics of liberal-democratic parliamentarism was swept away by a rising tide of dissent and conflict. Mouffe explained:

    In spite of [Schmitt’s] moral flaws… ignoring his views would deprive us of many insights that can be used to rethink liberal democracy… Schmitt’s thought serves as a warning against the dangers of complacency that a triumphant liberalism entails. His conception of the political brings the crucial deficiencies of the dominant liberal approach to the fore. It should shatter the illusions of all those who believe that the blurring of frontiers between Left and Right, and the steady moralization of political discourse, constitute progress in the enlightened march of humanity toward a New World Order and a cosmopolitan democracy.

    By trivializing Schmitt’s rather spectacular failings as “moral flaws,” Mouffe conveniently sidestepped the interpretive question that has preoccupied Schmitt scholarship for decades: the extent to which Schmitt’s celebration of dictatorship and Führerdemokratie during the 1920s presaged his conversion to Hitlerism in 1933. Moreover, was it not Mouffe herself who “blurred the frontiers between Left and Right” by enlisting the support of a conservative revolutionary thinker like Schmitt for the ends of radical democracy? Finally, in an era marked by unprecedented political polarization — “blue states” versus “red states” and so on — and ever-expanding ideological divisions, should not the construction of a common political discourse take priority over a “political agonistics” that would merely widen existing antagonisms?

    Although Schmitt’s “concept of the political” may have liberated neo-Marxists from the straitjacket of historical materialism, it left them fully exposed to the dangers of Schmitt’s own extremely dubious political choices. In fact, by embracing Schmitt’s “decisionism,” as well as his inflexible “anti-normativism” — “the exception is more interesting than the norm,” Schmitt proclaimed; “the norm is destroyed in the exception” — Schmitt’s left-wing partisans opened themselves up to the excesses of “left fascism”: a quasi-aesthetic celebration of “struggle for struggle’s sake” and “conflict for conflict’s sake”; a glorification of endless war that blithely scorned institutional constraints and guardrails. Finally, in keeping with Schmitt’s decisionism, his left-wing disciples turned a blind eye to the content and the ends of struggle.

    A decisionistic refusal to specify the ends of struggle has also been one of the hallmarks of the Schmittianism of the Argentinian political theorist Ernesto Laclau (who was Mouffe’s partner). In On Populist Reason, which appeared in 2007, Laclau described the content of political struggle as an “empty signifier.” According to Laclau, the meaning of struggle would be provided by the populist “leader,” who is tasked with aggregating the conflicting demands of the vox populi in order to achieve a new “hegemonic unity.” Whereas Mouffe’s neo-Marxism still felt obligated to pay lip service to the formal trappings of liberal democracy, Laclau held that the rituals of “parliamentarism” must be simply abolished for the sake of realizing the ever-elusive “general will.” Laclau uncritically adopted Schmitt’s argument in The Crisis of Parliamentary Democracy that “representative democracy” must be replaced by a plebiscitarian “leader-democracy”; and the Schmittian derivation of Laclau’s position may help to explain his neo-Leninism, his view that only the “leader” or “party” can provide the “people” with a unified, revolutionary consciousness, thereby raising it from its “fallen” condition as an inchoate, disaggregated mass. By constructing the “real people” against the “enemies” who have betrayed it — enemies that Laclau defined as the “oligarchy” or “elites” — the leader, so to speak, “extracts” the (real) people from its oppressors.

    In The Crisis of Parliamentary Democracy, Schmitt claimed that genuine democracy was predicated on a series of “homologies” or “identities”: “the identity of governed and governing, sovereign and subject, the identity of the subject and object of state authority.” If, in Schmitt’s teaching, “democracy is not antithetical to dictatorship,” it was in part because dictatorship preserved the identity between the ruled and the ruler. According to Schmitt, dictatorship realized this identity through a process of mass “acclamation” as opposed to parliamentary “representation.” In sum: “Dictatorial and Caesaristic methods [embody] the direct expression of democratic substance and power.” Laclau endorsed Schmitt’s condemnation of representative democracy as a liberal subterfuge that sublimated and distorted popular will, thereby obstructing the identity between “leaders” and “people.” He also substituted Schmitt’s proto-fascist notion of “symbolic representation” — a leftover from Schmitt’s earlier political Catholicism — for the liberal democratic conception of “mandate representation.” Thus, in keeping with Schmitt’s framework, Laclau exalted the leader as the “symbolic representative” of the “general will.” The problem with the fascist glorification of leadership, for Laclau, was only that it was too extreme, though it is hard to know what extreme means for such a proponent of unity in tyranny.

    Laclau’s repudiation of liberal democratic “proceduralism” — whose foremost twentieth-century representatives have been Ronald Dworkin, John Rawls, and Jürgen Habermas — was an important component of the left Schmittians’ struggle against Enlightenment rationalism. This resolutely anti-Enlightenment disposition helps to explain the theoretical alliance between post-Marxists such as Mouffe and Laclau, on the one hand, and poststructuralists such as Derrida and Foucault, on the other. It also provides support for Habermas’ wise suspicion, voiced during the 1980s, that “postmodernity definitely presents itself as antimodernity.” “This statement,” Habermas continued, “describes an emotional current of our times that has penetrated all spheres of intellectual life.”

    The left-wing cult of Schmitt often displayed a self-marginalizing, sectarian quality, which explains its difficulties in gaining acceptance outside of the insular confines of academe. The same cannot be said about the reception of his work among neoconservative policy circles following the 9/11 terrorist attacks, when Schmitt’s pronouncements about the imperatives of emergency governance and the fecklessness of liberal democratic “legalism” assumed canonical status.

    Even civil libertarians, while disagreeing sharply with Schmitt’s conclusions, begrudgingly acknowledged his diagnostic prescience as well as the timeliness of his legal-juridical insights. “Mr. Schmitt Goes to Washington” was the shrewd title of Alan Wolfe’s discussion of the hypertrophy of executive authority under George W. Bush’s presidency. As the political theorist William E. Scheuerman conceded in The End of Law: Carl Schmitt in the Twenty-First Century, “Like no other political or legal thinker in the last century, [Schmitt] placed the problem of emergency government on the intellectual front burner, and he consistently did so as to unsettle those of us committed to liberal and democratic legal ideals. At the very least, his ideas about emergency rule call out for a response from those hoping to preserve the rule of law.” And in 2006, in an article on “Preserving Constitutional Norms in Times of Permanent Emergencies,” the legal theorist Sanford Levinson acknowledged that, in light of the Bush administration’s sovereign disregard for juridical accountability, America was experiencing a “Schmittian moment.” As Levinson put it, “The single legal philosopher who provides the best understanding of the legal theory of the Bush administration is Carl Schmitt, a brilliant German theorist of Weimar, who became, not all together coincidently, the leading apologist for Hitler’s takeover of what Schmitt viewed . . . as a hopelessly dysfunctional German polity.” Elsewhere he noted Schmitt’s status “as the jurisprudential guru of the post-9/11 world, a world in which the state of exception itself had become the new norm; in other words, as many analysts and observers assumed at the time, a permanent state of exception.”

    Schmitt’s philosophy was indeed a great gift to the advocates of what John Yoo, a legal scholar and deputy assistant attorney general in the Office of Legal Counsel in the White House, called “the Unitary Executive.” It was an idea that enjoyed a good deal of political support in the Bush years. “All law,” Schmitt wrote, “is ‘situation law.’ The sovereign creates and guarantees the situation as a whole in its totality. He has the monopoly on this ultimate decision.” The “sovereign” has carte blanche to respond to the changing situation as he sees fit, unimpeded by prior constitutional norms. Of course the West Wing Schmittians either misunderstood Schmitt or were using him dishonestly. Schmitt was not defending a constitutional status quo ante — as his champions continued to claim, despite mounting evidence to the contrary — but facilitating the transition to a “sovereign dictatorship,” in keeping with his glorification of the “Age of Absolutism” as the archetype of political excellence. What on earth was his ghost doing in the White House?

    Constitutionalists such as Levinson and Scheuerman reacted to the “Schmittian moment” in American governance with dismay and alarm, but not all observers were equally troubled. In 2006, in Terror in the Balance: Security, Liberty, and the Courts, Eric Posner and Adrian Vermeule claimed that Schmitt’s arguments in favor of emergency powers unconstrained by congressional oversight and judicial review were exactly what the war on terror demanded. Posner and Vermeule derided opponents of torture for their “self-absorbed moral preciosity.” They described their goal in Terror in the Balance as “extracting the marrow from Schmitt and then throwing away the bones” — a rather infelicitous choice of metaphor. They sought also to combat the moral outrage of conscience-stricken civil libertarians: for example, the seven hundred law professors who, in December 2001, published a petition criticizing the Bush administration’s plan to employ military tribunals to try the Guantanamo Bay detainees. By arbitrarily reclassifying the Guantanamo captives as “unlawful enemy combatants,” the Department of Justice sought to strip them of the legal protections they would be entitled to under the Geneva Accords as prisoners of war.

    The political challenges that the United States faced following the September 11 attacks were undeniably exceptional. For a democratic polity committed to the rule of law, however, the key to addressing the exception lies in insuring that the response is, from a constitutional standpoint, proportionate to the emergency in question. In other words, the response must be calibrated with a view toward returning to the legal-constitutional status quo ante. In 1861, between the attack on Fort Sumter in April and the return of Congress in July, Lincoln acted — to employ Schmitt’s terminology — as a “commissarial” (or limited) dictator. But Lincoln relied on emergency powers in order to safeguard the Republic; his actions always presupposed a return to constitutional normalcy; and so his “exceptional” conduct exemplified the responsible use of executive authority. Moreover, Schmitt’s attempt to define “the political” in terms of the “friend-foe” distinction, his notion of politics as war, is fundamentally at odds with central aspects of the Western political tradition, for which “justice” and “virtue,” rather than “enmity,” are the raison d’être of politics. In American terms, certainly, Schmitt’s “concept of the political” is really a concept of the anti-political, of the breakdown of politics, as in 1861. Our system of government was designed for conflict, which Madison regarded as a permanent feature of human affairs, but there is nothing Darwinian — or Schmittian — about it.

              Meanwhile the left Schmittians viewed the Bush administration’s proto-Schmittian apotheosis of executive authority as a welcome confirmation of their own longstanding antiliberal prejudices. Already during the 1990s, they regarded Schmitt’s arguments about the bankruptcy of political liberalism as received wisdom. Under the influence of French theory, the left Schmittians enthusiastically accepted Schmitt’s claim that liberal “norms” were little more than a swindle. They held that, insofar as norms were prescriptive — hence “normalizing” — they predetermined the parameters of socially permissible behavior. By pathologizing deviance and non-conformity, norms were an essential component of disciplinary society’s implacable social control. The illusion of “autonomy” was merely one of the ruses that “power-knowledge” employed to deceive us into thinking that we were free. This is what happened when Foucault was added to Schmitt. As Foucault wrote, “[the] will to knowledge reveals that all knowledge rest upon injustice, that there is no right … to truth or foundation for truth … The instinct for knowledge is malicious, something murderous, opposed to the happiness of mankind.” In the eyes of Schmitt and Foucault, the dialectic of enlightenment culminated not in emancipation, but in catastrophe.

    Giorgio Agamben’s State of Exception, which appeared in 2004, was conceived as a response to Abu Ghraib and Guantanamo, and represented the consummate synthesis of Schmitt and poststructuralism. By fusing these currents, it raised anti-Enlightenment cynicism to new heights. Agamben maintained that there was nothing “exceptional” about the “state of exception” that, following the September 11 attacks, was declared by the Bush administration. It merely exposed the hidden capacity for violence that lurked beneath the peaceable façade of liberal democratic “legalism.” For Agamben, the state of exception already was “the dominant paradigm of government in contemporary politics.” He praised Schmitt effusively as the theorist who, more than any other, had exposed the hidden link between the state of exception and bourgeois legal convention: “The specific contribution of Schmitt’s theory is precisely to have made such an articulation between state of exception and juridical order possible. It is a paradoxical articulation, for what must be inscribed within the law is something that is essentially exterior to it: nothing less than the suspension of the juridical order itself.” According to Agamben, however, the corrective to the state of exception is not to return to the rule of law, or to make law genuinely effective, since Agamben held, following Schmitt, that the state of exception is — in ways that are never clearly specified — inscribed in the rule of law itself. The vaporousness of all this was a formula for political impotence. The left Schmittians have little to offer apart from an abstract populism, an ill-defined theory of “direct action” and “agonistic struggle.” But will the people follow Agamben into the streets? The notion is a little comic — though the comedy disappears in the face of Agamben’s claim that there are no essential historical differences between Guantanamo Bay and Auschwitz. They both express the hidden telos of “modernity.”

    And now the cult of Carl Schmitt has been again updated. Recently a new authoritarian ethos has emerged on the right, a political current proclaiming that liberal democracy has entered into a state of terminal crisis. The proponents of this ethos claim that the signs of liberalism’s morbidity are omnipresent and undeniable; only fools mired in anachronistic ways of thinking would deny their obviousness. The slogan that has been widely brandished as a cure-all or panacea for liberalism-in-crisis — and an adage that has been enthusiastically embraced by autocrats and their apologists — is “illiberal democracy.” Unsurprisingly, the political philosopher whose doctrines have been repeatedly invoked both to explicate the reasons for liberalism’s irreversible demise and to justify the transition to a new form of authoritarian rule that will save us from its insolvency is Carl Schmitt.

    Schmitt has been canonized by a new generation of “post-liberal” conservatives who have been heartened by the political “successes” of Donald Trump and the Hungarian strongman Victor Orbán. Following Schmitt, they have concluded that constitutional guarantees of civic freedom and legal equality must be jettisoned, since, as enablers of an anarchic centrifugal individualism, they bear primary responsibility for Western civilization’s precipitous unraveling. Last summer Orban received an enthusiastic reception at the CPAC convention in Texas, which provoked a reporter in Washington Post to described the “Orbánization” of American conservatism: “to right-wingers steeped in anti-liberal grievance, Hungary offers a glimpse of culture war victory and a template for action.”

    The uncritical reliance on Schmitt’s positions attests to a revolting lapse of historical memory. Equally troubling, when pressed to identify a political successor to liberalism, the post-liberal responses track Schmitt’s ill-advised endorsement of “leader-democracy.” Schmitt’s argument that liberalism is incoherent and self-negating, since, as a form of political rule it is inherently averse to “authority” and “order,” in lieu of which “political rule” itself becomes meaningless, suffuses Patrick Deneen’s influential anti-liberal broadside, Why Liberalism Failed. As Deneen observes, parroting Schmitt, “democracy, in fact, cannot survive under liberalism.” The shameful lineage is clear. As Robert Kuttner noted appositely in the New York Review of Books, “Deneen’s thinking echoes an older line of reactionary argument on the folly and perversity of liberal democracy that extends back from twentieth-century anti-liberal intellectuals, like Leo Strauss and fascist theorists Carl Schmitt and Giovanni Gentile, to monarchic critics of liberalism, like Joseph de Maistre.” The fundamental flaw of Why Liberalism Failed is that its understanding of liberalism’s inadequacies derives from the worldview of a thinker who was rabidly opposed to liberalism and everything it stood for. Faulty premises yield faulty results. Schmitt’s representation of liberalism’s deficiencies contains a kernel of truth, though he was hardly the first or the last to worry about the labyrinthine tendencies of liberal governance; but his portrait of liberalism was a grotesque caricature — partial, self-serving, hysterical, and exaggerated, just like Deneen’s.

    Deneen is not alone in his Schmittian amen corner. In A World After Liberalism: Philosophers of the Radical Right, Matthew Rose, a contributor to First Things, sounds the death-knell not only of liberalism but also of traditional conservatism. According to Rose, in its place there will now arise “a new conservatism, unlike any in recent memory… Ideas once thought taboo are being reconsidered; authors once banished are being rehabilitated.” The inspiring doctrines of the “Radical Right,” whose ideas Rose seeks to retrofit for contemporary political use, emerged in Germany after World War I. “Known as the ‘Conservative Revolution’… its chief figures included Carl Schmitt, Ernst Jünger, Arthur Moeller van den Bruck, and Oswald Spengler.” Rose exalts these thinkers for their willingness to explore themes of “cultural difference, human inequality, religious authority, and racial biopolitics,” notwithstanding the fact that their approaches “were widely viewed as invitations to xenophobia and even violence.” That view was not only widely held, it was also true.

    In a similar vein, Adrian Vermeule, the Harvard legal scholar and Catholic “integralist,” has invoked Schmitt’s adage that “all political concepts are secularized theological concepts” to indict the theological ferocity with which liberalism unrelentingly (in his account) has advanced its agenda at the expense of traditional communities, belief-systems, and lifeworlds. As with Deneen, what Vermeule’s arguments lack in precision and subtlety, they compensate for in sheer force of rhetorical will. Like Schmitt, Vermeule prioritizes voluntas over ratio. Schmitt’s adage was part of his more general assault on the mentality of modernity. Never mind that, in contrast to theology, modernity relies for its intellectual methods on evidentiary criteria that are “public” and “generalizable.” Its proposals and claims are open to discussion and criticism. Unlike the precepts of “political Catholicism” with which Vermeule strongly identifies, they are, as a matter of principle, fallible and non-dogmatic. Does Vermeule leave his faith at the seminar door or his reason at the church door?

    There is no surer sign of intellectual and moral bankruptcy than an association with the thought of Carl Schmitt. The persistence of his cult into the present day is yet another of our time’s many unhappy omens. But as long as the hard work of a free and fair society feels too onerous for some of its intellectuals, the repulsive Schmitt will live; live again and be repudiated again. 

     

    Surrealism’s Children

         Back when I was an idealistic young soul, I enrolled in a PhD program in French and Comparative Literature, intent on making a career in academia. Those were the days when New Criticism and Semiotics held sway, and texts were to be read without interference from outside influences. The approach we were taught, boiled down, was that all a reader needed to know about a poem or a work of prose could be found on the page, without reference to historical context, authorial biography, or any other distractions. In class after class, we dissected poems by Ronsard and Rimbaud, the Symbolists and the Surrealists, peeling back layer upon layer of manifest and latent meaning. It was intoxicating stuff, but I couldn’t escape a nagging question: What was the point of it? Wasn’t it all a bit too removed from life? Wasn’t literature supposed to tell us about more than just its own internal machinery? Unable to resolve these questions, I handed in my Master’s thesis and said goodbye to all that.

         One effect of having left academia prematurely is that I spent the following decades still grappling with the appropriate balance between art and life, and the role that literature, literary studies, and the humanities in general have to play in our dealings with this fraught and confusing world — a world that, increasingly, seems resistant to the kinds of challenges and provocations that art and literature are best suited to pose. Is literature meant to reinforce our convictions, or to destabilize them? Should art be a safe space or a dangerous space, and what does that mean? What is the role of the off-putting, the upsetting, the offensive, and the shocking in our study and consumption of the humanities? Can art still be shocking in this day and age? And who, exactly, is being shocked?

         The answers used to be fairly straightforward, or so it seemed. The progressive avant-garde duly épaté’d the bourgeois, who duly responded with howls of outrage as their cherished shibboleths — God, king, country, the army, the Establishment, what have you — were dragged through the slime — often in language and aesthetic forms that were themselves a provocation. Provocation was even a kind of social role, an expected feature of the societal landscape. But things are no longer so simple.

         These days we find ourselves in a situation in which supposedly contradictory viewpoints circle each other, ouroboros-like — and become virtually impossible to distinguish. Conservatives vent their offense by banning an increasing number of books in schools and libraries, while college professors are actively discouraged from teaching material that might ruffle student sensibilities and provost’s offices disinvite speakers deemed too hot to handle. Yet what better time than in college to have sensibilities ruffled? When will students ever have a more free and insulated space in which to rub shoulders with controversial ideas, and to develop the skills needed to confront those ideas in the world — that is, to view them with greater insight and deeper understanding, if only to then refute them? College is, or should be, an instruction in controversy and its skills. For this reason, the curricular exclusions on current-day campuses not only curtail what the educational experience has to offer, but, particularly in a study of the humanities, the establishment of these guardrails undermines what is most valuable about the discipline: its challenge to comfort and certainty, its impetus to make us think harder and more independently.

         We are all familiar with the Golden Age of Bourgeois Indignation, in incidents ranging from theatergoers howling at the premiere of Victor Hugo’s Hernani in 1830, to attendees at the Paris Salon in 1863 trying to slash Manet’s Déjeuner sur l’herbe, to audiences throwing tomatoes and raw steaks at Dada performers in the 1920s. Flash forward a century and the dynamic has reversed: as Laura Kipnis has observed in these pages, it’s not the rubes and the philistines who get rattled now, but rather the progressives and the illuminati who find it hard to stomach the provocations. “At some point,” she writes, “offendability moved its offices to the hip side of town.” Nor, even, is outrage the exclusive privilege of the avant-garde: in the current climate, mainstream art and literature can just as likely get dinged as the cutting-edge stuff, in a free-for-all of offense.

         The question is, what do we sacrifice by avoiding such offense? It’s not always pleasant to be rattled out of one’s complacencies — the entire history of the avant-garde banked on it — but in losing the displeasure of injury, are we also losing the pleasures of discovery, and of self-discovery, that can accompany it? The price of comfort is often stagnation.

         And there’s a more immediate concern as well: in this time of anonymous reputation-bashing and swift retaliation against unwelcome opinion — the so-called “cancel culture” — the danger is not so much that people’s ratings will suffer and their speaking engagements will be revoked, but that they will stop saying anything at all for fear of being boycotted or “shamed.” We have too many crises to confront, none of which can be meaningfully addressed in 280-character soundbites, for those who can see beyond partisanship to refrain from making valid contributions. Trying to avoid offense in every instance is a fool’s errand — you can’t please all of the people all of the time — and holding back consequential and constructive insights, even if unpopular, impedes the free exchange of ideas and accomplishes nothing.

         From its tumultuous start, the Surrealist movement was out to shock. The flurry of activity that accompanied its debut in late 1924 and early 1925, including the broadside A Corpse (which spat on the much beloved and recently deceased novelist Anatole France, an act of cultural blasphemy), the aggressive prose and propositions of Andre Breton’s Manifesto of Surrealism (“Beloved imagination, what I most like in you is your unsparing quality”), and the common cause that the group tried to make with the reviled Communist Party, were not only steps toward defining a philosophical program, but also ways of slapping bourgeois proprieties repeatedly across the face.

         This was true not only of their actions but also of their proclaimed choice of role models, many of whom would not have passed a modern-day ethics test. The most glaring case in point is the Marquis de Sade, poster boy for aberrant sexuality and one of Surrealism’s lauded heroes. Many more examples can be found in Breton’s Anthology of Black Humor, a veritable rogue’s gallery of dubious precursors. Sade’s novels are jam-packed with physical and mental abuse, coprophagia, cannibalism, torture, rape, and murder perpetrated indiscriminately against women and men of all ages: he did not lend his name to a major psychopathology lightly. Nor were these acts merely theoretical, for the man practiced what he predicated — not to the extent portrayed in his books, not by a long shot, but enough to keep him behind bars for nearly half his seventy-four years, first under the monarchy, then under the French Revolution, then again under Napoleon. And we must be clear: Sade was no innocent victim. He used his wealth and his privilege to indulge in prodigious sexual predation, like an eighteenth-century Jeffrey Epstein. As such, his life and his books have been a thorn in the side of progressive-minded thinkers for the past two centuries. How can you promote freedom of expression and still defend that?

         And yet his work has been defended, and persuasively so, by such formidable intellectuals as Angela Carter, Roland Barthes, Maurice Blanchot (whose monograph Lautréamont and Sade owes much to Surrealist thinking), Susan Sontag, and Michel Foucault, to name just a few. Why would they do this? One answer comes from Simone de Beauvoir, in her landmark analysis of Sade’s writings from 1953, titled, appropriately, “Must We Burn Sade?” Sade, she declared, “drained to the dregs the moment of selfishness, injustice, and misery, and he insisted upon its truth. The supreme value of his testimony is the fact that it disturbs us. It forces us to reexamine thoroughly the basic problem which haunts our age in different forms: the true relation between man and man.” In a rare moment of convergence between De Beauvoir and the Surrealists, the poet Paul Eluard anticipated this view in 1937 in his book L’Evidence poétique, writing: “Sade wanted to restore to civilized man the power of his primitive instincts . . . He believed that out of this, and this alone, true equality would come. Since virtue is its own reward, he labored, in the name of everything that suffers, to drag it down and humiliate it… with no illusions and no lies, so that those it normally condemns might build here on earth a world on the immense scale of mankind.”

         The arguments for and against Sade are many and complex, and they are also largely familiar. On one side, De Beauvoir defends him as a cold-eyed realist. On the other, writers such as Andrea Dworkin warn that his books, like any form of pornography, could incite acts of violence, especially against women. Both arguments have validity, and it is not a cop-out to admit that there is no single answer. If anything, the true energy of art and literature might reside in the questions they pose rather than the certainties they offer. What I will say is that, more than the events portrayed in his books, which are so over-the-top that they often become plainly absurd, perhaps the most shocking thing about reading Sade is how un-titillating so much of it is. As you plow though description upon minute description of various improbable scenarios, their inflexible regulation ultimately undermines any eroticism they might have been meant to contain. Ironically, the parts of Sade’s work for which he is the most infamous are actually the most tedious.

         The intriguing part, to pick up from De Beauvoir, is Sade’s lucidity. Interspersed with the horrific actions are many pages of philosophy — I would go so far as to call it moral philosophy — that take an unsparing and admirably honest view of human interactions, and strip away the pieties with which we have comforted ourselves for two millennia. Here, for instance, is one of Sade’s fictional stand-ins instructing an eager young pupil about vice and virtue:

    Nature has endowed each of us with a capacity for kindly feelings: let us not squander them on others . . . Let us feel when it is to [our] advantage; and when it is not, let us be absolutely unbending. From this exact economy of feeling, from this judicious use of sensibility, there results a kind of cruelty which is sometimes not without its delights. One cannot always do evil; deprived of the pleasure if affords, we can at least find the sensation’s equivalent in the minor but piquant wickedness of never doing good.

    Nietzsche is not too far away.

         It is worth recalling that what landed Sade in the Bastille was not so much his acts of cruelty as the fact that he had sex with both men and women, and perhaps even more so that he was accused (though never convicted) of blasphemy against the highly influential and politically connected Church, which did not countenance challenges to its celestial worldview, or its sovereignty. It is also worth remembering that his books (such as the above-quoted Philosophy in the Bedroom) were written during the long years he spent in various prisons and asylums, and that in many ways their vindictive savagery — their sadism, if you will — can be read as a howl of rage against captivity, no matter which political regime was in charge. It is again De Beauvoir who notes that “Sade does not give us the work of a free man. He makes us participate in his efforts at liberation. But it is precisely for this reason that he holds our attention.” The value of a figure such as Sade, in other words, lies not in the acts that he describes but in the ethical challenges that he poses. It is one thing to create from a position of moral good, as many great writers and artists have done. But a steady diet of such work gives you only half the story, and arguably not the more necessary half.

         So the question remains: Is Sade worth reading on these grounds, or should he indeed be burned? Is the offense that his writings constitute a reason for locking his work away, as he himself was locked away — and as his manuscripts were locked away for decades in the so-called “Hell” section of the French National Library? Or do his “efforts at liberation,” or his decidedly unsentimental views on society, offer reasons to look beyond the parts we find distasteful? Is the threat posed by Sade that his books beget actual horrors, as Dworkin argued? Or that, long before Freud came along, they upended our complacent belief in the basic altruism of people and forced us to observe human nature at its ugliest and most unnerving?

         The questions are all the more relevant in that, unlike so many of his contemporaries, Sade’s impact did not fade with time. In 1959, the Canadian conceptual artist Jean Benoît, under the auspices of the Surrealist group, performed a piece called The Execution of the Testament of the Marquis de Sade. Benoît was well aware that his invitation-only audience would not be easy to impress: gathered that evening in the commodious Paris apartment of the poet Joyce Mansour were some one hundred “writers, poets, painters, filmmakers, critics . . . women in evening gowns . . . their nails painted blue or green… As well as a woman in black velvet whose nipple fit through a small hole in her dress.” At a prearranged signal, the attendees stood in a semicircle facing a stage area, their ears assaulted by the prerecorded sounds of an erupting volcano and readings from Sade’s works. Benoît then appeared, dressed in an ornate black costume with sharp protrusions over his chest and legs, a grotesquely extended erection, and a cape from which blood seemed to be dripping. Piece by piece his costume was slowly removed by his wife, the artist Mimi Parent, revealing his nude body to be painted all in black, his heart covered by a red star (Sade’s emblem). With a shrill cry, Benoît grabbed a red-hot iron placed nearby and branded the word “Sade” into his flesh, squarely over his heart. He then held out the still-smoking iron to his audience and demanded, “Who’s next?” The Chilean painter Roberto Matta was so carried away by the performance that he spontaneously rushed up, tore open his shirt, and seared his own left breast.

         Benoît’s performance marks a relatively anomalous point on the timeline of outrage that I alluded to above: the members of the audience were clearly rattled — in Matta’s case, to the point of voluntarily broiling his own flesh — but they were not offended. They had come in search of provocation and they were not disappointed. How that performance might fare sixty years on, in our own over-cautious day, is another story altogether.

         Sade, as I have noted, was one of Surrealism’s foundational pillars. Another was his spiritual great-grandson, the Montevideo-born poet the Comte de Lautréamont. Lautréamont, who died in 1870 at the age of twenty-four under mysterious circumstances, is mainly remembered as the author of the prose poem The Cantos of Maldoror. The narrative, such as it is, follows the picaresque and often hallucinatory adventures of its eponymous anti-hero, who styles himself the personification of evil and who is engaged throughout most of the book with a battle to the death against God, or as he calls him, the Creator (when he isn’t calling him worse). Maldoror is full of wild invention and grimly exhilarating humor over an underlayer of deep torment; the list of writers, artists, musicians, and filmmakers it influenced stretches from Dalí and Godard to Jim Morrison, John Ashbery, and the Beats. It is also full of what we would now consider child abuse, misogyny, sadism (that word again), animal cruelty, and various other atrocities. No doubt it would have been banned when it was first printed in 1869, had anyone actually noticed its existence at the time.

         But then, shortly before his death, the author pulled an about-face. Immediately after celebrating evil in Maldoror, Lautréamont — this time under his birth name, Isidore Ducasse — published a slim pamphlet called Poésies, consisting of brief aphorisms in prose. On closer examination, it turned out that many of these aphorisms were actually canonical maxims by moralists such as Pascal and La Rochefoucauld, familiar to any French schoolchild, but turned on their heads to celebrate positivity and humanism. So, for instance, where Pascal had written, “Man is only a reed, the weakest in nature . . . a vapor, a drop of water is enough to kill him,” Ducasse countered with, “Man is an oak. Nature contains nothing sturdier,” and so on. As he announced in a programmatic headnote, “I replace melancholy with courage, doubt with certainty, despair with hope, wickedness with good… skepticism with faith.”

         Many, Ducasse included, have described Poésies as a “correction” of Maldoror, but we might also see it as a counterpoint. Ducasse began with passion and rage, the sparks needed to light the fire and set revolutions in motion, then continued with the more sober and optimistic reflection needed to bring them to fruition. Faced with the cynicism and the defeatism of his own frenzied fantasies, as well as with the suppression of human grandeur in moralists such as Pascal, Ducasse replaced “despair with hope,” offering a lesson of agency and uplift from within the very corpus of repression. Like Rimbaud, whose renunciation of poetry and disappearance into the African desert sealed his literary reputation, Ducasse’s repudiation of his own jet-black apoplexies highlighted both the torment and its negation in an endless dialectical spin-cycle, an enigma forever to be read and pondered, never to be solved.

         In embracing transgressive figures such as Sade and Lautréamont, the Surrealists were not merely straining for provocative effect. More substantially, the movement promoted itself as one of the great currents of liberation in the twentieth century, the resolute enemy of stifling social and moral conventions, and this extended far beyond literature and art. Its calls, in the 1920s and 1930s, for rethinking the status of women and people of different races, for freedom of imagination and sexuality, and for political revolution directly influenced the protests of May ’68 and are not unlike calls that have sounded more and more urgently in recent years. It is also at the origin of many things we now take for granted, from the imagery that we respond to, to the humor that we appreciate, to the sense of strangeness that we unthinkingly call “surreal”; and it laid the groundwork for a larger degree of candor and personal engagement in artistic expression, to which today’s productions owe a great deal.

         In 1922, André Breton, Surrealism’s founder and primary theorist, declared: “Poetry, which is all I have ever appreciated in literature, emanates more from the lives of human beings — whether writers or not — than from what they have written or from what we might imagine they could write.” In other words, poetry was less about words on a page than about a living attitude, or, as Breton said, a “specific solution to the problem of our lives.” It was an early version of what in the 1960s would be expressed as “the personal is political,” and it implicated the poet and the artist in the work they created. It was not enough for your art to say the right things; if you were going to contribute a “specific solution,” you also had to walk the walk.

         What makes Surrealism such a good case study for our present context is precisely the disparity between the ideals that it promoted and the results that it often delivered, or the behavior that its members displayed. On the one hand, unlike their more sulfuric role models, the Surrealists might vehemently advocate for a positive and synthetic vision: the “point of the mind,” as Breton famously put it, “at which life and death, the real and the imagined, past and future, the communicable and the incommunicable, high and low, cease to be perceived as contradictions.” But they could also prove just as corrosive as Sade or Lautréamont, and were never shy about expressing their dislikes.

         Their early version of “cancel culture” could take various forms, from the twin lists headlined “Read / Don’t Read” — the “Don’t Reads” being the longer of the two and ending in “etc., etc., etc.” — to the so-called trial of Maurice Barrès. A renowned novelist, Barrès had been admired by Breton, Louis Aragon, and other future Surrealists in their formative years as a paragon of personal freedom, the “prince of youth,” but with World War I he had hardened into a super-patriot and arch-conservative. Feeling betrayed, Breton and his friends staged a mock trial of Barrès in May, 1921 before a packed house at the Hôtel des Sociétés Savantes, an ornate late-nineteenth-century edifice on the aptly named Rue Danton in Paris’ sixth arrondissement. The charge: “conspiracy against the security of the Mind.” When the “court” ultimately handed down a sentence of twenty years’ hard labor for Barrès, Breton, who had pushed for the death penalty, was disappointed. Barrès himself, of course, was nowhere near the proceedings and probably couldn’t have cared less — this was, after all, before social media existed — but Breton had prosecuted his case with such ferocity that some wondered what might have happened had Barres been present. (Fifteen years later, they would get their answer from Moscow.)

         Much less symbolic were the Surrealists’ true cancelations: the periodic exclusions of writers from within their own ranks. In 1926, not long after the movement’s founding, several of the original personnel were drummed out of the group for not embracing its turn toward Communist politics. This was followed by other purges over the succeeding years, resulting in the loss of many prominent members, some of whom were pushed to the brink of suicide, or beyond it, for failings that ranged from practicing hack journalism to political waffling to not condemning vehemently enough those whom the group had condemned. While Surrealism promised many freedoms, the one freedom it apparently could not abide, and toward which Breton could react with remarkable savagery, was the freedom to dissent. In the name of emancipation it practiced excommunication.

         These excommunications were in part a referendum on loyalty — are you with the program or not? — and sometimes simply an outlet for personal spite, but more fundamentally they were an interrogation of identity: you are defined by the company you keep, by both your actions and theirs, and tolerating intolerable elements reflects back on you. Returning to Breton’s statement about “poetry emanating from life,” what happens when the life no longer lives up to the demands of the poetry? And more to the point, how successfully did Surrealism as a collective live up to its own demands? Let us consider three aspects of Surrealism’s engagements: with race, with sexuality, and with gender.

         In matters of race, the Surrealists publicly aligned themselves with people of color, denouncing French colonialism and the inequities it fostered at home and abroad. In 1941, under the collaborationist Vichy government of Marshal Pétain, Breton invited the Afro-Cuban artist Wifredo Lam to illustrate one of his books, telling a journalist from the conservative Le Figaro that the choice of Lam was meant “to make clear just how sympathetic I am to Marshal Pétain’s racist concepts.” (To Breton’s disgust, the newspaper omitted that particular quote from the published interview.) Not long after, in Martinique, he met and collaborated with the poets Aimé and Suzanne Césaire, future founders of the Négritude movement. And in 1946, on a visit to Haiti, Breton told a student audience: “Surrealism is allied with people of color … because it has always been on their side against every form of white imperialism and banditry.” By many accounts, the popular uprising that deposed the repressive Haitian president Elie Lescot several weeks later derived some of its inspiration from Breton’s statements.

         All well and good. But figures such as Lam and the Césaires — as well as Hector Hippolyte, Hervé Télémaque, René Menil, Léopold Senghor, Jules Monnerot, Pierre Yoyotte, and Ted Joans — remain an oft-neglected minority among the many who passed through Surrealism, and only recently have such artists and writers begun receiving serious attention from historians of the movement. The most meaningful blend of Surrealism with a specifically black vision, Afro-surrealism, did not originate within the European groups, but had to develop on its own, independent of them, and with distinct differences.

         And this does not take into account other non-European Surrealists, such as César Moro, Fernando Lemos, María Izquierdo, and Frances del Valle; or Mahmoud Sa’id, Fouad Kamel, and Georges Henein; or Kansuke Yamamoto, Toshiko Okanoue, and Shūzō Takiguchi. Most of these figures, while retaining a greater or lesser identification with the movement, ultimately had to craft a version of Surrealism that spoke to their own cultural realities; whereas the Paris, Brussels, and London groups, even while promoting a broad internationalism, still kept their focus on a predominately white European set of references. There is more than a trace of exasperation in this remark by the Japanese Surrealist Takenaka Kyūshichi, from 1930, only six years after the movement was launched: “True Surrealists take a step beyond Breton. They are not confined by the Surrealism of Breton’s ‘Manifesto.’”

         When it comes to sex, while Surrealism enjoys a libertine reputation in the popular imagination, all licentiousness all the time, the reality was that these bourgeois young men were rather prudish. Yes, they believed in “free union” and “mad love” and abhorred marriage as an institution (even though many of them were married); and yes, they promoted the idea that a grand passion could excuse anything — though, not surprisingly, that particular freedom generally ran in only one direction. The inquiries on sex that the Surrealists conducted in the late 1920s and early 1930s were remarkably frank for the time, but also rife with the prejudices of the era, and quite a few strictures were voiced — particularly by Breton, who pontifically denounced sex workers, multiple partners, promiscuity, women’s orgasms, and male homosexuality. Needless to say, most of these sessions were among men only; in one of the few that a woman did attend, she listened for a while, then remarked, “You boys need to learn a few things.”

         Which brings us to the most blatant and the most complex of the Surrealist double-standards, the status of women in this allegedly emancipatory and revolutionary movement. Where to begin? We could start with René Magritte’s well-known canvas from 1929, I Do Not See the [Woman] Hidden in the Forest, which depicts a fairly classic painted nude framed by photographic portraits of seventeen Surrealist men: the fact that the men have their eyes closed does not make their gaze any less male. Or we could start with the many Surrealist visual works depicting the female form dismembered, disfigured, or otherwise deformed. Or with the many written works in which women appear as muses, lovers, inspirations, torturers, enigmas, enlighteners, or sorceresses, but almost never as autonomous individuals.

         Conversely, we could cite this passage by Breton, written as World War II was drawing to a close, in which he calls for a matriarchal social order: “May we be ruled by the idea of the salvation of the earth by woman, of the transcendent vocation of woman…The time has come to value the ideas of women at the expense of those of men, whose bankruptcy has become tumultuously evident today.” But since, good intentions aside, this still sounds a lot like mansplaining, let us bring in some other voices – for example, the British Surrealist painter Ithell Colquhoun, who reflected that despite pronouncements such as the one by Breton quoted above, “most of [his] followers were no less chauvinist for all that. Among them, women as human beings tended to be ‘permitted not required.’” The painter Leonora Carrington, when I once asked her for her opinion of Surrealism, called it simply “another bullshit role for women.”

         We can easily understand the resentment and the rage. On the one hand, Surrealism claimed to be one of the most woman-focused and erotically free movements in the history of literature and art. Alongside the paintings and photographs that mangled women were an equal number that exalted them, or at least the idea of them, as superior beings attuned to natural and supernatural forces beyond the reach of men. Within the movement, women were honored as muses and creative inspirations, and they were promised an alternative to the stifling roles that mainstream society expected them to fill.

         But all too often these grand promises simply fell flat, and the women who came to Surrealism as artists and writers with their own talents and ambitions — Leonora Carrington, Dorothea Tanning, Remedios Varo, Joyce Mansour, Lee Miller, Leonor Fini, Meret Oppenheim, Eileen Agar, Jacqueline Lamba, Gisele Prassinos, Kay Sage, Nelly Kaplan, and others — or who claimed for themselves the same freedoms in lifestyle and beliefs that the men did were disappointed to find themselves facing obstacles from their own peers that hardly differed from those of society at large. Colquhoun, for instance, was expelled from the British Surrealist group because her interest in witchcraft was deemed inappropriate by her male colleagues, who otherwise championed all kinds of transgressive anti-rationalisms in their philosophy and their work.

         Given all this, it would be too easy to brush away Surrealism as just another narcissistic patriarchal exercise that failed to live up to its big claims. The more seductive the promise, the more painful the letdown. But there might be a better lesson to be drawn from the experience of women in the movement. Constituting a “minority within a minority,” as Eileen Agar put it, they forged their own freedom and tilled their own ground, mapping out — as the critic Sacha Llewellyn writes — “their own autonomous identities… transforming and appropriating the iconography of women that male Surrealists ascribed to them… to produce radical works centered on the female condition.” The point here is not to discard Surrealism, but instead to identify the moments it offers in which prohibition becomes opportunity. Rather than repudiating Surrealism for its failures, the women and the artists of color who gravitated toward it took its promise of liberation and made it their own. The best criticism is neither rejection nor apology, but constant reevaluation and regeneration.

         What does it mean for the humanities now if art, writings, and philosophies deemed unworthy simply get thrown onto the trash heap of history because they fail to conform to prevailing notions of truth, goodness, or beauty? Where will fruitful challenges originate, if not in studying and debating works that offend and shock, or that fail to keep their promises? Must we “burn” everyone who, in their poetry or their person, does not live up to the ideals that we wish them to embody?

         Over the years, as I continued to ponder my philosophical quandary from graduate school, I came to realize that the point of reading literature so closely was to learn how to read the world, that is, the fine print of the world, the signs and underlying messages encoded in people, things, events, exchanges, and surroundings. Paradoxically, given the emphasis on hermetic concentration, what this training really provided was a wider and deeper sensitivity to the context surrounding these people and events. This involved opening my eyes and my mind to ways of thinking and expressing that I had not yet encountered — some of which troubled or upset me, but all of which were crucial steps in my learning how to understand my environments with discernment and with broadmindedness.

         Writers such as Sade, Lautréamont, and the Surrealists are problematic in that they challenge the values we like to think we celebrate, or confront us with frustrations and disappointments; but as such they also open doors toward a meaningful response. They were desperate people living and creating in desperate and pivotal times, whether the French Revolution, the Franco-Prussian War, or the aftermath of World War I. As we live through our own desperate and pivotal era, we might do well to ask what work such as theirs, however removed or outdated it might seem at first, can tell us about our own volatile experience.

         One of the most pernicious aspects of our fractious political and cultural landscape — alongside the decimation of our personal liberties, the erosion of civic discourse, governmental paralysis in the face of rising gun violence, and so much else — is the intolerance that it has fostered: not only the caricaturish intolerance for the values of diversity and inclusion that the liberal arts are meant to promote, but a resistance, even a fear — all along the political spectrum — toward engaging with viewpoints that we find alien and distressing, precisely because they are alien and distressing. As if we had somehow lost our ability to speak to things that we abhor in other than extreme ways. We demand, we shout, we insist, which is sometimes the necessary response. But what we must not lose is the ability to talk, and more than that, to listen, to weigh, to ponder, to empathize.

         If we are to be full-fledged human beings, we must learn the ability to enter into other points of view, including those that antagonize our deepest beliefs. Even as we disagree with or fight them, we must recognize them as human expressions. Saving ourselves from a reality soiled by ever more entrenched parochialism and flattened by defeatism and despair will depend on our capacity to evaluate lucidly, to look beyond buzzwords and bubbles, to see past labels that are often just a surrogate to thinking. There are no viable surrogates to thinking. It will depend on our ability and our willingness to contemplate the lessons offered by the humanities with minds wide open, and to interrogate our own and others’ beliefs with honesty, compassion, and courage. Knowing how to read the world with an open mind is not just a life hack; it is also a tool for survival.

         The Surrealists, for all their obsession with grasping the unconscious, were not particularly known for empathy. While some of their pronouncements, such as Breton’s remark about the “point of the mind,” might be read as aspirational, they generally preferred to operate in the vituperative register — which some, like Robert Desnos, elevated to a fine art. And yet they knew how to hear, and to hear effectively. Before they went on the attack, they did the necessary work. In 1949, for example, Breton unmasked a forged poem by Rimbaud strictly on the basis of intuitive affinity. His 68-page pamphlet, Caught Red-Handed, takes aim at the literary critics who fell for the hoax (basically all of them), dismantling their arguments point by point in a humiliating show of superior understanding. Not very friendly, perhaps, but in its wounding way more respectful: Breton actively listened to what those critics had to say before offering his withering refutation. There is a lesson in that. We can, if we must, endure a culture of intellectual incivility; sometimes it might even be beneficial. What we must not abide is a culture of intellectual abdication, or intellectual cowardice. 

     

    Memoirs of a White Savior

    Last year, a student came to my office hours to discuss her post-graduation plans. She said she wanted to travel, teach, and write.

     “How about joining the Peace Corps?” I suggested.

    She grimaced. “The Peace Corps is problematic,” she said. 

    I replied the way I always do when a student uses that all-purpose put-down. “What’s the problem?” I asked.

     “I don’t want to be a white savior,” she explained. “That’s pretty much the worst thing you can be.”

    Indeed it is. The term “white savior” became commonplace in 2012, when the Nigerian-American writer and photographer Teju Cole issued a series of tweets — later expanded into an article in The Atlantic — denouncing American do-gooder campaigns overseas, especially in Africa. His immediate target was the “KONY 2012” video of that year, a slickly produced film — by a white moviemaker — demanding the arrest of Ugandan warlord Joseph Kony. But Cole’s larger goal was to indict the entire “White-Savior Industrial Complex,” as he called it, which allowed Westerners to imagine themselves as heroic protectors of defenseless Africans. Conveniently, Cole added, it also let them ignore the deep structural and historical inequities that had enriched the West at the expense of everybody else. “The White-Savior Industrial Complex is not about justice,” Cole wrote. “It is about having a big emotional experience that validates privilege.” Instead of assuming that they know what is best, he urged, Americans should ask other people what they want. And instead of engaging in feel-good volunteer projects that do not do any actual good, we should challenge “a system built on pillage” and “the money-driven villainy at the heart of American foreign policy.”

             The Peace Corps is a volunteer agency as well as an agent of foreign policy. So it has also become a frequent punching bag on several popular Instagram accounts that have echoed — and amplified — Cole’s critique. No White Saviors (906,000 followers) denounces the Peace Corps as “imperialism in action”; at the parody account Barbie Savior (154,000 followers), you can thrill to the pseudo-adventures of a Peace-Corps-like doll who takes selfies with orphans, squats over a pit latrine, and invokes famous humanitarians. (“If you put an inspirational quote under your selfie, no one can see your narcissism — M. Gandhi.”) Never mind that Cole’s original posts mocked digital activism such as the KONY 2012 video, which featured “fresh-faced Americans using the power of YouTube, Facebook, and pure enthusiasm to change the world,” as he observed. In the Age of the iPhone, apparently, the only answer to a misguided social-media campaign is another social-media campaign.

             And now the campaign has spread into the Peace Corps itself, as my student noted. She alerted me to Decolonizing Peace Corps (9300 followers), which was started by three returned volunteers from Mozambique after the agency evacuated them — and the other 7300 volunteers around the world — amid the COVID pandemic in March 2020. Later that spring, following the police murder of George Floyd, the Mozambique trio circulated a petition urging the Peace Corps to reckon with its allegedly racist and colonialist roots. They sent it to No White Saviors, who told them a petition “wasn’t going to be enough”; what the volunteers needed was, yes, their own Instagram account. Decolonizing Peace Corps went live shortly after. Inspired by campaigns to abolish the police, it demanded the abolition of the Peace Corps. “When you look at the Peace Corps and you look at the police and you see the origins, you ask yourself, can this really be reformed?” one of the account’s founders asked. “How can you reform a system that was founded on neocolonialism and imperialism by a country built on genocide and slavery?” The question answers itself.

             Meanwhile, as the pandemic continued to surge, No White Saviors stepped up its own attacks on the Peace Corps. Now that all the volunteers had come home, it wrote, the agency should permanently close up shop. “No more pretending inexperienced young people are actually useful in countries and cultures they are alien to,” No White Saviors wrote in 2021. “Instead you could pay skilled local volunteers to work more effectively. No more spending money on flights or evacuations, no need to teach language or culture.” Indeed, a volunteer back from Nepal added, the worldwide evacuation was itself a “gross display of resource privileges.” She still couldn’t figure out why the Nepalese people in her community had wanted her there, “other than maybe for ‘cultural exchange.’” But, as her air-quotes indicated, that “is not a good enough reason to invest so many resources into mostly fresh out of college, inexperienced Americans.”

             I served in the Peace Corps in Nepal, fresh out of college in 1983. My father was a Peace Corps director in India and Iran in the 1960s, when I was a child. The story of the Peace Corps is, in many ways, the story of my life. Now my student wanted to know: was it worth it? And for whom? In reply, I related an experience from my years in Nepal. It’s all about who gets saved, and from what, and why.

    I was teaching one day when a kid bounded into my classroom, breathless from running. “John-Sir,” he panted, “your friend is in the valley!”

    “Your friend” meant another white guy, a very rare sight in that part of Nepal. I taught at the top of a hill — we would call it a mountain, but in Nepal it was a hill — about two hundred and fifty miles west of Kathmandu. To get there, you took an overnight bus across the plains that bordered India and then walked north for three days. When I first arrived, some of the children thought I was a ghost. They had never seen someone so pale.

    I peered down into the valley, shading my eyes against the sun. It was a picture-perfect, blue-sky afternoon in the Himalayas. And sure enough, there he was: another white guy. Everyone wanted to know what he was doing there. So we cancelled the rest of the school day, and all of us — teachers, students, and curious hangers-on — started walking down the hill.

             As we neared the valley, a villager approached me excitedly. He was holding a crudely printed pamphlet, which flapped in the mountain breeze. “John-Sir, your friend sold me this book!” he exclaimed. “Only five rupees!” Five rupees was what a man earned for chipping away all day at the tractor road, until it got washed away by the monsoon and you started all over again the next year. A woman got three rupees, and a child got one. It was a day’s wage. I took one look at the pamphlet and right away I knew what it was. There was a figure that looked like Greg Allman — long straight hair, close-cropped beard — nailed to a cross. And he was white, of course.

             We found “my friend” standing on the top of a rock at the bottom of the hill, selling dozens of pamphlets and collecting a large stack of cash. I walked straight up to him, ready for a fight. “What are you doing?” I demanded.

             “I’m saving these people for the Lord,” he said.

             Saving! Of course he was. I told him that they already have a Lord — about twenty thousand Lords, in fact. He said that Hindus were thieves and murderers. Recognizing his accent as German, I asked him why his own church had rolled over and played dead for Hitler. He replied that the Holocaust was a tragedy, but mostly because of the gypsies who perished.

             I told him to be fruitful and multiply, but not in those words. 

             He told me to fuck off, too. (So much for turning the other cheek, which was a pretty big deal to the white guy on the cross.) I told him that it was illegal to mission in Nepal, and that I would call the cop if he continued to sell the pamphlets. This was a total bluff, because “the cop” was a day’s walk away and — based on my encounters with him — most likely drunk. But the missionary didn’t know any of that, of course. So he hoisted his backpack, told me to fuck off yet again, and started climbing into the hills.

             By this time, a great sea of humanity had gathered. Nobody knew what the missionary and I were saying, but they could tell it wasn’t good. “John-Sir, you were angry with your friend,” someone said, as the missionary walked away. “Why don’t you like your friend?”

             “He’s a very bad man,” I said. “He doesn’t like your religion.”

             Then I heard one guy say, “Hey, John-Sir’s friend said if I believe in his religion, I’ll go to heaven and won’t be reborn over and over again.” And someone else said, “Hey, can I buy your book? I’ll give you six rupees for it.” “Run after John-Sir’s friend,” another guy said. “Maybe he has some books left over.”

             I cursed the missionary again, and then I cursed myself. Many years later I figured out why: we were both white saviors, in ways that still mortify me today. His saviorism was more direct and straightforward: Hindus were thieves and murderers, so he was saving them for his Lord. My own brand of saviorism was dressed up in the liberal multicultural dogmas of the era: I had to protect my villagers’ fragile and endangered belief system from an evil Western interloper. But I knew what was best for them, every bit as much as the missionary did.

             When you get on your high horse, you can disregard everything below you. There have been Christians on the sub-continent for nearly two millennia. But I didn’t know — or care — about that. Nor did I care what the villagers thought about what the missionary was saying (and selling). I knew what was “indigenous” to their “culture,” or so I imagined. And Christianity wasn’t.

             Most of all, I wanted to defend their “authenticity” against inauthentic outsiders. That echoes the type of white savior that you can find on Instagram today, condemning white saviorism. The classic version of white saviorism assumes that people in other parts of the world would be just like us, if they only had a better upbringing. The Instagram critique of white saviorism reverses that formula, insisting that they do not — or must not — embrace or imitate anything we do and say. That prescription is saviorist in its own right, wrongly and patronizingly ignoring the same local autonomy and agency that it claims to uphold. No White Saviors tells Western do-gooders to take account of what other people want, but it dismisses those wants if they do not correspond to its idea of the good.

             Eventually, the Peace Corps would save me from that kind of white saviorism, too – from the idea that people who seemed so different from me should forever stay the same. But to see how, as I told my student, we have to go back to the beginning.

    My father met John F. Kennedy by happenstance in August 1956, on a beach in the French Riviera. It was the day after the Democratic convention, when Adlai Stevenson — nominated for the second time for president — let the delegates select his running mate. Kennedy was hoping to join the ticket, but he was edged out by the Tennessee anti-mob crusader Estes Kefauver. Kennedy flew out that night to France, where my dad encountered him the next morning. When he heard that my father was at Yale Law School, Kennedy urged him to come work for the federal government. Most of the other students would head off to white-shoe law firms on Wall Street and elsewhere, Kennedy said. But my dad should go to Washington, JFK urged, because that’s where the action was going to be.

             I have told that story to my students many times, because it highlights the cavernous gap between Kennedy’s time and our own. Today, across the political spectrum, “Washington” is a symbol of dysfunction and decay. It is where action — and idealism — go to die. But not then. My father did go to Washington, where he held several government jobs. He also volunteered for Kennedy’s presidential campaign in 1960. At a meet-and-greet, he waited on a long line to shake the candidate’s hand. “Paul Zimmerman!” Kennedy exclaimed, to my dad’s shock and delight. “I met you on a beach in France, right after the 1956 convention.”

             Kennedy proposed a new volunteer corps during a famously extemporized 2 a.m. campaign speech in Ann Arbor, Michigan in October 1960. Between that night and his inauguration, over twenty-five thousand Americans sent letters to Washington asking how they could join the agency. The Peace Corps sent its first volunteers out in August 1961, to Ghana. By the end of 1963, seven thousand volunteers — known around the world as “Kennedy’s Kids” — were serving in forty-four countries. The agency received its largest weekly number of applications in the seven days after JFK’s assassination.

             My father signed on a few years after that. He made one phone call to the Peace Corps, which somehow patched him through to Bill Moyers. A fellow Texan and top aide to Lyndon Johnson, Moyers had been an assistant director of the Peace Corps under Sargent Shriver, the president’s brother-in-law. My dad recalled that Moyers asked him a single question: where he went to law school. In the era of the best and the brightest, that was all you needed to know. Moyers told my father to walk over to the Peace Corps office, where he was offered a job on the spot. His international “experience” was limited to two summer vacation jaunts in Europe, including the trip where he met Kennedy. But somehow, attending Yale Law School — and, I would imagine, working on a Kennedy campaign — qualified him to be the director of the Peace Corps in South India. He was thirty-two years old.

             So off we went to Bangalore. My mother took my brother (almost seven) and me (four and a half) first, stopping along the way in Israel to visit relatives. My dad followed with my ten-month-old sister, whom he fed with a bottle on the long Pan Am flight. We camped at a hotel for a few weeks until my parents found a house on a lovely compound adjacent to Cubbon Park, the city’s green oasis. When we got to Bangalore, in 1966, it had 1.4 million people. Today it is roughly ten times that size.

             My memories of India are dim, obviously. But the family albums show scenes that would fit nicely on the No White Saviors Instagram account. Here I am, riding an elephant at what looks to be a birthday party. Here’s my baby sister, in the arms of her Indian nanny. Here’s the rest of our large household staff: cook, cleaner, security guard. Here’s the whole family decked out in traditional Indian white cotton dhotis. The most remarkable photo shows my brother beaming next to Indira Gandhi, who towers a bit stiffly over him. Our family was visiting a volunteer somewhere on the countryside, and word spread that the prime minister was going to be disembarking at a nearby railway station. So we went down there to see if we could catch a glimpse of her. At such scenes, a child was customarily chosen to greet the arriving dignitary. The volunteer we were visiting held my brother aloft, urging officials to select him. Eventually young Jeffrey Zimmerman was ushered to the front of the crowd to hang a garland on Mrs. Gandhi. Talk about white privilege! It doesn’t get more privileged than that.

    What were we doing in India, other than making it — to quote Teju Cole — a “backdrop for white fantasies of conquest and heroism”? A few months before we arrived, Indira Gandhi met with Lyndon Johnson at the White House to discuss food shortages in India. Under its “Food for Peace” program, the United States agreed to send 3.5 million tons of wheat, corn, and other crops to India. Gandhi’s government also partnered with the Rockefeller and Ford Foundations to bring new methods and products to Indian farmers. Many of the Peace Corps volunteers whom my father directed were engaged in programs to improve agricultural practices, too. I can’t say I know what effect they had on farming, or whether local workers could have performed the Americans’ jobs more effectively or efficiently. But here’s what I do know: India kept requesting more and more Peace Corps volunteers, until the Bangladesh war in 1971 soured India-U.S. relations and led to their withdrawal. 

    That has been the pattern for sixty years: when the Peace Corps is asked to leave a country, it is for geopolitical reasons rather than programmatic ones. The people who actually host volunteers — school principals, health-clinic directors, and government officials — almost always want more of them, which isn’t something you see mentioned very often by the critics of white saviors. If the volunteers are so clueless and useless — or, worse, if they are actively visiting harm on other countries — why would these countries continue to invite them? When the question is asked at all, on anti-savior social media, the most common answer is that non-white hosts have “internalized” white-saviorism themselves. “I will always carry the assumptions of villagers that I am better, smarter, and work harder than my local counterparts,” a Peace Corps volunteer in Cambodia wrote in 2019, before the pandemic brought everyone home. “Does my contribution have enough value to outweigh the perpetuation of the white savior complex on the local people?” Note the choice of words here: his very presence foists white-saviorism on his hosts, who are feeble and powerless to resist its seductive wiles. That patronizes “local people” in the guise of protecting them.

             And here is something else I know: my parents forged deep and lasting human bonds in India. Their closest friends were the parents of an Indian kid I met at school. (It was a girls’ school, which is a whole other story.) The anti-savior critics might dismiss that as mere “cultural exchange,” which doesn’t do anything to change lives. They are wrong. At the Peace Corps’ twenty-fifth anniversary march in Washington in 1986, a man accosted my father and declared, “I’ve been waiting two decades to talk to you.” My dad had a self-deprecating sense of humor — that is to say, he was Jewish — and he told me he half-expected that the guy would raise his middle finger and shout, “Fuck you!” Instead the man said that he had gotten sick during the first months of his Peace Corps service in South India. He made his way to Bangalore, presented himself at my dad’s office, and announced that he wanted to go home. My father suggested that he go back to his village and give it one more try. He did just that, and he had lived there ever since. He married an Indian woman, had a bunch of kids, and worked in several different jobs in the health and education sectors. Perhaps he had once believed that he would save India, from disease or destitution or something else. Instead, he said, India saved him from the dull and altogether predictable life that awaited him back in the United States. America was his birthplace, but it wasn’t his home. India was.

    Our next stop was Teheran, where we arrived in January in 1969. It was flush with oil money and foreign workers, which gave the city a lively boomtown feel. Out in the countryside, a different set of changes were underway. The “White Revolution,” declared a few years earlier by Shah Mohammad Reza Pahlavi, redistributed land and sent health and literacy workers into rural areas. It also enfranchised and educated women, which outraged some Islamic religious leaders. So did the Shah’s development of secular courts and schools, which reduced the clergy’s power and influence in both realms.

             Peace Corps volunteers participated deeply in all of these modernizing efforts. In the cities, they taught at universities, advised local governments, and worked in the arts; a handful of American professional musicians were even recruited by the Peace Corps as volunteers in Teheran’s symphony orchestra and opera. Rural volunteers taught in primary and secondary schools or served in health clinics, sometimes alongside teams of urban Iranians who were doing the same. The Peace Corps volunteers tended to be slightly older and more skilled than earlier cohorts, owing to political changes back home. In 1969, shortly after Richard Nixon entered the White House, a group of returned Peace Corps volunteers called for the abolition of the agency: as the war in Vietnam raged, they argued, the Peace Corps provided cover for American violence and imperialism around the world. (Ours is not the first college generation to look askance at the Peace Corps.) Nixon was only too happy to get rid of the agency, especially after volunteers briefly occupied its headquarters in 1970 to protest the bombing of Cambodia and the slaughter of antiwar protesters at Kent State. Nixon told his aide Lamar Alexander — later the Secretary of Education and then a senator from Tennessee — to seek an appropriations cut in Congress as the first step towards zeroing out the Peace Corps. But Patrick Buchanan, another rising young GOP politico, warned Nixon that slashing the Peace Corps’ budget at that point would provoke a “real storm” among the “Kennedyites.” Buchanan instead suggested publicizing drug arrests and other overseas blunders by immature volunteers, who would eventually dig the agency’s grave.

             No such luck. To the chagrin of Nixon and his cronies, the Peace Corps retained its strong bipartisan support in Washington. But it did shift its priorities towards older and more professionally prepared volunteers, to head off the charge that it was a haven for pot-smokers and draft-dodgers. (“‘Technically qualified’ was a euphemism for ‘not liberal,’” quipped Peace Corps evaluator Charlie Peters, who went on to a distinguished career in journalism.) Several married volunteers who worked for my father even brought children with them, which was unheard of before that time. Yet this was hardly a straightlaced crowd; if anything, antiwar protest and youth culture back home probably made them more radical in their politics — and more hippyish in their habits — than earlier volunteers. My mother tells a great story about taking a long trip with my dad to visit a group of volunteers up in Tabriz, in the northwestern part of Iran. Famished upon her arrival at their house, she noticed a tray of brownies and asked if she could have one. You won’t like them, the volunteers said; they’re old and stale. My mother, characteristically, would not take no for an answer. Biting into a brownie, she deemed it delicious. She ate another, and then another. Eventually, the terrified volunteers drew her aside and explained that the brownies were laced with marijuana. They pleaded with her not to tell my dad, who didn’t hear about it until many years later. 

             Nor were the volunteers mere mouthpieces for the Shah, whom they mocked privately as “George” (as in “George Bernard Shah”). For a variety of reasons, including his recognition of Israel, the Shah was a strong ally of the United States. But he was also a brutal dictator, torturing dissidents and muzzling the independent press. Back in the States, protesters imagined that the Peace Corps — like other parts of the foreign policy apparatus — was helping to prop up pro-American tyrants. Around the world, though, a much more complicated pattern emerged. As the historian Beatrice Wayne has shown, the Marxist revolutionaries who overthrew Ethiopian ruler Haile Selassie often credited their changed political consciousness to the Peace Corps volunteers who taught them in the early 1960s, including the future senator Paul Tsongas. Most of the volunteers were middle-of-the-road liberals, not wild-eyed Marxists. But they led debates about Marx — and many other controversial matters — in their classrooms, which opened students’ minds to new ways of thinking and acting. Likewise, Peace Corps volunteers in Iran subtly undermined the same regime that their government was supporting. Opponents of the Shah befriended several volunteers, who quietly cheered the campaign against him. And as enmity towards the United States mounted, fueled by the simmering Islamic revolution, the volunteers reminded Iranians that all Americans were not anti-Muslim bigots or stooges for the Shah.

             But some of them were. The best decision my parents ever made was to send my brother and me to the Community School, which had been founded in the 1930s by American missionaries. It evolved into a thoroughly secular and cosmopolitan institution, patronized by families from dozens of countries — including many Iranians. That made it very different from the Teheran American School, where most of the American military and corporate types sent their kids. They didn’t speak any Farsi, and they called Iranians “ragheads.” I played Little League with them at the U.S. army base in the heart of Teheran’s Ugly American bubble, where they munched on hamburgers and made fun of the servants. Even as a nine-year-old, I knew that wasn’t right.

             Still, I was enormously proud of America. We were in Teheran for the Apollo 11 moon landing, a moment of huge American celebration — and, yes, American conceit — around the globe. And on United Nations Day, when everyone at Community School put on a short play about their country, we Americans staged the Thanksgiving story. We made a big Plymouth Rock out of papier-mâché, which we painted gray. I played Miles Standish, standing astride the Mayflower and shouting “Land ho!” as we approached the virgin wilderness. The folks over at No White Saviors would have a field day with this: it was a way to explain American power without addressing American conquest. A neat trick, if you can pull it off. But still I learned some important history lessons at U.N. Day. When I came home, I told my mother about the large Israeli delegation that marched under a blue Star of David. She laughed. The “Israelis,” she explained, were Iraqi Jews who had fled the Baathist revolution. They didn’t want to identify as Iraqis, which wouldn’t go over well in Iran. So they were Israelis instead. Problem solved.

             We were also in Iran for the epochal heavyweight boxing match between Muhammad Ali and Joe Frazier. As a Muslim, Ali was a huge celebrity across the Middle East. One evening, when my parents were on the road, our cook asked me why Ali was American but didn’t look like me. My Persian had gotten pretty good by then, and I explained to him—as best I could—that Africans had been enslaved by white people and transported across the Atlantic. “Really?” he asked. “You did that?” Well, yes. Not me personally, I said, but people who resembled me. The cook frowned and his brow furrowed. If our real purpose was to burnish white superiority in the non-white world, we weren’t doing a very good job of it.        

    Neither of my siblings ever evinced any interest in joining the Peace Corps. My brother doesn’t have as fond memories of those years that I do. My parents were away a lot, and I think he felt responsible for us while they were gone. And my sister was too young to recall much of anything. But I can’t remember a time when I did not think that I would be a volunteer. 

             In 1983, when I graduated from college, I applied for exactly one job: the Peace Corps. The agency was weathering another round of assaults from another Republican administration. David Stockman, Ronald Reagan’s famously Scrooge-like budget director, recommended a big cut for the Peace Corps. Meanwhile, GOP apparatchiks at the Heritage Foundation charged that the agency had lost sight of its Cold War mission: to provide a “counterweight” to America’s Soviet foe. Indeed, the original Peace Corps charter in 1961 required volunteers to receive training in the “philosophy, strategy, tactics, and menace” of communism. To head off the Republican attacks — and, of course, to protect its appropriation — the agency reinstituted anti-communist lessons for trainees. When my cohort met in West Virginia, before we left for Nepal, a Peace Corps staffer wrote the charter language about anti-communism on a whiteboard and said, “This is what the law requires us to teach.” That seemed like something that might happen in a communist country, someone replied, and everybody laughed: the lesson was a joke, and we all got it. Maybe such instruction made sense when the agency was founded, but the Soviet Union was on its last legs by that point, and the entire exercise seemed anachronistic as well as propagandistic. 

             As in the Nixon years, meanwhile, the Peace Corps announced that it was recruiting volunteers who were “older and better-trained” (read: sober and politically moderate) rather than the presumably radical and irresponsible youngsters of the Kennedy-Kids prototype. I couldn’t find much evidence of that shift in my own group. We were still mostly “B.A.-generalists” (as the Peace Corps called us) coming straight from college, who didn’t know how to do much of anything. Out at my village, in the Pyuthan district of western Nepal, my closest Peace Corps neighbor was a woman who had earned an education degree and actually taught (imagine!) in an elementary school back in America. It took me three hours to walk to the house where she and her husband lived. On the weekends, I hiked over there and picked her brain. I still think she taught me more about teaching than anyone I have ever met.

             But some of the work was intuitive, at least to an American. As a friend once told me, teaching is a lot like parenting: for the most part, you do it as it was done to you. In Nepal, most elementary-level teachers taught via repetitive chants. You knew you were approaching a school if you heard a chorus of kids singing in Nepali, “Two times two is four, two times four is eight, two times eight is sixteen,” and so on. English instruction happened in the same manner. The kids would say an English phrase and then its Nepali translation, over and over again: “This is a cat. Yo biralo ho. This is a dog. Yo kukur ho.” That wasn’t the way I learned, and it wasn’t the way I taught. Writing with a rock on the charcoal-covered piece of wood that served as our blackboard, I drew a cat. Everyone said the Nepali word for it: biralo. I said, “This is a cat.” Then, pointing to the board, I asked a kid, “What is it?” With a bit of coaxing, she said, “This is a cat.”

    Soon I had the kids drawing their own pictures on the board and asking each other — in English — to identify them. I wrote little plays for them to stage, in which Ram and Sita (the Jack and Jill of Nepal) discussed feeding water buffaloes, cooking rice, and other day-to-day activities in their lives. Eventually the students wrote their own dialogues, introducing new characters — Gopal, Durga, Soorya — and different topics: marriage, childrearing, and school itself. A student played John-Sir in one memorable exchange, donning a makeshift straw wig to mimic my Jew-fro. It brought the house down.

             Was my way of teaching “better” than the standard Nepalese method? Call me a white savior, but I believe it was. And here is how I know: my students told me. Nothing I did was particularly creative or innovative; it just made sense to me. But to the students it was a revelation. They had never experienced a classroom that required them to engage and imagine in the ways mine did. Eventually my Peace Corps neighbor and I designed trainings in these methods for other teachers in the region. We held three week-long sessions, in different parts of the district, where teachers put on plays and wrote songs and — most of all — laughed and laughed and laughed some more, in big collective guffaws that echoed out of the schoolhouse and into the hills. Sometimes, I’m sure, they were laughing at the weird Americans and our goofy, smiley mix of informality and exuberance. (“Why are you people always so happy?” a Nepalese friend once asked me.) But I also think they were having fun, and learning. I can’t tell you what effect these trainings had on their own instruction, or on anything else that happened in Nepal. But I also can’t tell you whether the history course I taught last semester at Penn will make any difference in the lives of my American students, either. At some level, all education is an act of faith. You throw a whole bunch of stuff at a wall — or, in Nepal, at a charcoaled piece of wood — and you hope that something sticks.

             And you never know what will. About fifteen years after I left Nepal, I got a call from Akron, Ohio. “John-Sir?” a voice on the other end said. That could only mean one thing: it was one of my Nepalese students. He had passed the national school-leaving exam and had gotten a job teaching in another district, where there was a female Peace Corps volunteer. The first thing he said to her, she later told me, was “Hello, Miss. Do you know John Zimmerman?” You know the rest. They had fallen in love, married, and moved to Ohio to be near her family. My student happily recounted our classroom dialogues as well as the “Steal the Bacon” game (which I rendered, he said, as “Steal the Pig’s Meat”) that we played outside. But he also said he had hesitated to contact me, because he feared that I was still “angry” with him. “Angry?” I asked. “About what?” Near the end of a class, my student recounted, he stood up and started erasing the girls’ blackboard before they had finished copying the evening homework assignment. (Girls and boys sat on separate sides of the classroom in Nepal, each with its own blackboard, so I wrote the assignment on both of them.) I screamed at him, he recalled, the only time the students had ever heard me do that. “You should be ashamed of yourself!” he remembered me yelling. “The girls have as much right to learn as you do!”

             I’d love to know how No White Saviors would parse this little tale. At first glance, it is perfect fodder for their critique: heroic white dude rides into town, spreading truth — his truth, that is — to the benighted brown people. Who was I, they might ask, to police how the Nepalese thought or acted around gender? At the same time, though, I’m sure that many people asking that question fashion themselves feminists of some shape or form. If I had failed to censure my student for erasing the girls’ blackboard, wouldn’t I have been “complicit” — to quote another of our current platitudes — in sexism and misogyny? When I tell my American students this story, they often say that my real mistake was raising my voice; I should have spoken to the student afterwards, calmly explaining the error of his ways, instead of humiliating him in front of his peers. Perhaps so. But whatever means I used, was it OK — or even necessary — for me to correct him at all? If he actually believed that the girls were second-class citizens, who says he was wrong?

             Here’s my answer: the girls did. When my student started erasing their blackboard, he told me, they raised their voices in protest. Indeed, he said, that’s what drew my attention to him in the first place. You can say that I was behaving like a white savior, and you might be right. But I don’t see how you can condemn me for imposing my views of gender, without regard for local tradition, and then disregard the expressed wishes of the girls. That sets you up as the arbiter of what is really “traditional” in Nepal, even as it throws half of the country — its female half, of course — under the proverbial bus. It is imperial anti-imperialism, the saviorism of No White Saviors.

    I fell victim to that, too, in my fateful meeting with the missionary. Unlike the blackboard incident in class, where the girls objected to my student’s behavior, I didn’t hear anyone complain about the missionary. The complaints were in my head, and I projected them onto Nepal. Perhaps that’s inevitable, to some degree or another, when human beings from different parts of the world encounter each other. Every living person’s perspective is partial. People in Nepal projected onto America, too, in ways that I found endlessly fascinating. Americans made lots of money, I was told, and they also had sex 24/7. How are you so rich, a guy once asked me with a straight face, when all you do is screw? I laughed, but it was no joke for female Peace Corps volunteers who had to fend off the men who believed it. Racial minorities and LGBTQ volunteers have faced special challenges, too. Taboos against dark skin run rampant around the globe, as does discrimination against gays; in several Peace Corps countries, indeed, same-sex love is illegal.

             Should Peace Corps volunteers try to challenge that kind of prejudice, as best they can? I think so. And if that sounds like white-saviorism, I have news for you: the Peace Corps isn’t as white anymore. In 1990, four years after I returned from Nepal, just seven percent of Peace Corps volunteers were racial minorities; by 2020, when volunteers around the world were evacuated, 34 percent were non-white. That doesn’t mean that they will be perceived as such outside of America, of course. Back in the 1990s, I conducted oral histories with black Peace Corps volunteers who had served in Africa. Many of them were called anomalous nicknames like “black white” or “native foreigner,” which acknowledged the black volunteers’ connection to the continent while simultaneously underscoring their difference from it. Most of all, the volunteers learned how much difference a category like “black” could contain. Countries such as Kenya and Nigeria were as diverse as the United States, volunteers discovered, containing dozens of different ethnic and language groups. And these people often hated each other, too, just like racists back in the States. “The color of the foot on my neck doesn’t matter, as long as there’s a foot on my neck,” one black ex-volunteer told me, describing the ethnic prejudices he observed in Africa. “Discrimination is discrimination.”

             And love is love, as another black returned volunteer added. “I got an appreciation of where I came from, and the beauty of that,” he said. “Basically, we’re all the same.” Although it sounds hopelessly trite in these jaded times, love for our shared humanity, our universal commonality, is the only way to appreciate our differences and to communicate (literally: to make common) across them. Six decades after it was founded, the Peace Corps remains a foremost symbol of that ideal: love, respect, friendship, and cooperation across oceans and borders, cultures and races. So it will always be an easy target for politicians and ideologues who see it as either starry-eyed nonsense or blind propaganda. In 2017, the Trump Administration proposed slashing the Peace Corps’ budget by fifteen percent; two years later, Republicans in Congress introduced a measure to eliminate the agency’s appropriation altogether. Channeling his inner Donald Trump — or, perhaps, his subconscious Richard Nixon — co-sponsor Congressman Walker (R-NC) said we should “put America first” by using the saved dollars to support disaster relief at home. The bill got 110 votes, all from the GOP, which wasn’t enough to get it through. By June of this year, as the pandemic abated, Peace Corps volunteers had returned to eleven countries. The agency is recruiting for about twenty other nations, too.

             Who will hear that call, especially on our increasingly particularist and identity-inebriated campuses? Very few people, I fear, if No White Saviors and their allies have their way. They use a different vocabulary than conservative critics, of course, sounding more like Noam Chomsky than Newt Gingrich: the agency is racist, neocolonialist, and so on. But the upshot is the same: the Peace Corps is a bad deal, so it’s time to bring everyone home for good. “If we actually solved the world’s problems, who would pay us?” a volunteer in Zambia asked in 2019, shortly before volunteers were evacuated worldwide. The Peace Corps is a junket, she said, wasting scarce resources that could be better spent in America. Mark Walker couldn’t have put it better himself. 

             But that spectacularly misses the point. I have never met a volunteer who thought that they solved the world’s problems, and I’m very sure that I didn’t. I wanted to help, and to learn, and to live. That is all. The scorn and the distrust of our present-day politics—on both sides of the aisle—cannot refute or erase the simple desire for connection. I left Nepal feeling humbled, not privileged. I learned how many different ways there are to be human, and how difficult it is to connect across the differences. But I also learned that we can do it, by trial and — mostly — by error. I learned that universalism is real, that it can be verified by experience, and that difference is not the last word on human life; that one is made wiser by the people one teaches, even when the differences are colossal; that there is more to the human world than power relations, even as we work to make them more equitable; and most importantly, that we mock altruism at our peril. The greatest danger of our moment is not racism or sexism, ableism or cisgenderism. It is cynicism, which tricks us into believing that we cannot overcome the differences—and, yes, the prejudices—that separate us from each other.

             When my service ended in Nepal, the teachers held a party for me at our school. The rice wine flowed, and everyone recounted ridiculous things I had said when I first got there and didn’t know any better. My favorite one: a teacher asked me to visit his house on the weekend, and I replied, in Nepali, “Yes, I’d like to meet your wife.” That’s what you might say in America, if a colleague invited you over, but nobody told me that the verb “to meet” in Nepal had another, earthier connotation. It was horrifying, humiliating, and altogether human: what used to be known as an honest mistake. “It doesn’t matter,” the teacher reassured me, patting my shoulder. And everyone urged me to “come back soon,” a common Nepali farewell.

             It wasn’t soon, but I did come back. Twenty-five years later, in 2010, I returned to the village with my seventeen-year-old daughter. The tractor road was finally finished, so the three-day walk had been trimmed to about eight hours. The first guy I saw said, “Hey, John-Sir, where have you been?” Everywhere, I wanted to say. Nowhere. It doesn’t matter. The school sponsored an impromptu “Welcome Home” reception, at which my daughter and I were pelted with flowers and doused in red tikka powder. I stood up to give a speech in my broken Nepali, which was slowly coming back to me. But I broke down in tears, overwhelmed by my good fortune to have loved — and been loved by — these good people. Was this sentimental? Sure. Was it condescending? Not for a second. Perhaps I had acted, in my worst moments, as their white savior – but they saved me too, from the rigid categories that we now deploy, loudly and dogmatically, to define and divide us. Black and white, Jew and Gentile, Nepalese and American: we are all different and we are all the same. Come back soon, John-Sir. Come back home. 

    Rapunzelania

    It is not wholly myself, this shadow tugging itself loose 

    as though it knew better where to go from here

    what to do and see

    before the ship leaves with the tide. Not a thousand ships, you understand,

    just the one. Tall and proud, I suppose, and in a dreadful hurry,

    what with the wind so uncertain.

     

    But we are not near the sea, my shadow and I,

    we are in a high, quiet place, one of those improbable towers —

    Rapunzel’s, if you will —

    and the prince is nowhere to be found, he is perhaps out sunning himself

    on a rock, like a gecko

    with destiny in the flick of his tail.

     

    Every love story ends badly: we know this,

    as we know that leaves will grow toward the sun, that the gods will die, 

    and the floodwaters rise. 

     

    I recall meeting a prince once or twice,

    and a few princesses, slender and lethargic,

    casting about for something to do.

    One of them made luxury backgammon boards, boxes 

    of fine walnut wood inlaid with bees and cicadas.

     

    Well. I will stand at the window, counting myself lucky. It is dark here, 

    and peaceful. Out flies my restless shadow. Let it. 

    You can only leave the tower if a prince climbs up your hair, and this is a challenge

    because you know princes are quite heavy, heavy as earth, 

    they come bearing happiness which swells as they climb,

    takes on its own shape, like a herald 

    riding the prince’s shoulder.

    Projection

    This is the work of your own hands

    strange to say, all these stories carved

    with a certain severity, each woodcut brought forward

    in strokes, a register of darkness

    removed.

              

    There’s a tower and a bridge. A figure midway across 

    watches the shadows below. Midway between

    what? Today and tomorrow, if you like, cross-hatched

    in black and white.

     

    There are ways to create gray here.

    Inking techniques, washes that float the heavy black 

    up off the page like a boat at high tide,

    like the slow stain of floodwaters seeping across mired ground

    undoing the earth, loosening grubby fistfuls

    to look for worms, asking endless questions, dragging weeds and fenceposts

    until their roots give way. The clouded sky turns over

    in its sleep and goes on raining.

     

    I am like a person who has thought so vividly of someone else

    for years that I no longer have room for them anywhere

    and when you put No on the table between us, hardly taller than

    the pepper grinder and salt cellar, I study it carefully

    – the real thing, not stooping to If but

    brief and apparent as sunrise 

    Blurred World

    It has been here as long as I have I think,

    settling in the sand.

    The current drags through like a wind, 

    carrying small reef-building creatures

    to this outpost.

     

    When I was a child it looked different. 

    It was a room then, the brass knobs spit-shined 

    and the drawers filled with carefully folded clothes;

    the sheets on the small bed slightly rumpled, 

    the corners tucked in. A lamp, a little table and chair. 

    These were mine. Back then, mine meant always,

    or, if you like, an open cannister holding the two fragile wings

    of this and now: mother and father and sister.

     

    What brought me here? Algae covers the bedstead 

    like a tiny dark forest. A moon snail creeps across the floor

    in a straight line. 

     

    Sixty feet down, color leeches from everything, even the red charm I bought in Tibet 

    for my mother, whose body had crystalized. Red is for long life. “Her abdomen is frozen,” 

    the oncologist said. 

     

    The moon snail is almost out of sight. 

    Its gray, wrinkled body passes over the sand in that same straight line

    toward the end of the continental shelf

    and the drop-off. I watch for others, visitors,

    a gleam of something turning away

    in the blue. 

     

    It is not childhood, exactly. 

    A shoe drifts by.

     

    There are my table and chair

    too small to sit at. They say: all along

    you have not seen even one thing clearly

     

    Prehistoric 

    I burned a hole in cloth, watching the threads

     

    shrivel back like the stockinged legs of the wicked witch of the east, who leaves no path

    of return so you had better keep those shoes on

     

    while you learn to grow up with your mistakes like good siblings: you will fight but make up 

     

    so many times that finally the stories themselves will hold you together—just don’t turn to check the facts, for too often they will have given you a choice, and then what do you plan to do

     

    with all those shadows, the road leading back to where you first found the locations and faces that live in you 

     

    as names propped upright in the gloom, a museum 

     

    after the war, and the groundskeeper’s dead son playing

     

    among their shapes as if in another world, his head far away and you too

     

    only a child and not knowing whose memory

     

    you’ve got there?

     

    Exile to Exile 

    We live in a state of constant strife; the truths we relied on no longer seem certain; we are unsettled, shaken, adrift. Even those of us lucky enough to retain our health, homes, families, and jobs feel exiled from the lives we once knew. The bonds of friendship and community that secured us have loosened, and we are cut off in time as well: the past is more remote, the future unimaginable. In crisis, we face a world of danger: war, plague, apocalypse, discord, violence.

    How odd that the work of literature which most fully describes our state, our emergency, was not written recently, but over seven hundred years ago. The evils and the fears that troubled Dante in his Divine Comedy are uncannily like the ones that threaten us; his world is our world, so much so that the monsters of cruelty and lust that fill his pages are instantly recognizable — one only need change the names to see them as the figures of today’s miserable news.

    The ever-present relevance of the The Divine Comedy has long been noted. Almost one hundred years ago, Osip Mandelstam, who experienced some of modernity’s worst darkness, observed that “it is inconceivable to read Dante’s cantos without directing them toward contemporaneity. They were created for that purpose. They are missiles for capturing the future…His contemporaneity is continuous, incalculable and inexhaustible.” This immediacy is no accident. Although he was writing in the early fourteenth century, the poet composed his poem to speak to us. All serious artists hope their work will endure, but Dante, as almost no writer before him, sought to address the future, not just the readers of his day. We know this because he says so. At the end of the Paradiso, he states that the Divine Comedy is for la futura gente, the people of the future.

    The poem is a compendium, an encyclopedia, a summa, and yet there is one subject above all that gives it urgency, and that is exile. Displacement and the longing for return have inspired so much literature, beginning with the Hebrew Bible and the Odyssey. But perhaps no writer is more deeply associated with the theme than Dante. He was cast out from Florence, his birthplace, in 1302, after having served for two years as a high city official, a victim of the interminable political violence of the city. He was stripped of all his property; broken off from his family; threatened with death by fire at the stake if he ever dared to come back. He never did, wandering poor and dishonored through Italy until his death in 1321. With a single exception, all his great works were written in exile; it was exile that made him a master artist, philosopher, and prophet. It was exile, and the causes of exile, that he needed to explain to himself and to warn us about. 

    Before his banishment he was a lyric poet, one of the pioneers of the literary movement known as the dolce stil nuovo — the sweet new style — who wrote love poetry of a philosophical cast. He composed his verses for the admiration of a tiny elite of other poets, a group of a few dozen men whom the great Dante scholar Erich Auerbach compared to a “secret brotherhood.” His chief work of these years is the Vita Nuova, an autobiographical fantasy in poetry and prose about his love for the young Beatrice Portinari, her early death, and his spiritual reaction. (She was to become the avatar of salvation in The Divine Comedy, and thereby the most famous idealized woman in Western literature.) Although a work of great inventiveness, with passages of aching poignancy, other sections are plainly insincere, and Dante’s language can often be vague and periphrastic. No one is sure what some of it means. Auerbach concluded that parts are “baffling…puzzling…obscure.” Dante himself found much of his early poetry dissatisfying, and even called it faticosa, laborious.

    How utterly different is The Divine Comedy. Written in a mode of Italian of Dante’s own invention — the volgare illustre, or elevated vernacular — and addressing the broadest possible audience, the poetry is characterized above all by its vividness, lucidity, and dramatic appeal. No longer does he want to dazzle a few friends with his brilliance and his erudite allusiveness. Now he wishes to inspire and explain and guide and admonish. He throws away the ambiguities that he once adored and turns instead to “clear words and precise language” — to borrow the terms Dante uses in the Paradiso (the third of the three “canticles” that comprise the work) to praise the speech of Cacciaguida, his ancestor and hero. The new goal is visibile parlare — visible speech, presented in tercets of eleven-syllable lines that makes the reader picture and see and hear the events and the figures that the poet describes in gripping detail.

    The leap of imagination that this devising entailed would not have been possible without the experiences gained in exile. One of the wanderer’s discoveries, for example, was the diversity of Italian as spoken throughout the peninsula — its richness, range, and dignity. This gave him the conviction that Italian could be a literary language of the highest ambition, worthy of the most serious subjects, a distinction previously reserved only for Latin. Another was his recognition that language, literature, and indeed all of civilization are part of an historical process, and thus evolve continually and ineluctably. We, who have been born and bred on historicism, may take for granted the idea of cultural change, but it was Dante, comparing the dialects in Italy and the Romance languages in Europe, who first realized that it did so. Words mutate; norms shift; poetry can grow, rather than repeat the forms of the past.

    At the same time, it was only in banishment that Dante came to know Latin literature well. At the end of the Middle Ages, books were still immensely expensive and incredibly rare, and the libraries of Florence were poorly stocked. To be sure, Dante knew Latin before his expulsion, but as has been brilliantly demonstrated by Ulrich Leo, it was only after he was cast out that Dante “read again, or in part for the first time, classical Latin poetry and prose.” It was in exile that he started to identify with another wanderer and founder of Italian civilization — with Aeneas; in exile that he learned to know deeply the Aeneid, whose Book Six, with its account of a descent into Hades, was fundamental for his creation of the Inferno. It was in exile that he came to see Virgil as the greatest of Latin poets, il mio maestro e ‘l mio autore, from whom Dante learned lo bello stile che m’ha fatto onore — “the beautiful style that brought me honor.” This transformative encounter perhaps took place in Verona in 1303, or in Bologna a year or two later: both cities had libraries of classical texts far richer than those in Florence.

     The new clarity of Dante’s poetic language was stimulated not only by high-minded considerations. It was also sparked by the rage that he felt for the injustice of his punishment. We are accustomed to think of The Divine Comedy as a poem of love, and of course it is: the love of God, the love of Beatrice, the love of “the love that moves the sun and the other stars.” But it is important to acknowledge that it is also a poem of hate. His wrath never left him. Such was its ferocity that even when he comes to the redemptive climax of the poem and describes the upper reaches of Paradise, where all is joy and harmony, light and laughter, he cannot resist pouring venom on Pope Boniface VIII, whom he held ultimately responsible for his ill fate. Until this point in The Divine Comedy, Dante had always portrayed Beatrice as an emblem of wisdom, grace, and love; and yet, quite shockingly, Dante makes her last words in the poem, spoken from the Empyrean, castigate the pope and pray for him to rot in Hell. His rage contaminates even her supreme purity.

    Dante’s lust for revenge is most palpable in the Inferno. Here we see him kick one sinner in the head, and pull another’s hair, and give thanks to God for the dismemberment of a man whose family had taken Dante’s house after his exile. Throughout the canticle, it is Dante’s seething and uncontrollable anger that powers the vividness of description. Consider, for example, the first punishment he recounts in the poem:

    These wretches who never were alive,

    were naked and beset

    by stinging flies and wasps

     

    That made their faces stream with blood,

    which, mingled with their tears,

    was gathered at their feet by loathsome worms. 

    Translated by Robert and Jean Hollander

    The outcast poet stings with those flies and wasps; he cheers for those loathsome worms. With insatiable avidity, in canto after canto, he piles up images of muck, filth, and fire; devils cut, gash, strike, jab, and smite the malefactors; the air is greasy, dark, and grim; the shrieks of the damned are piercing and hopeless; blood and bones and guts and shit are everywhere. 

    Crafting these scenes of punitive horror gave his language an edge and bite, a richness and directness, all without precedent in European literature. Only the darkest moments in classical poetry can rival Dante’s black passages for intensity. But really no one ever before had lavished so much talent on detailed and sadistic depictions of utter gruesomeness, and at such length. For Dante ancient literature was fundamentally tragic, a poetry of death and madness. Conquering this mode made him the rival of the masters of the past. This is perhaps most evident in Canto 25 in the Inferno, where amid descriptions of monstrous rape and cruel deformation, Dante triumphantly proclaims, “Silence Lucan … Silence . . . Ovid.” Here he asserts that he has achieved the greatness and the stature that was implicitly promised him when he met these poets, and Homer and Horace, in Limbo, at the outset of his journey through Hell.

    Dante’s wrath in exile was not only an engine of creativity. It was also part of the great moral crisis whose reckoning and resolution lies at the heart of the poem. Dante knew that just retribution belongs to God, not to mortals. He portrays Hell full of “furious shadows” whose unquenchable ire contributes to their agony; and he repeatedly depicts the damned biting and beating themselves in a bestial frenzy. He knew that to allow anger to take hold of his life was a form of mortal peril. Indeed, many scholars believe that Dante may have been on the verge of insanity and contemplated suicide in the early years of his banishment. The challenge for Dante was how to exit the dark wood in which he found himself in the beginning of the poem, to master havoc and despair. 

    His few surviving letters show that he remained bitter and wounded to the end of his days. “We have long wept by the waters of Confusion” like “exiles in Babylon,” he wrote in an epistle in 1311, echoing the famous Psalm. And yet The Divine Comedy is finally a manual of deliverance, an incitement to hope and action. It makes its way to paradise. The book itself is the product of the perseverance that it preaches. It took Dante about fifteen years to complete, working at the pace of about three lines — one tercet — a day. The longer his banishment went on, the more ardently he poured all his powers into the book, which he completed shortly before his death in 1321. The work is full of exhortations to himself: to start, to continue, to persist to the end. “I leave behind bitterness and go for the sweet fruit,” he writes in the Inferno. “Nothing hinders the ascent except the darkness of night which binds the will with helplessness,” he reminds himself in the Purgatorio. He must go on because he “who robs himself of the world…and wastes his abilities, lamenting when he should rejoice,” sins against God.

    The poem was Dante’s path to recognition and redemption. In the wilderness of exile, his understanding of exile deepened, his vision expanded, and he became the author of perhaps the most visionary work in Western literature. The book encompasses not only the details of his own suffering but also the reasons for the predation, fraud, and violence that humans have inflicted upon one another everywhere. All the theology in the work notwithstanding, he is a close and unillusioned student of human life. And as his conception of the theme expanded, so did the audience that Dante imagined for his work: not just other cultured elites or fellow Florentine citizens, but potentially all readers of his time and into the future.

    While always grieving for his homelessness and dreaming of his return to Florence, he began to see that exile gave him an unprecedented perspective on human affairs, an intellectual advantage. In a world where everyone’s identity was defined by their membership in groups — especially the family, the parish, the city, and the political party — Guelf or Ghibelline, the two alliances that poisonously divided all of Italy and much of northern Europe too — Dante came to view himself as a party of one, and to believe that this status was a badge of honor rather than blame. The loss of belonging stripped him of community, but in his isolation gave him new hope for understanding.

    Exile became a voyage of discovery, for all its peril and humiliation. At times he compared his genius, his poem, and his fate to a ship on a sea. Like Ulysses, with whom he so strongly identified, he was bound “to gain experience of the world and learn man’s vices, and his worth,” for man was “not made to live like brutes or beasts, but to pursue virtue and knowledge.” This pilgrimage carried him from the dark wood, where all seemed lost and nothing could be seen, to ever greater distances, whose vantage point made all clear — first the extremities of Hell and then the mountain of Purgatory and finally the heights of heaven, from which he looks down and sees all of earth. From this vista he marvels not only at the sublimity of his apotheosis, but also at man’s unending propensity for violence, comparing the world to l’aiuola che ci fa tanto feroci, “the threshing floor that makes us so ferocious.” Even in heaven he remains troubled by earth. 

    Searching for the cause of this malevolence, he not only looked at mankind from above, he also turned inward. “If the world around you goes astray, in you is the cause and in you let it be sought,” he instructs in the Purgatorio. One source of the power of the book is his capacity to empathize with the sinners whom he describes in all their misguided passion and intensity. The author of the Inferno is a connoisseur of human failings. The vividly portrayed characters are fragments of himself, intended to mirror his own passions and weaknesses, his own temptations to moral error. Dante lusts like Francesca and Paolo, and feels with them the seductions of literature; he thrills with partisan hatred like Farinata; he considers suicide like Piero della Vigna; he longs for vengeance like Ugolino; he abandons all for the pursuit of knowledge like Ulysses. Dante was certain of his own genius and his supreme stature as a poet, but he was also sure that he was an Everyman, who shared in the common flaws of humanity, as do all his readers.

    In exile, Dante came to see the fallen nature of man after exile from the Garden as the unifying force of human history. It is the disorder of human desires that propels the unfolding of events and ties them all together, so that Florence of his day resembled Babylon and Troy and Thebes of the past, each brought to ruin by unbridled passions for power and gold. Like Augustine, Dante believed it was not sexual lust but the lust for dominance — what Augustine called the libido dominandi — that drove history. For Dante, the world is “blind,” a “bloody heap,” a “desert devoid of virtue,” a “nest of Leda,” whose offspring in their lordly arrogance and mindless cupidity doom everyone around them to destruction. The uncontrolled appetite of humans began at the very beginning: according to Dante, Adam and Eve tasted of the fruit and were expelled from Eden only six hours after their creation.

    It is a tragic view of life, and yet Dante entitled his poem a Comedy. (The name we know it by, The Divine Comedy, is a later convention.) He did so because, despite his belief in man’s propensity for sin, he also believed that by nature humankind is virtuous, noble, and dignified, and supposed to live a life of happiness and fulfillment here on earth, not just in heaven. The poem is the story of the recovery and the unfolding of this destiny — at least for one exemplary pilgrim, Dante. He spells out his idea of human goodness most succinctly in the two philosophical treatises that he worked on during exile. In the Convivio, or Banquet he declares that “there is no greatness greater for human beings than virtuous activity, which is our intrinsic good,” and that “the fruits most properly ours are the moral virtues, since they are completely within our power.” In the Monarchia, or Monarchy, he writes that “ineffable providence” has set before us the goal of “happiness in this life, which consists in the exercise of our proper virtues.” In these opinions he was deeply influenced by Aristotle, whom he refers to as “the master of our life” in the Convivio. Dante had likely studied the Nichomachean Ethics under the guidance of a student of Thomas Aquinas at the Dominican convent of Santa Maria Novella in Florence in the 1290s.

    So the human darkness that Dante chillingly portrayed reaches its limits. Fundamental to his analysis of human nature was his focus on love, and its expression as desire and appetite. “Desire is spiritual motion,” he said, the force that drives our action toward evil or good. It is what defines and gives shape to an individual’s character and destiny. You are bound or you are liberated by what you love. The major distinction between the figures of the Inferno and those of the Purgatorio and the Paradiso, between the sinners and the saints, is what they desire.

    The figures in the Inferno suffer from insatiable appetite. They are ruled by their mouths, an image that Dante emphasizes repeatedly, from the mouth of Francesca trembling with passion for Paolo, to the mouth of Ugolino, stained with the blood of Ruggiero whose brains he has eaten in revenge, to the mouths of Satan at the very pit of Hell, stuffed with the three great traitors Judas, Brutus, and Cassius. The she-wolf of avarice who blocks Dante’s way in Canto I sets the tone for the entire canticle:

    Her nature is so vicious and malign

    her greedy appetite is never sated—

    after she feeds she is hungrier than ever.

    Translated by Robert and Jean Hollander

    Avarice by nature always seeks an end — more, more, more — that can never be reached, thus unleashing a kind of frantic madness in those who experience it. According to Dante, Pride and Envy also share in this bottomless avidity. They are the three ruling vices of life on earth; they typify rulers, popes, warriors, and merchants—the effective lords of the world — and determine the unjust character of their governance and domination.

    Dante believed that these vices were essentially anti-social, spurred by hatred, rather than love, for one’s neighbor. They necessitated ingiuria, an Italian term whose meaning combines both injustice and harm to others. To highlight this idea as central in the poem’s ethical philosophy, he composed this sentence for the exact midpoint of the entire Divine Comedy: “All these three forms of love cause weeping down below.” Humans, at least after the Fall, are ensnared and distorted by these appetites. The war and the greed and the bad government that plentifully characterized his own era were thus bound to repeat forever. 

    The blessed of the Purgatorio and the Paradiso are likewise spurred by desire, but theirs is a need for God, and for the Common Good. It is a vision of love as Agape rather than Eros. On earth humans are locked in a zero-sum game, fighting over spoils than can never be divided equitably. In heaven, by contrast, what they seek and what they share is love, each of the blessed radiating benevolence to others, like an undiminishing light reflected among an infinity of mirrors. While continuously yearning for God, the truest object of love, this is a desire that is also continuously fulfilled. It is the zeal of the saints, and it pulls Dante upward with ever greater force as he ascends to paradise. And unlike the misplaced appetites of the fallen, it ends in the just and proper form of man. As he explains in the Convivio, “The supreme desire of each thing, the primal one given by its nature, is to return to its principle. And since God is the principle of our souls and made them like himself…the soul desires more than anything else to return to him.” Here exile is given a cosmic metaphor and becomes metaphysical. The greatest banishment is the banishment from God, and therefore from oneself. And rather than the mouth of the Inferno, here the essential human organ of love and desire is the eye, the recipient of heavenly light. “Beatitude itself is based upon the act of seeing,” Dante affirms, almost as if from experience.

    Dante’s tale is one of optimism, too, because he believed man to be free to regulate his behavior and affect his destiny. In the Paradiso, he calls free will the “greatest gift” of God to man. It is this gift, the capacity to choose and to act, that emancipates us from the inevitabilities of fate and makes life into a journey, although a perilous one. “In the middle of the journey of our life”: those are the famous opening words of the work. Auerbach has beautifully described the moral condition envisioned by Dante in The Divine Comedy: “God is at rest; His Creation moves along eternally determined paths, while man alone must seek his decision in uncertainty… Man alone, but man in every case regardless of his earthly situation, is and must be a dramatic hero.” Even though he had been selected by God for his visionary voyage through hell and heaven, an honor among the living previously given only to Paul, and despite the traveler’s aid granted to him by Virgil and Beatrice, Dante’s trajectory is still beset with difficulty; he still must struggle to understand, to persevere, to act correctly, to be worthy of the mission with which God has tasked him.

    In conceiving and writing The Divine Comedy, the poet reimagined his exile as a pilgrimage. No longer does he want primarily to return to Florence, the city on the Arno. Now he seeks to return to Jerusalem, the city of God in heaven. To do so, he must transform himself. He must learn to control his anger, and act with right measure in his pursuit of knowledge, and temper his lust for fame, and constrain his pride. Only by doing so will be able to “return in beauty” like “new plants renewed with new-sprung leaves pure and prepared.” And as a man remade, he will also return as a new kind of poet, one with a new language resurrected from the ashes of the tragic and the erotic, and reformed in the mode of what he exquisitely calls the cantar di là, the song of the beyond. Dante’s voyage is one of hope, announced with nearly prophetic fervor in the face of disorder and destruction.

    We tend to pictures philosophers and writers in the setting of the cloister and the café, the library and the lecture room, but Dante saw them — and himself — as figures in the world, and he knew that like everyone else in the world, they are routinely tossed aside by the vicissitudes of power in war and politics, and often they end up on the margins of society, in exile or worse. Consider the fates of those whom Dante admired most: Socrates, executed; Plato, enslaved; Aristotle, exiled; Cicero, murdered; Seneca, exiled and later forced into suicide; Ovid, exiled; Augustine, dying in a city besieged by Vandals; Boethius, imprisoned, tortured, killed. The parade of woe continued into Dante’s own time; indeed, almost all his mentors and friends among the poets of the dolce stil novo spent time in banishment. The greatest philosopher and theologian of the thirteenth century, Thomas Aquinas, had been assassinated (or so Dante believed). And as a member of the Florentine government council, Dante even participated in the decision to cast out a fellow poet, the remarkable Guido Cavalcanti. They suffer so, because everyone does.

    His own experience did not offer Dante much ground for a worldview of hope, and so he had to locate it elsewhere. And yet he stubbornly counseled that, all the evils notwithstanding, we act with determination and purpose. Early in his exile, he observed that “truly I have been a boat without sail or rudder, carried to various ports and inlets and shores by the dry wind that painful poverty blows.” But about five years later, having surveyed and described in the Inferno the damage that humankind perpetrates, he set out to find and show a better way in the Purgatorio. For the first line of this canticle, he wrote: “To course in better waters, raise the sails.”

    In our journey of recent years, we have seen some of the best and the worst of humankind. Like the wayfarer in The Divine Comedy, we have faced gruesome death, raged against despair, witnessed corruption, disorder and anarchy. We have asked what it means, and why we must suffer so. In my own experience of this symbolic exile, cut off from friends and from accustomed activity, I began reading Dante. He speaks to our troubles because he reminds us that the folly, vice, and depredation of humans will always be with us. We are always waking to find ourselves in the middle of the dark forest. Yet he leaves us believing that, armed with the recognition of both our vices and our virtues, we can find a better nature within our imperfect selves. If we can raise our sails, we can catch a breath of hopeful wind; and on that wind we can navigate life toward a better end, in the pursuit of knowledge and the reverence of love. 

    The Sorrow Songs

    I

    On New Year’s Day in 1863, Thomas Wentworth Higginson was stationed in the Sea Islands of South Carolina, presiding over a large group of Unionist whites and formerly enslaved black workers who had gathered to celebrate the Emancipation Proclamation. A prominent prewar abolitionist, Higginson had recently become commander of one of the first black regiments in the Civil War, the First South Carolina Volunteers. At the emancipation ceremony that Higginson had arranged, a local planter who had converted to abolitionism read the great document. There was a presentation of colors. Then, unexpectedly, as Higginson started to wave the flag, an elderly black man near the platform broke into song: “My country, ’tis of thee, Sweet land of liberty.” Two women joined, followed by others in the crowd. Higginson could hardly contain his emotion; everyone started to cry. “I never saw anything so electric,” he wrote in his diary; “it made all other words cheap, it seemed the choked voice of a race, at last unloosed; . . . art could not have dreamed of a tribute to the day of jubilee that should be so affecting; history will not believe it.”

    Higginson had arrived in the Sea Islands five weeks earlier. He was part of a wave of northern whites who, during the turmoil of the war, experienced their first sustained encounters with southern slaves. As Higginson later recalled, one thing that this group mostly shared was their view of black people as “intensely human.” This differentiated them sharply, in Higginson’s mind, from southern slave owners, who had long claimed to understand their slaves better than northerners but tended in practice to see them (according to Higginson) as “merely a check for a thousand dollars, or less, from a slave auctioneer.”

    Still, even though abolitionists tended to be relatively free from prejudices that were strictly racial in nature, they often harbored their own prejudices of culture and class. So while they never equated blackness with a permanent condition of barbarism, they did sometimes see black people as ignorant or backward, in need of education and guidance as they made their first steps in freedom. The result was a variety of responses, sometimes sensitive and sympathetic, sometimes condescending or patronizing, often a complex combination. 

    With all its complications, this sudden mass encounter between newly freed slaves and white people who saw them as “intensely human” opened a fresh possibility in the study of slavery: the formal study of slave culture.

    At the time such a thing did not exist. This neglect obviously owed a good deal to slavery and bigotry. The largely illiterate society of black slaves was not seen at the time as contributing anything to American culture as it was usually understood. Slaves seemed to have no role in driving the progress of civilization toward its pinnacle in white European and American society — aside from, in the minds of southerners, performing the important role of propping it up. Writings on slavery up to that point had focused more on its political, economic, and social effects, especially its effects on whites, and abolitionists had catalogued slavery’s physical cruelty and deprivation on blacks. 

    The neglect of slave culture also reflected a broader lack of attention given to oral “folk” cultures, which tended to be either taken for granted or considered unimportant at a time when certain conceptions of cultural hierarchy and social evolution still held sway. White southerners did not become interested in black music or culture until after the Civil War, when they felt a strong wave of nostalgia for old plantation life. Some black music was known in the North before the war, but it was mostly minstrelsy. 

    White southerners and northern travelers surely would have seen and heard the cultural practices of enslaved blacks in the South, but such observations usually did not make it into print. “I believe they have no history or a very short one,” one sympathetic southern white woman wrote, in connection with the slave songs, just after the Civil War; her mother had made a small collection around 1840, but it was never published. To the extent that antebellum Americans discussed slave songs, and slave culture more generally, it was primarily to argue about whether they provided evidence of contentment or sorrow.

    That changed when northern abolitionists, missionaries, soldiers, and teachers encountered newly freed slaves during the war. Almost from first contact, slave music received significant attention. When Reverend Lewis Lockwood arrived as a missionary to the Union post at Fort Monroe, Virginia, in early September 1861, he took down notes about the music that he heard from southern slaves who had fled there. His initial report, written the day after he arrived, included the first written record of the song “Go Down, Moses.” By December, Lockwood had the full text of the song, which was published in the New York Tribune and the National Anti-Slavery Standard

    The Lord by Moses to Pharaoh said: 

     “O let my people go!

    If not, I’ll smite your first-born dead, 

     Then let my people go!”

    O! go down, Moses

    Away down to Egypt’s land,

    And tell King Pharaoh,

    To let my people go!

    The song caught on with the abolitionist crowd. Henry Ward Beecher’s Brooklyn congregation started to sing it, and sheet music went on sale at the Pennsylvania Anti-Slavery Society office in Philadelphia.

    By that time, reports were also starting to come in from the Sea Islands, which became by far the most important site for sustained encounters between northern whites and newly freed blacks during the war. The Navy had secured a beachhead there very early, in November 1861, as part of the larger effort to blockade the Confederacy. White planters fled the islands. They tried to convince their slaves to go with them, but the slaves — thousands of them — thought better of it and stayed put. These people technically became contraband of war — and, soon, part of a vast experiment in education and free labor centered on the islands around Port Royal, including Hilton Head and St. Helena. Abolitionist groups in Boston, New York, and Philadelphia raised money and recruited volunteers to serve as teachers, missionaries, and plantation superintendents.

    In Philadelphia, the city’s Port Royal Relief Committee was headed by James Miller McKim, who also helped run the Pennsylvania Anti-Slavery Society office where “Go Down, Moses” was for sale. McKim was an abolitionist of some distinction. Back in 1849, he had been the one to open the box containing Henry “Box” Brown, the enterprising slave who shipped himself from Richmond to Philadelphia, and a decade later McKim and his wife had helped John Brown’s wife bring Brown’s body back north from Harpers Ferry. In early 1862, McKim quickly raised more than five thousand dollars to send to Port Royal. A few months later, the committee decided to dispatch McKim himself to provide a report on conditions there. McKim brought along his eighteen-year-old daughter, Lucy, as his assistant. The McKims had raised their children as staunch abolitionists. Lucy’s younger brother Charles Follen McKim — later the architect of New York’s Pennsylvania Station and other masterpieces of neoclassical modernism — was named for a German-born abolitionist who had died in a shipwreck off the Atlantic coast in 1840. In the 1850s, Lucy briefly attended and then taught at Eagleswood, an experimental school in New Jersey run by the abolitionist couple Theodore Dwight Weld and Angelina Grimké. 

    James and Lucy McKim arrived at St. Helena Island on June 8, 1862 and stayed for three weeks. Within a day, Lucy felt that she was seeing slavery with fresh eyes. “The pro-slavery folks were right when they said, Go South, Abolitionists, if you want to have your views changed on the subject of slavery,” she wrote to her mother. “Mine have been most profoundly.” Even Garrisonian extremism seemed like a mild response now that she had seen the conditions of slavery for herself. “How lukewarm we have been!” she exclaimed. “How little we knew!” 

    She began to jot down notes about everything she saw. She and others in the Sea Islands seem to have been motivated by a desire to record what they could before the evidence of slavery was swept away by change. In one letter, Lucy described the typical layout of a plantation’s “Quarters — or ‘Nigger-houses’” for a friend. “These were built in two long rows, facing each other, with a row of beautiful trees . . . down the center,” she explained. Every cabin had a small vegetable garden and fig tree out back. Inside, the cabins were “inconceivably small & filthy. With but few exceptions, the occupants lie on the floor, in bundles of rags, that have been reduced to one common dirt color.”

    But what captured Lucy’s attention most were the songs. Like many people who came to Port Royal, she started copying down the tunes and the words just days after her arrival. Unlike many others, she remained entranced by the songs even after her return to Philadelphia in July. A trained musician who had already spent a few years teaching piano, she was better prepared than most people to respond sensitively to them. She asked her friends in Port Royal to keep sending her examples, and she began to prepare a few piano arrangements for publication. “Poor Rosy, Poor Gal,” the first in her series of “Songs of the Freedmen of Port Royal” — and the second published slave song arrangement in the United States — came out in October: 

    Before I spend one day in hell,

      Heab’n shalla be my home.

    I sing and pray my soul away.

      Heab’n shalla be my home.

      Poor Rosy, poor gal!

      Poor Rosy, poor gal!

      Poor Rosy, poor gal!

      Heab’n shalla be my home.

    She sent a copy to Dwight’s Journal of Music along with an introductory letter — which, when it was published in the journal in November, became the first article ever to describe the musical style and technique of the songs. 

    Beyond their purely musical interest, she noted, the songs were also “valuable as an expression of the character and life of the race which is playing such a conspicuous part in our history.” She went on to provide a perceptive reading of what the songs revealed: “The wild, sad strains tell, as the sufferers themselves never could, of crushed hopes, keen sorrow, and a dull daily misery which covered them as hopelessly as the fog from the rice-swamps,” she wrote. “On the other hand, the words breathe a trusting faith in rest in the future.” 

    Lucy’s second arrangement, “Roll, Jordan, Roll,” appeared in January, just after Emancipation Day:

    March, angels, march!

    March, angels, march!

    My soul am rise to heav’n Lord,

    Where de heav’n’e Jording roll.

    Little chillen sittin’ on de Tree ob Life,

    Where de heav’n’e Jording roll,

    Oh! Roll, Jording, roll, Jording, Roll, Jording, roll!

    She seems to have had a plan to publish four more, but life intervened. Young men to whom she had romantic attachments died in the war, and she soon entered into a courtship with Wendell Phillips Garrison, the son whom William Lloyd Garrison had named for his longtime abolitionist ally. She spent her time teaching piano and waiting for Wendell to find a steady job so they could get married.

    Meanwhile Thomas Wentworth Higginson had arrived in Port Royal, called there in November 1862 to take command of the First South Carolina Volunteers, a regiment raised from the freedpeople on the Sea Islands. He got the position because he was one of the most fiery abolitionists in America. As a young man in Massachusetts, he spurned the law because he saw it as nothing but a system for the protection of property. Eventually trained as a minister — he dropped out of Harvard Divinity School because he was dissatisfied with the professors, then returned a year later — he took a position in Newburyport, where he advocated abolitionism and temperance. Neither stance went over well in a town with a rum factory, and he was asked to resign. 

    After 1850, Higginson upped the ante. He became involved in the Underground Railroad and also helped to form Boston’s Vigilance Committee, which tried to protect alleged fugitive slaves from being recaptured. In 1854, he bought the axes for an ill-fated attempt to free the alleged fugitive Anthony Burns from Boston’s Federal Courthouse. In the scrum, he got hit on the chin and acquired a scar that he carried for the rest of his life; but a federal marshal was killed, an event that Higginson later recalled with perhaps a hint of pride (and certainly little sadness) as the first casualty of the Civil War. His next act was to take rifles and ammunition to Kansas, where he learned about the violent exploits of John Brown in the battles going on there between slaveholders and free-soilers. A few years later, when Brown needed help planning and funding his raid on Harpers Ferry, the radical Higginson was one of the so-called Secret Six who provided assistance. After the raid went awry, he was the only one of the six courageous or foolhardy enough to spill his secret; he also raised money for Brown’s defense and even planned an armed raid to rescue Brown before Brown learned of the scheme and called it off.

    Higginson redirected his energy into an oblique defense of Brown mounted in a series of deeply researched articles on slave insurrections — Nat Turner, Denmark Vesey, maroons in Jamaica and Surinam — which appeared from 1860 to 1862 in a new magazine called the Atlantic Monthly. He also prepared for war. He did not volunteer initially because his wife was ill, but by 1862 he could no longer resist — particularly when he got the invitation to serve with black soldiers in South Carolina, a position he saw as the fulfillment of Brown’s legacy. “As many persons have said,” he wrote on board the ship taking him south, “the first man who organizes & commands a successful black regiment will perform the most important service in the history of the War.”

    Higginson thought he already knew all about slavery, but several months in the Sea Islands with his men showed him that he still had plenty to learn from the slaves themselves. At one point his black corporal, Robert Sutton, led the regiment up the St. Mary’s River to the plantation from which he had escaped, where the woman of the house remarked with some disdain that she had once known Sutton as “Bob.” Sutton took Higginson to the plantation’s slave jail for a look at the chains and stocks; in their presence Higginson felt himself choking, as if he couldn’t swallow or breathe. He realized that Sutton had a “more thorough and far-reaching” understanding of the slavery problem than “any Abolitionist.” That sense continued to grow as Higginson got to know his men better and talked to them about their experiences. “It was not the individuals, but the ownership, of which they complained,” he later recalled. “That they saw to be a wrong which no special kindnesses could right. On this, as on all points connected with slavery, they understood the matter as clearly as Garrison or Phillips.”

    Higginson trained his men and led them on sorties during the day, and at night he listened to them as they gathered around their campfires to sing “these incomprehensible Negro Methodist, meaningless, monotonous, endless chants,” as he wrote in his journal after about ten days, “with obscure syllables recurring constantly & slight variations interwoven, all accompanied with a regular drumming of the feet & clapping of the hands, like castanets.” There was more than a little primitivism in this initial response, a sense that the songs were barbaric relics beneath the attention of cultured people. But soon Higginson learned to love the music, looking forward to it every night, running out of his tent when he heard a new song, writing down all the lyrics he could decipher (sometimes with pencil and notebook hidden in his pocket) and calling on Sutton to help fill in the gaps. “When I am tired & jaded in the evening nothing refreshes me more immediately than to go & hear the men singing in the Company streets,” he wrote after about ten months in South Carolina. He was particularly moved by the “graceful and beautiful” song “I Know Moon-Rise”:

    I know moon-rise, I know star-rise,

      Lay dis body down.

    I walk in de moonlight, I walk in de starlight,

      To lay dis body down.

    I’ll walk in de graveyard, I’ll walk through de graveyard,

      To lay dis body down.

    I’ll lie in de grave and stretch out my arms;

      Lay dis body down.

    I go to de judgment in de evenin’ of de day,

      When I lay dis body down;

    And my soul and your soul will meet in de day

      When I lay dis body down.

    “What ages of exhaustion these four words contain,” Higginson marveled at the repetition of “lay dis body down.” “Rivers of tears might be shed over them.”

    This was not idle talk; Higginson knew real artistry when he saw it. In addition to his abolitionist exploits, he was one of the most prominent literary men in America. He had studied French with Longfellow at Harvard and would later serve as poetry editor of The Nation for twenty-five years. Earlier in 1862, not long before he took command in the Sea Islands, a young woman from Amherst named Emily Dickinson had sent him, unsolicited, a few of her poems; recognizing their merit, he wrote back and kept up a correspondence with her for the next two decades. After her death, her family gave her poems to Higginson, who arranged for their first publication — today probably his chief claim to fame.

    He lasted only a few months in South Carolina. He was wounded in an upriver raid in July 1863, spent a month recovering in Massachusetts, and then contracted malaria soon after his return. Back in New England, Higginson started writing articles about his experience for the Atlantic, which were eventually collected in 1870, along with some of his journals and letters, in his book, Army Life in a Black Regiment. One of the articles, which appeared in June 1867, discussed “Negro Spirituals.” Higginson included the lyrics to three dozen songs as well as an account of how the songs were composed, which he had learned on a boat ride from Beaufort to Lady’s Island. His oarsman recalled a time when he had started a new song while carrying loads of rice. “De nigger-driver, he keep a-callin’ on us,” the oarsman explained. “Den I made a sing, just puttin’ a word, and den anudder word.” His song was called “The Driver.” When he started singing it there on the boat, the other black men quickly caught the tune and joined in for the chorus even though they had never heard it before. The spontaneous composition showed how individual improvisation worked in concert with a vast reservoir of communal culture.

    Like McKim, Higginson speculated about the role the songs — and religion more generally — played in slave culture. One thing that had surprised him a great deal in the Sea Islands was that while slavery struck him as even more brutal than he had imagined, the enslaved people themselves did not seem to be brutalized by it. He wondered for a while about this paradox, and eventually solved it with the songs he had heard. “They were a stimulus to courage and a tie to heaven,” he believed. “By these they could sing themselves, as had their fathers before them, out of the contemplation of their own low estate, into the sublime scenery of the Apocalypse. There is no parallel instance of an oppressed race thus sustained by the religious sentiment alone.” Now that slavery was gone, he wrote, “history cannot afford to lose this portion of its record.”

    By chance, there had been a historian in the Sea Islands with Higginson, and he was also interested in the songs. His name was William Francis Allen, and he arrived in November 1863. A Massachusetts abolitionist, he was sent by the New England Freedmen’s Aid Society, tasked with teaching one hundred fifty freedpeople spread across three plantations on St. Helena Island. He had studied philology and classics at Harvard and ancient history at Göttingen; after the war, he ended up at the University of Wisconsin, where he became a mentor to the great American historian Frederick Jackson Turner, who always considered Allen the finest scholar he ever met. Like McKim, Allen was also an enthusiastic amateur musician who could sing by sight and play flute and piano. Walking through the woods one day in South Carolina, for example, he heard a bird singing a trill of notes that reminded him of Beethoven’s Sixth Symphony.

    Allen’s reactions to the slave south mirrored those of McKim and Higginson. He was struck above all by the humanity of the people he met. Abolitionist rhetoric often emphasized the degrading aspects of slavery, but Allen discovered that the freedpeople were “much, very much, less degraded than I expected.” For him, that threw the evil of slavery into even sharper relief. “They seem human beings, neither more nor less,” he wrote after a few days in the Sea Islands. “It seems trite and common-place to say so, but I must say that the wickedness of slavery never seemed so clear as when I saw these people (about 240 on this plantation), so entirely human as they appear, and considered how they have been treated, and how little reason there is that they should be selected from all mankind for this awful abuse.”

    Throughout his eight-month stay, Allen remained impressed by the lack of degradation (a word he used often) among the former slaves he encountered, even as he learned more about the abuse they had endured. He was staying on what had previously been John Fripp’s thousand-acre plantation, where he taught school in the big house. Among the formerly enslaved people still living there, Fripp had a reputation as a “kind master.” “Still,” Allen wrote, “the whipping-post stands within twenty feet of the school-room window (which used to be the drawing room) — a sprawling Asia-berry tree, leafless now and completely covered with long gray moss. It looks weird enough. Mrs. F. used to stand at the window to see the flogging.” Among other masters, even less “kind,” there were tales of “putting a hot poker in a girl’s mouth, and sprinkling red pepper in her eyes.”

    In addition to stories of brutal punishments, Allen recorded everything he saw and heard: the arrangement of the Quarters, the location of the slave cemetery, the provisions the slaves had received (a peck of corn a week; some meat and eight yards of cloth twice a year). Trained in philology, he also paid attention to the grammar and the vocabulary of the local dialect. “It is really worthwhile as a study in linguistics,” he wrote after a few weeks. He kept gathering examples during the rest of his stay, and at the end of the war he wrote an article “to put them on record” before they vanished in the changed conditions of freedom. 

    Above all, Allen recorded the songs. He arrived in the Sea Islands late enough that he was already primed to appreciate slave music. A few months before his trip, he read an article called “Under the Palmetto,” by the Unitarian minister Henry George Spaulding, which included some song lyrics and melodies that Spaulding had encountered during his own trip to Port Royal. Allen had started to sing some of the songs at home on his own. He first heard the singing for himself on the Sunday after his arrival, standing outside a packed Praise House in the Quarters. All he heard at first was a standard hymn, “Old Hundred,” but it was the style of singing that truly fascinated him, with the song “maintained throughout by one voice or another, but curiously varied at every note, so as to form an intricate intertwining of harmonious sounds.” He added, “no description I have read conveys any notion of it.” He started to copy down all the lyrics and tunes he could.

    Allen went back to Massachusetts in the summer of 1864, then returned to South Carolina at the end of the war to serve as assistant superintendent of schools in Charleston. That summer, he started to write dispatches on conditions in the South for a new magazine called The Nation, which Lucy McKim’s father, James, had just cofounded as a venue for antislavery writers to discuss the problems facing the country after the war. The McKims probably had a hand in ensuring that the magazine’s first literary editor would be Wendell Phillips Garrison, Lucy’s fiancé; once he had this steady job, he and Lucy were married on December 6, 1865, the same day the Thirteenth Amendment was ratified.

    Lucy had been living in the North since 1862, but she remained marked by her brief stay in the Sea Islands. Sometime in the first year of her marriage, she seems to have suggested to Wendell the idea of publishing a book-length collection of slave songs. Serious planning was under way by December 1866, and they began to reach out to contributors in early 1867. They knew of Allen from his articles for The Nation and quickly got him on board; Allen then brought on his younger cousin Charles Ware, who had collected more than four dozen songs in the Sea Islands during his time there.

    The core team for the collection was now in place: Lucy had come up with the idea, Ware was contributing many of the songs, and Allen took over much of the editing in the spring of 1867, when Lucy gave birth to her first child. Allen was teaching in New Jersey at the time, by chance at the same abolitionist academy that Lucy had attended a decade before, and he often traveled to New York to work on the book with Lucy and Wendell. He drafted the introduction in May, before he headed west to start work at the University of Wisconsin. The editors also got in touch with Higginson, who sent them his own collection of lyrics (which he was preparing for publication in the Atlantic) as well as a host of observations and insights. The book was ready by late summer. 

    II

    Published in November 1867, Slave Songs of the United States was the first book on slave music in America as well as the first book on African American culture and perhaps even the first book-length collection of American folksongs of any kind. Among its 136 songs were beloved tunes such as “Michael Row the Boat Ashore” and “The Good Old Way”:

    As I went down in de valley to pray,

    Studying about dat good old way,

    When you shall wear de starry crown,

    Good Lord, show me de way.

    In his meticulous introduction, Allen laid out four reasons (besides sheer beauty) why such songs were worth saving and studying. The first was that they revealed something about slave life. The content of the spirituals illustrated “the feelings, opinions and habits of the slaves,” Allen wrote, as well as their customs and their attitudes toward religion — though Allen himself did not probe very far in that direction. The songs could even provide evidence about the patterns of slave labor, he noted, since the tempo of the songs always depended on the activity they accompanied: what kind of work, what pace of work, and so forth.

    The songs also raised the question of what ingredients had gone into the making of slave culture in the South. This was Allen’s second reason for paying special attention to the tunes and the lyrics of freed slaves. The central question — which later recurred again and again in studies of slave culture — was how much consisted of so-called survivals from Africa, how much was adopted or adapted from white Americans, and how much was the spontaneous product of slave life itself. Culture is always the product of both inheritance and experience, but in this case the question was fraught with considerable ideological weight that often influenced people’s answers. Before the war, slavery’s defenders had argued that slavery operated as a means of education for a barbarous black race, gradually replacing African superstition with American civilization. In a more negative light, some antislavery authors saw the Middle Passage and the process of enslavement as splintering experiences that stripped Africans of their heritage, making them “a mass of broken fragments, thrown to and fro,” as one black writer put it before the war. 

    Now there was new evidence — and a new perspective. To James Miller McKim, for example, some songs and dances that he saw in the Sea Islands seemed like “a remnant of African worship.” Higginson suggested, based on his conversations with some old Sea Islanders, that the phrase “mighty Myo” in the song “My Army Cross Over” might be an African term meaning “the river of death.” “In the Cameroon dialect,” he noted, “‘Mawa’ signifies ‘to die.’” For his part, Allen — making use of his classical training — speculated soon after his arrival in the Sea Islands that one song might be “of African origin, with Christianity engrafted upon it just as it was upon the ancient Roman ritual.” He stuck to a similar interpretation in his introduction to Slave Songs a few years later, though with a somewhat heavier emphasis on white American influences. “The chief part of the negro music is civilized in its character,” he decided — “partly composed under the influence of association with the whites, partly actually imitated from their music.” Yet he added that there always remained “a distinct tinge of their native Africa” somewhere in the mix.

    There had clearly been some sort of cultural exchange between whites and blacks under the slave system. One interesting aspect of that exchange was that it had not operated evenly across the South. This was the third reason Allen gave for collecting slave songs: to see how and where slave culture shifted in form. Close attention to variations in different versions of the songs showed that slave culture actually consisted of several related regional cultures that shared broad characteristics but differed in the details — differences that the editors chose to highlight by grouping the songs they had collected by place of origin: southeastern seaboard, northern seaboard (North Carolina to Delaware), inland, and Gulf Coast. “The songs from Virginia are the most wild and strange,” Allen noted. He and the others even noticed variations from one plantation to the next, and specified the exact source whenever possible.

    Finally, the fourth reason to collect and to study the songs was that they were rapidly disappearing under the new conditions of freedom. Already in 1867, Allen said, it was becoming hard to find unaltered slave songs. Some black Americans regarded emancipation as a new start to their story, with slavery as a shameful prehistory that they did not wish to revisit, and some freedpeople, especially upwardly mobile ones, associated the songs so strongly with enslavement that they had no desire to sing them anymore. The music of slavery seemed not in keeping with “the sense of dignity that has come with freedom,” as Allen put it. 

    But much broader forces of cultural change, such as education, urbanization, and modernization, were also at work. Abolitionist teachers across the South were among the culprits in this cultural loss, since they sometimes considered the old songs barbarous and often introduced new songs in their classrooms as part of their effort to Christianize and civilize. “Even the ‘spirituals’ are going out of use on the plantations,” Allen lamented, “superseded by the new style of religious music” that conformed to white standards.

    This suggests one reason why Slave Songs of the United States ended up as a false start in the formal study of slave culture: at the time, the prevailing view of culture was closer to a ladder than to a buffet. Slave culture, no matter how interesting or affecting, was still seen as something primitive to be overcome on the path to civilization. From the perspective of the twenty-first century, Slave Songs was a landmark book, the only attempt of its kind to preserve the songs with as few modifications as possible. Yet Allen, Ware, and Lucy McKim Garrison’s careful work of collection and interpretation was not seen at the time as a contribution to American historical scholarship or the study of slavery — or to anything, really. Lucy and Wendell wrote an unsigned review in The Nation (one of the perks of being an editor) and arranged for several others, but more popular magazines such as Harper’s and the Atlantic ignored the book. After a reprint in 1871, it was promptly forgotten for more than fifty years. Even then it would take yet another fifty years for many academic scholars to begin to study the songs as Allen had studied them, as both a form of art and a part of American life. As it took shape across the twentieth century, the academic study of slave culture eventually broadened to examine an astonishingly wide range of practices and customs, but it is worth continuing to focus on the study of the songs, especially the spirituals, because they have usually been regarded as the emblematic case.

    Lucy, the driving force behind Slave Songs, soon saw her health decline. After suffering two strokes, she fell into a coma and died in May 1877, at the age of thirty-four, leaving behind her husband and three young children. A few years later Wendell Garrison sent a packet with some of the publication correspondence for Slave Songs to the Cornell University library, thinking that the letters might be of interest to some future scholar. They were deposited in the archive, in a collection about freedmen. 

    In the meantime, music programs at black colleges helped keep the slave songs alive, preserving them through practice and performance. Fisk University in Nashville led the way. Starting in 1871 at Henry Ward Beecher’s Brooklyn church, Fisk’s Jubilee Singers made a name for themselves and raised quite a bit of money for their school by performing shiny renditions of old spirituals in concert halls and cathedrals across the United States and Europe. Over the next generation, students and professors at Fisk, Hampton, and Tuskegee started some efforts to collect, sing, and study African American folk music.

    But this activity lay outside the mainstream of American slavery scholarship, which took a different path as Reconstruction unfolded. At first veteran combatants continued to spar over slavery’s role in causing the war, with former Confederates such as Vice President Alexander Stephens writing tendentious Platonic dialogues saying that slavery was just a sideline in the South’s noble stand for constitutional liberty, while old abolitionists such as Henry Wilson, Grant’s vice president, spun out mammoth volumes showing the centrality of slavery to prewar American politics. Soon a new generation of “scientific” historians at a new breed of research universities attempted to demonstrate their objectivity by draining slavery of its political and moral baggage and tracing its evolution in the legal code. This paralleled developments in the Supreme Court, which narrowed what counted as slavery to a legal definition that did not include social discrimination or economic deprivation. 

    In this environment, slave culture was relegated for a while to the realm of Uncle Remus — a book that William Francis Allen took the time to review upon its publication in 1881, calling it “a contribution from a new and almost unworked field.” Over the next decade, as the egalitarian advances of Reconstruction stalled and were rolled back, the new regime of segregation found its justification, in part, in the nostalgic rehabilitation of the old plantation as a place peopled by supposedly happy slaves and their benevolent masters. Even an old abolitionist such as Thomas Wentworth Higginson was reduced to tears by Thomas Nelson Page’s sentimental plantation story “Marse Chan.”

    This spirit of nostalgia also informed new scholarship on slavery, particularly among progressive southerners who saw in the old plantation a model of both racial and industrial relations. In 1918, in American Negro Slavery, by far the most influential scholarly book on slavery written between Reconstruction and the civil rights movement, Ulrich Bonnell Phillips portrayed plantation life as essentially jolly. “On the whole,” he wrote, “the fiddle, the banjo and the bones were not seldom in requisition.” One of the few songs that he quoted, and one of the few examples of sadness that he cited, involved slaves weeping because their beloved master had died: “Down in de cawn fiel’ / Hear dat mo’nful soun’; / All de darkies am aweepin’, / Massa’s in de col’, col’ ground.” Phillips believed that the plantation had been a benevolent institution, similar to a school or a settlement house, serving to civilize a supposedly barbarous black race.

    Throughout this period, slave culture, and black culture more generally, was often regarded with condescension. The American exhibition at the World’s Fair of 1893 contained no contributions from black culture, and neither did the fair’s Concert of Folk Songs, put on by the International Folk-Lore Congress. “Excepting some selections representative of the music of our North American Indians,” declared one representative in his introductory address, “the utterances of the savage peoples were omitted, these being hardly developed to the point at which they might be called music.” Yet by the time Slave Songs of the United States was reprinted again in 1929, this was no longer the case, as the rise of a new generation of black scholars and artists collided with the new disciplines of cultural anthropology and folklore studies to make slave culture the subject of serious academic and artistic attention. 

    The first and deepest student of the slave songs in this new era was W. E. B. Du Bois, who arrived at Fisk University as a seventeen-year-old sophomore in September 1885, walking in the shadow of the grand Jubilee Hall built with money earned by the school’s famous singers. Du Bois went on to get a second bachelor’s degree at Harvard, did graduate work in historical economics and sociology in Germany, and — when the white administrators of the agency funding his education made the petty decision not to renew his grant — returned to Harvard to become, in 1895, the first black American to receive a doctorate in history. A few years later, he sharply criticized the way American scholars had studied slavery to that point:

    The slaves are generally treated as one inert changeless mass, and most studies of slavery apparently have no conception of a social evolution and development among them. The slave code of a state is given, the progress of anti-slavery sentiment, the economic results of the system and the general influence of man on master are studied, but of the slave himself, of his group life and social institutions, of remaining traces of his African tribal life, of his amusements, his conversion to Christianity, his acquiring of the English tongue—in fine of his whole reaction against his environment, of all this we hear little or nothing, and would apparently be expected to believe that the Negro arose from the dead in 1863.

    By that time, Du Bois had been hired by Atlanta University to continue and expand the school’s annual series of studies on Negro problems, which had started in 1896. With Du Bois in charge, the studies quickly moved to the leading edge of empirical sociological research in the United States, with annual conferences attracting activists and scholars including Jane Addams, Florence Kelley, and Harvard president Charles William Eliot. The topic changed each year, cycling through issues such as education, business, the church, and the family. 

    Du Bois believed it was impossible to understand the present problems and the future prospects of the Negro “without knowing his history in slavery,” so his Atlanta University Studies included some of the only analyses of slave society and culture that existed at the time. His descriptions of slave culture could sometimes take a distinctly negative tone, both because he believed in relatively strict Victorian notions of morality and because he saw black social and economic inequality in his own time as rooted in the lingering effects of slavery (then just a generation past). He even stretched his historical studies back to Africa so that he could give a full account of how customs and institutions changed across the wrenching transitions of the middle passage and emancipation. “There is a distinct nexus between Africa and America which, though broken and perverted, is nevertheless not to be neglected by the careful student,” he explained. 

    In 1903, in the midst of this scholarly activity, Du Bois published an odd but moving collection of essays, simultaneously lyrical and empirical, called The Souls of Black Folk. At the head of all but one of the essays, he paired a few lines of European poetry with a few bars from a Negro spiritual, placing the two forms on an equal cultural level. The one exception was the final essay, where the European poetry was replaced by lines from the spiritual “I Know Moon-Rise,” the same song that Higginson had praised so highly some forty years earlier. (Du Bois seems to have known of Higginson’s article and Lucy’s arrangements, but not of Slave Songs of the United States.)

    Du Bois sketched an account of the songs’ historical evolution — one that doubled as an account of American culture itself. In the beginning, he wrote, was primitive African music, of the kind sung by his great-great-grandmother, seized by a Dutch trader some two hundred years before:

    Do ba-na co-ba ge-ne me, ge-ne me!

    Ben d’nu-li, nu-li, nu-li, nu-li, ben d’le.

    Du Bois no longer knew what it meant, but it had been passed down through his family all the same. The next stage of development was one he called “Afro-American,” with songs “of undoubted Negro origin” and “peculiarly characteristic of the slave.” Among these he listed “Nobody Knows the Trouble I’ve Seen” and “Swing Low, Sweet Chariot.” The third stage started to show the influence of white American culture. The result remained “distinctively Negro,” Du Bois noted, as in the songs “Bright Sparkles” and “I Hope My Mother Will Be There,” but “the elements are both Negro and Caucasian.” Finally, he identified a fourth step of cultural evolution in the rise of white American songs that were influenced by black melodies, as in “Swanee River” and “Old Black Joe.”

    “What are these songs, and what do they mean?” he asked. Against the popular plantation myth of the time, which deployed slave songs as evidence of happiness and contentment, he declared (as Higginson, Allen, Ware, and Lucy McKim Garrison had decades earlier) that they were in fact “sorrow songs.” “They are the music of an unhappy people, of the children of disappointment,” he wrote; “they tell of death and suffering and unvoiced longing toward a truer world.” At the same time, he saw in them a breath of hope, “a faith in the ultimate justice of things . . . that sometime, somewhere, men will judge men by their souls and not by their skins.” Yet with black political rights being rolled back and a regime of racial segregation rising all around him, he could not help but wonder, “Is such a hope justified? Do the Sorrow Songs ring true?”

    III

    In 1910, Du Bois resigned from Atlanta University. He was frustrated by his inability to attract funding for his work, especially after his public break with Booker T. Washington earlier in the decade. He moved to New York and took a job as director of publicity and research for the newly established NAACP. As he shifted from scholarship to activism, the study of slave culture proceeded along two separate paths in his wake, one anthropological, the other sociological. Both disciplines were in the process of emerging into their modern forms — anthropology from an older racialist ethnology, sociology from a haze of social Darwinist theorizing — and they took on the study of slave culture in part to prove their value in analyzing contemporary social problems.

    In anthropology, the central figure was Franz Boas, a Jew from Germany who had come to believe in the 1880s and 1890s that racial differences had environmental rather than genetic causes, and that the primary causes of racial inequality were prejudice and discrimination. He and Du Bois spoke the same language, and soon became allies. In 1906, Du Bois invited Boas, by that time on the faculty at Columbia, to come to the Atlanta University conference on “The Health and Physique of the Negro-American.” Boas discussed the cultural basis of racial behavior, and while there he also gave the school’s commencement address, in which he praised the genius of African cultures. “I was too astonished to speak,” Du Bois later recalled. He had never heard someone talk about Africa in that way.

    Boas saw the study of folklore as a way to demonstrate racial equality, since a sympathetic understanding of a people’s folklore could go a long way toward explaining their thought and behavior as a result of culture and society rather than genetics. He helped to found the American Folk-Lore Society and had a hand in directing its journal until the 1930s. From the start, the Journal of American Folk-Lore planned to devote fully one-quarter of its space to black folklore. The trouble was that most anthropologists and scholarly collectors lived in the North, while most black Americans — some ninety percent at the time — lived in the South. Boas and his colleague William Wells Newell had some success with collectors based at southern black colleges, but that sputtered after a few years, in part because Boas had many demands on his attention and in part because he was simultaneously pushing for the professionalization of the field, a cause that cut against the use of amateur collectors.

    Everything changed with World War I. The war accelerated the rise of a mass national culture, symbolized most prominently by radio and movies, which by its very nature threatened the survival of various ethnic and regional cultures — even as new technologies made it possible (though still difficult) to record the actual sounds and songs before they died out. Simultaneously, the war fostered a feeling of nationalism, including cultural nationalism, in whose warm glow America’s threatened ethnic and regional cultures were now seen as authentic and worthy of preservation. And the war undermined easy ideas about civilization and progress, opening even greater space for these non-dominant cultures to be seen in a positive light. (It is worth noting that none of this was unique to the United States, as, for example, the modernist primitivism of artists such as Gauguin and Picasso demonstrates.) 

    Perhaps most important for the study of black folklore in particular, the war increased the demand for industrial labor at the same time as it cut off the supply of immigrant workers, thus inaugurating the decades-long Great Migration of millions of black Americans from the South to northern and western cities. This had a huge number of ramifications for American society, one of which was the rise of the “race problem” as a national (rather than primarily southern) issue for the first time since Reconstruction. A range of new social scientific funding organizations suddenly became interested in pouring money into research about black life. At the same time, conveniently, the migration also solved the old problem of the distance between northern anthropologists and southern blacks. Now all Boas and his students had to do was walk down the hill from Morningside Heights to Harlem. With the help of a wealthy white anthropologist named Elsie Clews Parsons, Boas made a renewed push to collect and publish black folklore. Starting in 1917, fourteen single-topic “Negro Numbers” of the Journal of American Folk-Lore appeared over the next twenty years. 

    During these years, Boas’ ideas gained prominence among some academics as well as black intellectuals and activists, in part because Du Bois gave them space in The Crisis, the NAACP’s journal. The collection of black folklore was central to the Harlem Renaissance, serving as a symbol and source of cultural pride. In 1922, the black poet James Weldon Johnson edited an anthology of Negro poetry, which he hoped would raise the status of black Americans by demonstrating their artistry. He noted that the slave songs contained flashes of “real, primitive poetry” and could be counted among the American Negro’s handful of truly important artistic creations (along with the Uncle Remus stories, the cakewalk dance, and ragtime music). 

    Three years later Johnson edited a full volume of Negro spirituals, which he soon followed with a second volume. He celebrated efforts by black Americans to preserve and promote the spirituals instead of neglecting them as unwanted reminders of slavery. “This reawakening of the Negro to the value and beauty of the Spirituals was the beginning of an entirely new phase of race consciousness,” he wrote. It was akin to the rediscovery of the classics in late medieval European culture, which also led to a cultural and intellectual renaissance. In 1925, Alain Locke’s influential anthology The New Negro included an entire section on folklore, called “The Negro Digs Up His Past,” as well as a separate essay by Locke focused specifically on the spirituals. By the time Allen, Ware, and Lucy McKim Garrison’s Slave Songs collection was reprinted in 1929, studies of black folk music were tumbling out of American presses.

    Still, Boas’ ideas about race and culture remained marginal in American society until Nazism discredited “scientific” racism starting in the late 1930s. With genetic explanations of racial difference collapsing, what could explain the apparent inferiority of black Americans? The most influential answer came from sociology, where the study of slave culture had proceeded for several decades along a somewhat separate track — one that descended from Booker T. Washington instead of W. E. B. Du Bois. 

    In sociology, the central figure was Robert Park. A white man who grew up in Minnesota, Park took an extraordinarily circuitous route to becoming perhaps the most influential sociologist in America, a route that included studying philosophy with John Dewey as an undergraduate at the University of Michigan in the 1880s, a decade-long career as a newspaper reporter (which he regarded as his true sociological training), stints in graduate school at Harvard and Germany (in philosophy and psychology), a few years as publicity agent for the Congo Reform Association, and finally a position doing similar work for Booker T. Washington at Tuskegee, where he started in 1905 (after Du Bois turned down the job). A firm believer in industrial education for black Americans, Washington sometimes seemed to join the chorus of plantation nostalgists in viewing slavery as a necessary precursor to his own work. In 1901, in his autobiography Up from Slavery, which became one of the central racial statements of the age, he observed that

    when we rid ourselves of prejudice, or racial feeling, and look facts in the face, we must acknowledge that, notwithstanding the cruelty and moral wrong of slavery, the ten million Negroes inhabiting this country, who themselves or whose ancestors went through the school of American slavery, are in a stronger and more hopeful condition, materially, intellectually, morally, and religiously, than is true of an equal number of black people in any other portion of the globe.

    Park absorbed much of Washington’s worldview as he worked for the next eight years as Washington’s ghostwriter, publicist, and bulldog, building up Tuskegee and tearing down its rivals, including Du Bois. 

    By 1913, Park was ready for a change, and he seized an offer from the University of Chicago’s sociology department, then one of the top two departments in the country, to start teaching a course on “The Negro in America.” Soon he published his first major article, “Racial Assimilation in Secondary Groups with Particular Reference to the Negro,” which grew out of his time at Tuskegee. “Slavery has been, historically, the usual method by which peoples have been incorporated into alien groups,” he wrote. “When a member of an alien race is adopted into the family as a servant, or as a slave, and particularly when that status is made hereditary, as it was in the case of the Negro after his importation to America, assimilation followed rapidly and as a matter of course.” Park went on to have an extraordinarily influential career at Chicago over the next two decades, making the school practically synonymous with sociology in America. Among other things, he trained a generation of important black sociologists such as Charles S. Johnson and E. Franklin Frazier, both of whom did vital work in the 1930s collecting the testimony of formerly enslaved black southerners (in Johnson’s case) and studying the structure and evolution of the black family in slavery and freedom (in Frazier’s).

    While some anthropologists, particularly Boas’ student Melville Herskovits, saw evidence of cultural diffusion in the African diaspora, Park did not. He subscribed to the more common view at the time, which was that the middle passage had acted as a kind of cultural holocaust. In 1919, in an essay called “The Conflict and Fusion of Cultures with Special Reference to the Negro,” Park declared that “there is every reason to believe, it seems to me, that the Negro, when he landed in the United States, left behind him almost everything but his dark complexion and his tropical temperament.” In this view, with freshly imported slaves as blank slates, slave culture could not be either an original production or an adaptation of African traditions to American conditions, but only an imperfect copy of white American culture as filtered through “the racial temperament of the Negro” and the strain of slavery. This was, indeed, the prevailing interpretation of slave songs at the time, as scholars looked at the lyrics, saw similarities to some white hymns, and assumed the line of influence must have flowed in only one direction.

    This view of slave culture may not have allowed much room for African influences or black cultural creativity, but with the collapse of scientific racism in the late 1930s and 1940s, it proved useful as a framework for combating segregation. Slavery had stripped black people of their African culture, the argument implicitly went, so now, with no cultural baggage to hold them back, the only things preventing their full assimilation into American society were prejudice and discrimination.

    For roughly a full generation, liberal scholars pushed hard on the “damage” thesis to demonstrate all the ways that slavery and segregation had left black Americans as mere husks of humanity. It was apparent, for example, in the Swedish sociologist Gunnar Myrdal’s mammoth study of American race relations, An American Dilemma, which appeared in 1944, and for which several of Park’s former students, including Franklin Frazier, served as researchers. “In practically all its divergences,” Myrdal famously wrote, “American Negro culture is not something independent of general American culture. It is a distorted development, or a pathological condition, of the general American culture.” Another member of Myrdal’s team, the psychologist Kenneth Clark, went on to do doll studies showing that segregation caused black children to associate white dolls with being pretty or nice and black dolls with being bad or ugly. 

    This work was successful. In 1952, Chief Justice Earl Warren cited Clark, Frazier, and Myrdal to help justify ending school segregation in Brown v. Board of Education. Over the next few years, the “damage” thesis made its way into two important new books on slavery as historians joined the crusade against segregation. Kenneth Stampp’s The Peculiar Institution came first, in 1956. Determined to use slave testimony to overturn Ulrich Phillips’ plantation idyll, Stampp ended up portraying slave life in a pitiful light. His chapter on slave culture, tellingly titled “Between Two Cultures,” emphasized the slaves’ lack of “cultural autonomy.” Not only had slaves “lost the bulk of their African heritage,” Stampp argued, but they “were prevented from sharing in much of the best of southern white culture,” resulting in a “culturally rootless people.” “In slavery,” he went on, “the Negro existed in a kind of cultural void. He lived in a twilight zone between two ways of life and was unable to obtain from either many of the attributes which distinguish man from beast.” Stampp allowed that slave songs and folklore were important exceptions, but the overall picture was almost irredeemably bleak.

    A few years later, Stanley Elkins took out the “almost.” Using insights about the supposedly “closed” nature of North American slavery along with psychological studies of “infantilization” among Nazi concentration camp inmates, he set out to show that “Sambo,” the lazy, childish slave of southern lore, was not a stereotype but rather a fact — the natural product of the American slave system. Elkins thought this was the only explanation for how the “native resourcefulness and vitality” of West African culture, as described by anthropologists such as Herskovits, somehow degenerated “to such a point of utter stultification in America.” Slave songs and folklore, which may have complicated that assessment, did not enter into his analysis. The fantasy lives of slaves, he noted in passing, were “limited to catfish and watermelons.” 

    Arguments about the damage inflicted on slaves and its lingering effects on black Americans crested in 1965, at the same moment as the civil rights movement achieved its major legislative goals. That spring, Daniel Patrick Moynihan, then the assistant secretary of labor, drew on Elkins’ work as he prepared a report for Lyndon Johnson’s administration about the problems facing black families and the need for a wide range of federal programs to support them. Moynihan also drafted a speech that Johnson delivered in June at Howard University, which was intended to outline the rationale for the policies that Moynihan’s report proposed. “Much of the Negro community is buried under a blanket of history and circumstance,” Johnson declared, urging federal action to undo the damage. But this did not work out as planned. Moynihan’s report was unfairly pilloried for a relentlessly negative view of black society and culture (probably a tactic to persuade politicians — Moynihan was motivated by a deep sympathy for his subjects), and instead of paving the way to new programs it ended up serving as a convenient marker for the death of a view of slave culture defined by “damage” and the rise of new studies interested in exploring the varieties of black resistance and cultural vitality under slavery. 

    IV

    By that time, two or three decades’ worth of scholarship had emphasized the damage wrought by slavery and segregation, portraying black culture as little more than an incomplete or pathological version of white American culture. A generation of black activists and intellectuals — Ralph Ellison was usually quoted as the emblematic example — was getting tired of this paternalistic attitude, of seeing mostly white scholars and politicians run their culture down and tell them what to do. Some of them began to assert (partly out of fear, partly out of faith) that there was, in fact, a distinctive black culture worth preserving and even celebrating — that, as the new civil rights legislation broke down the formal barriers of segregation that had kept black Americans apart, they could not and would not simply be assimilated as undifferentiated Americans. The experience of the civil rights movement itself bore this out, buoyed as it was by black leaders, black churches, and black songs, including spirituals.

    Meanwhile, thanks to the GI Bill, the vast expansion of American higher education after World War II, and the simultaneous decline in racial and ethnic (and gender) barriers to access and employment, there were suddenly whole new groups of people writing and teaching and studying history, and they brought with them their own experiences, questions, and concerns. Not only black scholars but also the scholarly sons and daughters of Jewish and Italian immigrants might have some interest in, and insight into, processes of oppression and acculturation. And, finally, there arose at precisely that moment a “new sensibility” (as Susan Sontag put it) among educated Americans which collapsed old cultural distinctions between high and low. Pop cultural productions such as rock music and folk music and movies, previously disdained or dismissed, became worthy of serious analysis and explication. It became possible to study pop, folk, and other non-mandarin cultural expressions in a way that was critical and historical, not just anthropological or sociological.

    The result of all this was an explosion of slave culture studies throughout the 1970s. The black scholar Sterling Stuckey forecast the shift in 1968 in an essay called “Through the Prism of Folklore”: “No study of the institutional aspects of American slavery can be complete, nor can the larger dimensions of slave personality and style be adequately explored, as long as historians continue to avoid that realm in which, as DuBois has said, ‘the soul of the black slave spoke to man.’” Over the next decade, this basic idea guided several different scholars who pursued it mostly independently and who sometimes felt as if they were discovering the source material for the first time: John Blassingame’s The Slave Community (1972), George Rawick’s From Sundown to Sunup (1972), Eugene Genovese’s Roll, Jordan, Roll (1974), Herbert Gutman’s The Black Family in Slavery and Freedom (1977), Lawrence Levine’s Black Culture and Black Consciousness (1978). Though they varied quite a bit (especially Genovese), they were all intended to demonstrate the strength of the community and culture that enslaved people forged largely on their own. (At the same time, Dena Epstein’s Sinful Tunes and Spirituals became the first book to look closely at Allen, Ware, and Lucy McKim Garrison’s collaboration on Slave Songs of the United States; among other sources, Epstein consulted the correspondence that Wendell Garrison deposited at Cornell after Lucy’s death.)

    To understand this wave of slave culture studies, Levine’s case is instructive. Born to Orthodox Jewish immigrants in Washington Heights, he attended City College of New York in the 1950s. He later said his familiarity with the cultural inheritance of the shtetl and the ghetto helped him more easily grasp the nature of black folk beliefs, but he also thought that anyone who did the necessary work to enter deeply into that cultural world could have seen the same thing. After getting his PhD at Columbia and taking a job at Berkeley in 1962, he joined the local branch of CORE. He worked on fair housing and picketed stores that did not hire black employees. In the spring of 1965, he and Kenneth Stampp served as the department’s representatives to the Selma-to-Montgomery march; they happened to spend the night in Tuskegee, of all places, on the way from Atlanta to Selma. Back in Berkeley, Levine had a research sabbatical the next academic year and used it to start a project on Black Protest in Twentieth-Century America — essentially a long history of the civil rights movement. 

    At first Levine was reading only about the leaders, not the masses of people who made protests and movements possible. Like many other historians working on similar topics at the time, he looked at the previous generation of scholarship, saw that black people had “been rendered historically inarticulate by scholars,” as he put it, and set out to fix that problem. Dipping into anthropology, he realized that folklore and folksongs might provide a point of entry. Soon they took over his whole project as he realized that black folk culture (like all culture) was essentially a form of philosophy. “In their varied forms of oral expression,” he wrote, “they thought about who they were, what their situation was, how it could be changed, and how best to teach their children how to survive without succumbing to the forces that had them in their grasp.” The way he interpreted black culture and slave culture would undermine the views of Park, Myrdal, and Elkins — and even of Kenneth Stampp, who “was not amused by it,” Levine recalled, when his young colleague showed him a draft.

    Levine recognized that culture was not a fixed thing but a process, one in which it was possible to trace African folkways interacting with the Euro-American world to forge a new African American perspective. This was most clearly apparent in the songs, which Levine worked on first, presenting a paper about them at the American Historical Association conference in 1969 (he was given a whole session to himself) and publishing it in an edited collection two years later. “It is to the spirituals that historians must look to comprehend the antebellum slaves’ world view,” he wrote, “for it was in the spirituals that slaves found a medium which resembled in many crucial ways the cosmology they had brought with them from Africa and afforded them the possibility of both adapting to and transcending their situation.” 

    Yet he threw the whole origins question overboard as ultimately irrelevant. Where the cultural forms came from was less important, he said, than what people did with them. He carefully worked out how songs were created and re-created through improvisational group sessions in which pre-existing lines were mixed together with new tunes and lyrics, and how that process balanced “individual release” with “communal solidarity,” and how slaves tweaked the Christian doctrines they had learned from their white masters and preachers to fit their own needs. Like Du Bois and Allen, Ware, and Lucy McKim Garrison before him, he believed the songs expressed deep sorrow but were relieved by an abiding hope. He concluded:

    Slave music, slave religion, slave folk beliefs — the entire sacred world of the black slaves — created the necessary space between the slaves and their owners and were the means of preventing legal slavery from becoming spiritual slavery. In addition to the world of the masters which slaves inhabited and accommodated to, as they had to, they created and maintained a world apart which they shared with each other and which remained their own domain, free of control of those who ruled the earth.

    In many ways, the culture studies of the 1970s laid the foundation for the next few decades of research about slavery, at least in the sense that slave culture became indispensable to any attempt to analyze the institution. Instead of establishing only that slave culture existed, however, the main questions shifted to how that culture changed across time and space as well as how it developed in a complicated dance with the surrounding culture of slaveowners and other whites, with mutual influences in both directions. The essentialist assumptions that lurked in the background of some of the major studies of the 1970s, which occasionally implied that there was a distinctively “black” family or culture and treated origins in slavery as the measure of authenticity, faded in those years of relative optimism about race relations. More recently, as that optimism has waned in the face of ongoing discrimination and injustice, essentialism has seen a resurgence among authors who posit unique racial inheritances and forms of knowledge, eternally separate but equal. Meanwhile, slave culture, at least in the form of songs, has receded a bit into the background as scholars, black and white, concern themselves with issues that are either overwhelmingly macro in scale (imperialism, capitalism) or extremely micro (reconstructing the experiences of a single enslaved person from traces in the archive). 

    One major exception is a big recent book by David Hackett Fischer called African Founders: How Enslaved People Expanded American Freedom. Calling his study an “inquiry into what happened when Africans and Europeans came to North America, and the growth of race slavery collided with expansive ideas of freedom and liberty and rule of law,” Fischer goes region by region to trace how specific clusters of Africans (and their cultures) interacted with specific clusters of Europeans (and their cultures) to make something new. In New England, for example, Akan-speaking groups brought an ethical philosophy of doing good and doing well, which dovetailed with New England Puritanism to create what Fischer calls a “new syncretist ethic” focused on expanding rights through petitions for freedom, schooling, and the right to vote; in the Chesapeake, people such as Frederick Douglass and Harriet Tubman built on a regional tradition of leadership exemplified by George Washington and Thomas Jefferson to push for freedom for all. 

    Some of the conclusions can feel a bit pat, but on the whole Fischer’s book is effective, thanks to the wealth of detail that he includes along the way to show exactly how specific peoples and cultures mixed. At the very end he borrows from Du Bois, who, more than a century earlier, concluded his own essay on “The Sorrow Songs” with a list of “three gifts” that Africans brought to America “and mingled them with yours”: gifts of story and song, of sweat and brawn, and of the Spirit. Fischer adapts and expands the list for his purposes, but it includes a gift of language, a gift of music, and a gift of spirit and soul — gifts that culminate, for him, in the spirituals. He quotes several of them, including “Nobody knows the trouble I’ve had / Nobody knows but Jesus” and “I want to climb up Jacob’s ladder, / But I can’t climb it till I make my peace with the Lord.” He also cites William Francis Allen, Charles Ware, and Lucy McKim Garrison’s Slave Songs of the United States. “In a large literature,” he writes, their book, now more than one hundred fifty years old, remains “the most important work” on the subject.

    What lessons does the long history of the study of slave culture hold for us today, especially for those who are not professional historians of slavery? 

    First, the history of the study of slavery in America is in many ways the intellectual history of America. It is not only recently that we have reckoned with slavery. Not at all. We have been reckoning with it from the beginning. Slavery first became a major problem in American life around the Revolution, and Americans have continued to wrestle with the nature of slavery and freedom ever since — not to mention all the other issues connected with slavery, such as race and labor, agriculture and industry, culture and conquest, opportunity and inequality. Not only has thought about slavery reflected the changing contours of American intellectual life, but in many cases it has shaped those contours, as founding figures in various scholarly disciplines — Boas in anthropology and Park in sociology, but also Herbert Baxter Adams in history, Francis Lieber in political science, and plenty of others — saw slavery and its legacies as central problems that their field would have to puzzle out in order to prove its worth.

    The story of slave studies suggests also that older scholarship is valuable. Despite their avowed interest in the past, historians tend to dwell on recent work when it comes to our own field. This may be because we believe in history as a progressive science, or because we want to be a part of the conversation, or simply because we (like most humans) are attracted to things that are shiny and new. We often think of older scholarship as incomplete or incompetent or biased — all of which is true, to be sure, but no more true of scholars in 1822 or 1922 than in 2022. It is precisely because those older scholars had a different view of the world and of history that they can help cure us of our habit of following the herd in writing about all the faddish varieties of historical capitalism or whatever other topic is now academic catechism. Moreover, although historians often think of near-contemporary accounts as blind to their full situation, those accounts can be penetrating and revealing because their sense of the stakes, and of the constellation of relevant questions, is second nature, in the same way that near-contemporary translations often capture something about a book that later translators miss. 

    We can also intuit from the study of slave culture something about the way culture works. All culture — slave culture, certainly, but also abolitionist culture, academic culture, American culture — is syncretic, variegated, improvisational, combining influences in ways both obvious and subtle as it wends its way through history. As many early writers recognized, slave songs were a complex combination of African inheritance and American experience, and slaves shaped their owners just as surely as owners shaped their slaves. Whether as an act of description or prescription, it is always false to say that any culture is closed or isolated or pure. (And it can lead to hideous politics.)

    The most stirring lesson of slave studies, certainly, is that no group or individual lacks some kind of cultural autonomy. Victims are always more than their victimization; people are defined more by what they do than by what is done to them. Inner resistance is possible against even the most obscene oppression. Our contemporary obsession with trauma sometimes threatens to turn us into a catalogue of everything that has been done to us and to our ancestors, just as abolitionists sometimes made slaves into nothing more than a catalogue of the brutalities that they had suffered. But the skill for coping knows no racial or historical boundaries. The true subject of slave studies is human resilience. Slave songs were one of the ways of coping, as Higginson and his abolitionist friends learned in the Sea Islands, but they were also something more. They were evidence of undefeated spirits. That they continue to resonate with us today is a testament to the power of the people who first sang them in slavery — and, perhaps, to the universal need we all feel, at one time or another, for the good Lord to show us the way. 

    The Holocaustum of Edith Stein

    Edith Stein, a soulful modern thinker, was murdered in Auschwitz in August 1942. Born to a Jewish family in 1891, she was baptized into the Catholic faith on New Year’s Day 1922. In October 1933, she began the process of becoming a Carmelite nun, in which capacity she would take the name Teresa Benedicta of the Cross. Pope John Paul II beatified Sister Teresa Benedicta of the Cross on May 1, 1987 and eleven years later, on October 11, 1998, he canonized her. One year later he declared Saint Teresa Benedicta a patron saint of the European Union. 

    Despite her conversion, or perhaps she would have said by way of her conversion, Stein continued to see herself as a Jew. On Easter in 1933, with a deep foreboding of the tragedies to come, Stein, as she described it, “spoke with the Savior to tell him that I realized it was his Cross that was now being laid upon the Jewish people, that the few who understood this had the responsibility of carrying it in the name of all, and that I myself was willing to do this, if he would only show me how. I left the service with the inner conviction that I had been heard, but uncertain as ever as to what ‘carrying the Cross’ would mean for me.” In his homily on the occasion of her canonization, John Paul II described Stein and her beatification as opening “a new encounter with her God of Abraham, Isaac and Jacob, the Father of our Lord Jesus Christ.” He further prayed that “her witness [would] constantly strengthen the bridge of mutual understanding between Jews and Christians.” 

    In the thirty-five years since he uttered these words, John Paul’s vision has not come to pass. After the Nazi genocide, in the wake of catastrophic Jewish suffering, the Church’s canonization of an apostate Jew who was murdered in Auschwitz felt to many Jews as if the Church was pouring salt onto the wounds of historical Jewish persecution. This was made all the worse when, in 1984, Carmelite nuns, with the support of the Vatican, established a convent at Auschwitz in Stein’s honor. The Polish Church described the convent as “the sacred sign of love, peace, and reconciliation which will testify to the victorious power of Jesus.” International outrage ensued, and a ferocious controversy, with the Vatican agreeing five years later to move the convent, though the re-location did not happen until 1993, after further protests. 

    For many Catholics, Stein remains not just an exemplar of Christian life and death, but also a symbol of the hybridity of human identity. When declaring Stein a patron saint of the European Union, John Paul II expanded his earlier characterization of her as a “bridge between her Jewish roots and her commitment to Christ” to “a banner of respect, tolerance and acceptance which invites all men and women to understand and appreciate each other, transcending their ethnic, cultural and religious differences in order to form a truly fraternal society,” which was symbolized by the European Union. In more academic contexts, Stein is often depicted as epitomizing the fluidity of identity as well as the human capacity for self-creation. In both religious and scholarly circles, many have pointed to Stein’s philosophical work on the problem of empathy, completed under the tutelage of Edmund Husserl, the founder of phenomenology, as an example of life imitating art. Stein’s ostensible hybridity is taken as evidence of her arguments about empathy, and vice versa. 

    But the thought, the life, and the afterlife of this extraordinary woman are more complex than these triumphalist stories might suggest. She was without question a decent, honorable, brilliant, and intellectually honest person who, by all accounts, exemplified kindness and care for others. Stein was indeed ready and willing to be sacrificed along with her people. But precisely in the context of anticipating their annihilation, Stein also criticized Jews for over-valuing life in general, and their own lives in particular. She saw herself as a prophet, writing in 1930 of “the urgency of my own Holocaustum,” and she believed that the fate of the Jewish people in the hands of the Nazis was, as she put it, “atonement for their disbelief.” Stein exhibited a fascinating combination of supreme confidence, some might say arrogance, and humility. In a meditation that she wrote in the last year of her life, she cast herself as a new Queen Esther, who had returned to history to save her people for a second time. But as opposed to the Esther of the Bible, who saved Jewish lives, Stein returned to the world to usher Jews to “the final battle” that would at last bring them to Christ and thereby bring Christ’s return. The new Esther and the old Esther had different notions of Jewish salvation.

    So too, ironically, if not tragically, the divergent Catholic and Jewish interpretations of Stein’s life and death point not to an empathetic loosening of rigid identities, but to a failure of empathy on all sides, and perhaps even to the reality of persistently fixed identities. Far from bridging Jewish and Christian identities in the service of Jewish-Christian dialogue, Edith Stein’s real contribution to Jewish-Christian dialogue is the challenge for each side to recognize the deep, perhaps insurmountable, chasm that lies between Judaism and Christianity, a chasm of which Stein seemed at times unaware while at other times all too aware. 

    These larger questions of the nature of personal identity and the specificity of religious identity make thinking about Stein’s life and philosophy more urgent in our time. It is simply not possible to rest with a singular judgment of Stein. She reminds us that moral exemplarity does not exist without its own ambiguities, and that one can only claim otherwise by discounting the fragility of being human.

    It is important to begin by acknowledging Stein’s courageous solidarity with the plight of Jews in the darkest hour of their suffering. This is especially true when recalling others of Jewish descent who at this cataclysmic historical juncture not only denied their Jewishness but took the Nazi genocide of European Jewry as an opportunity to denounce Judaism and a persecuted people. Here the contrast between Edith Stein and Simone Weil could not be starker. Weil, also a brilliant thinker, lost her teaching post in 1940 because of a statute issued by the Vichy government denying rights to those of Jewish descent. Her response was to write a groveling letter to the minister of education stating that “mine is the Christian, French, Greek tradition. The Hebraic tradition is alien to me, and no Statute can make it otherwise.” Although she is often described by her admirers as a “saint” because of her self-mortifying concern for the suffering of others, Weil did not hesitate at this time to declare stingingly that “Israel” is “repulsive” and the “Great Beast of religion,” adding that “[a] pharisee is someone who is virtuous out of obedience to the Great Beast.” Seven years earlier, Stein had also lost her teaching job after the Nazis seized power in Germany in 1933. Her response was to write an autobiography, Life in a Jewish Family, whose purpose was to counter the Nazi’s “horrendous caricature” of the Jews and to depict for the German nation the “goodness of heart, understanding, [and] warm empathy” of Jewish individuals and families that she had known growing up in a Jewish family. In April 1933, she wrote a letter to Pope Pius XI begging for a response to the Nazis from the Catholic Church. As she pointed out, “Everything that happened and continues to happen on a daily basis originates with a government that calls itself ‘Christian.’… Isn’t the effort to destroy Jewish blood an abuse of the holiest humanity of our Savior, of the most blessed Virgin and the apostles?” Stein noted in her diary in 1938 that she knew that her letter had been received by the pope, but she never received a reply.

    It is precisely because of Stein’s human decency that Jewish outrage at Stein’s canonization has felt so painful for all involved. In its narrowest form, Jewish and Catholic discord over Stein’s legacy hinges on whether it was appropriate or even honest for the Church to declare Stein a Christian martyr. Stein was initially considered for beatification as a “confessor,” that is, on the basis of how she lived an exemplary Christian life and not on the grounds of how she died. Church doctrine requires verification of two miracles attributed to a “confessor”; but no miracles were in evidence. For this reason, the case for Stein’s beatification changed course by proclaiming Stein not a Christian wonder-worker but a Christian martyr, which clearly implies that she died in Auschwitz because of her Christian faith. As an historical matter, this is plainly false. Following a Nazi order for the deportation of all of Holland’s Jews, Stein, along with her sister Rosa, who had been inspired by Edith to convert to Catholicism, were taken by the SS on August 2, 1942 from the Dutch Carmelite Monastery in Echt. By the following week, according to an official document provided by the Red Cross of the Netherlands, Edith and Rosa had been murdered in Auschwitz “for reasons of race, and specifically because of Jewish descent.” 

    The motivations for the Vatican’s alacrity in beatifying Stein as a Christian martyr — instead of waiting for confirmation of miracles associated with her, as often is the practice in cases for beatification — remains a topic of heated speculation. Other questions have been raised about the miracle that ultimately qualified Stein for canonization after beatification. In 1987, a two-and-half-year-old American child, Benedicta McCarthy, who had been named for Stein, swallowed what amounted to sixteen lethal doses of Tylenol and went into a coma. Her parents prayed to Stein for little Benedicta’s recovery. When she did recover, her doctor, Ronald Kleinman of Massachusetts General Hospital, while noting that children did often recover from such overdoses, commented: “I’m saying it was miraculous. I’m Jewish. I don’t believe per se in miracles, but I can say I didn’t expect her to recover.” Referring to the fact that Kleinman was Jewish, Reverend Kieran Kavanaugh, who was involved in investigating this miracle, remarked that “Dr. Kleinman’s willingness to give testimony and witness, to me that was a miracle itself.” 

    Even if one believes — correctly, I think — that in beatifying and then canonizing Stein the Vatican was not seeking directly to promote Jewish conversion, it is difficult not to conclude that the rush to beatify her was, at least in part, an attempt to burnish a terribly tarnished Catholicism after the Holocaust and the Church’s neutrality if not complicity in the Nazi genocide. In 1990, for his book Making Saints: How the Catholic Church Determines Who Becomes a Saint, Who Doesn’t, and Why, Kenneth Woodward interviewed Father Ambrose Eszer, the German Dominican who pushed for Stein’s beatification as a martyr for her faith. Eszer insisted that “Today, many Jewish writers don’t admit that the Catholics did anything for the Jews. But I know that in the case of Edith Stein she was killed because the Catholic Church did something to the Jews.” A decade later, in Papal Sin, Garry Wills elaborated that Eszer was referring to what came to be the Vatican’s argument that Stein was a Christian martyr and not a Jewish one. When, in 1942, Catholic bishops joined Protestant ministers in opposing the deportation of Dutch Jews, they emphasized that they were especially concerned about the deportation of baptized Jews. The Nazis agreed not to include baptized Jews so long as the bishops and ministers would not protest the deportation of all others of Jewish descent. While most appeared ready to accept this deal, the bishop of Utrecht urged his parishes to continue to criticize Nazi deportations. Apparently this led the Nazis to revoke the special dispensation for baptized Jews, and it was in this context that Stein and her sister were sent to Auschwitz. Eszer, along with the Vatican, believed that this provided causal evidence that Stein was martyred for her Christian faith. In light of historical reality, this reasoning is a stretch. 

    While Eszer’s, and ultimately the Vatican’s, characterization of Stein’s Christian faith as the historical cause of her murder may seem dubious at best, the truth is that its tone deafness is a common feature of the majority of Catholic — and Jewish — responses to Stein’s beatification and canonization. Consider this statement by the Jewish historian Arthur Hertzberg about Stein’s death: “As she inhaled the Zyklon B in the gas chamber, did Edith Stein really think she was dying as a sacrifice for the Church?” Hertzberg’s remark suggests that he did not grasp the genuineness of Edith Stein’s theological conviction that she could die as a Jew as a sacrifice for the Church. For Stein, this was not a contradiction, as she continually insisted that, in her words to her Jesuit confessor Father Hirschmann, shortly before her death, “You don’t know what it means to me to be a daughter of the chosen people — to belong to Christ, not only spiritually but according to the flesh.” Indeed, in 1939, three years before she died, Stein included the following in a handwritten will: “I ask the Lord to accept my life and death…for the expiation of the unbelief of the Jewish people and so that the Lord may be welcomed by his own people and his kingdom come in majesty.” 

    Although she made these statements before she, or anyone else, knew of the depths of the genocidal horrors to come, Stein was making what is for many people, and especially Jews, a deeply disturbing and very old Christian claim that Jewish unbelief in Christ is responsible for Jewish suffering. Stein was a supersessionist, meaning that she believed, as most Christians historically have believed, that the Church replaced, or superseded, the synagogue, just as the New Testament replaced the Old. Yet Hertzberg’s anger is stirred not by the intricacies of Jewish and Christian theological disputation, but rather by an all-too-typical Jewish obtuseness to the very possibility of Christian faith. The willful obliviousness of most Jewish responses to Stein’s canonization stems not from the psychological pain that some may feel about the Church glorifying an apostate Jew who was murdered in Auschwitz, which is certainly understandable, but from the refusal to conceive of the possibility that Stein could have genuinely believed herself to be a Jew who would die for Christ. Jews, moreover, allow for the possibility of conversion to Judaism, and they regard the transformation as so complete that one is legally forbidden to mention a convert’s prior life to her. The integrity of Edith Stein’s conversion must be respected. She was no longer “ours.” 

    Such obtuseness is matched only by the Church’s tone-deafness to Jews and Judaism, which stems not from what is surely an internal Catholic decision about whether Stein should be counted as a Catholic saint, but rather from the assumption that canonizing Stein would be good news to Jews and improve relations between Jews and Catholics. Debates about whether Stein died as a Christian martyr or Jewish martyr, or even only as an apostate Jew who had converted to Christianity, are symptoms of a larger problem, which concerns the possibility of understanding or even experiencing perspectives other than our own. This was precisely the philosophical question — the question of empathy — that consumed Edith Stein in her academic work prior to her conversion to Catholicism in 1922. 

    Born to an observant Jewish family on Yom Kippur in 1891 in Breslau, Stein was the youngest of seven children. When Edith was two years old, her father died suddenly, leaving her mother to run the family lumber company, which with her at the helm became a thriving and prosperous business. By all accounts (including her own), Stein was an extremely bright and hard-working student who, along with her sister Erna, became one of the first women to be admitted to the university in Breslau. In her second year studying psychology, Stein encountered Edmund Husserl’s Logical Investigations, which had appeared in 1900 and 1901 and quickly became one of the most important works in modern philosophy. Stein chose to spend the summer reading Husserl and, in 1913, set out to Göttingen to study with him. With the outbreak of the First World War, she returned to Breslau and joined the Red Cross, serving in 1915 as a nurse in an Austrian hospital for infectious diseases. In the meantime, Husserl, whose son was killed in Flanders during the war, had received a professorship in Freiburg. After finishing her work for the Red Cross, Stein joined him there, completed her dissertation on The Problem of Empathy in its Historical Development and in Phenomenological Consideration (translated into English as On the Problem of Empathy), and received her doctorate summa cum laude in 1916. Stein stayed on working for Husserl as his private assistant. 

    What can we know with certainty? Is knowledge outside our own experience possible? Whether we can know or experience perspectives other than our own is an old philosophical problem, often associated with skepticism about the existence of other minds or even about the existence of a world external to ourselves. With his famous “I think therefore I am,” Descartes gave modern expression to this problem when, in search of certain knowledge, he systematically doubted his senses, his ability to differentiate between reality and dreams, and even the external world, the imagining of which, he argued, could be the product of some evil genius. But what Descartes could not doubt was his own doubting — that is, his thinking. Descartes also believed that he found a way to reason himself away from skepticism by arguing that infinity, a mathematical concept, is one that neither he nor anyone else could have come up with had God not implanted this idea in his mind. Infinity leads the way to an argument for the existence of God, which leads to an affirmation of both the external world and the possibility of certain knowledge. 

    While Descartes is thought of as a rationalist because he grounds knowledge in concepts of the mind, the opposing early modern school of philosophy known as empiricism, which insisted that the mind, in Locke’s words, is a “blank slate” and that knowledge comes from our senses, also grappled with the difficulty of knowing anything or anyone outside of our own minds. The empiricist critique culminated in Hume’s sharp distinction between the information which derives from our senses and that which derives from human imagination, which imposes order and continuity not only onto the external world but also onto a stable self. Hume came to doubt even Descartes’ thinking “I.” The self, Hume skeptically concluded, is not a stable entity, but only “a succession of parts, connected together by resemblance, contiguity, or causation.” 

             Neither the rationalist nor the empiricist approach seemed able to refute the other, which led Kant to worry deeply about the very possibility of knowledge at all. Kant sought to defeat this skepticism by arguing that, in his famous statement, “thoughts without contents are empty; intuitions without concepts are blind,” meaning that the empiricists and rationalists are both right: we need sense experience (“contents”) and we need mental concepts, such as causality, because human experience and human knowledge simply are not conceivable without both. This brings us back to Descartes. Kant argued that he solved Descartes quest for certainty of the external world (for which Descartes had required God) by showing that any conception of an “I” requires time. It is because I can track my experiences of myself over time that I am able to consider myself an “I” in the first place. Time also confirms the reality of objects external to the mind, which are necessarily experienced and conceived spatially. Time and space, then, are what Kant calls the pure forms of sensible intuition, and human experience and cognition are simply impossible without them.

    Kant derives the pure forms of sensible intuition on the basis of what he termed a transcendental argument. This is a kind of logical argument about what is required for human experience to be possible in the first place. The first question is not, what do we know?, but more fundamentally, what is it possible for us to know? This Kantian innovation is important for understanding Edith Stein’s work on empathy and beyond, for three reasons. First, there is the price of Kant’s “transcendental idealism,” which allows us to rest easy knowing that there is an external world and that knowledge of the external world is possible, but comes at the cost of knowing what Kant calls a “thing in itself.” While Kant thought he had proven that there are objects in the world outside of our minds, he also concluded we can never know these objects as they intrinsically are, because our knowledge of them is always filtered through the mind’s sensible forms and categories. All post-Kantian philosophy would grapple with this problem in one way or another. Second, even if he succeeded in establishing objects outside of the individual’s mind, Kant had little interest in the problem of other minds, what is often referred to now as “intersubjectivity.” The problem of intersubjectivity would also become a cornerstone of post-Kantian philosophy. And third, Husserl’s development of his phenomenological method, which is what attracted Stein to him in the first place, offered a framework for responding to exactly those two problems. 

             Husserl was born in 1859 to an assimilated Jewish family in Moravia. He converted to Lutheranism in 1886. Jewish conversions to Christianity, and especially to Protestantism as opposed to Catholicism, the dominant religion of the Austrian empire, were rapidly increasing at this time, with some scholars estimating that between 1868 and 1900 Jewish conversion to Christianity increased by as much as eighty percent. Many converted because baptism remained a requirement for most professions, businesses, and governmental employment. But Husserl linked his conversion to Protestantism to a conversion to philosophy: in a letter of 1917, he described the influences “which drove me from mathematics to philosophy, as my vocation may lie in overpowering religious experiences and complete transformations. Indeed, the powerful effect of the New Testament on a twenty-year old gave rise to an impetus to discover the way to God and to a true life through a rigorous philosophical inquiry.” 

    Not that Husserl’s philosophy was religious; not at all. Husserl came to equate the true life of rigorous philosophical inquiry with what he called phenomenology, a method for analyzing our experience of ourselves and our observations of the world rooted in the concept of “intentionality,” which suggests that an individual’s consciousness is not wholly autonomous but always reaching (or intending) towards an object of consciousness: “the I is not thinkable without a not-I to which it intentionally relates.” It is the intensity of the intentional relationship between consciousness and its object, the purity of the focus, that gives the phenomenological attitude an aspect of secular revelation. 

    Husserl coupled his conception of intentionality with a reevaluation of Hume’s account of experience so as to move beyond the problems left in the wake of post-Kantian idealism. The problem with Hume’s account of experience, argued Husserl, was that he, like the British empiricists before him, approached experience as the perception of discreet sensations bundled together by the imagination. But, continued Husserl, we do not perceive objects in the world by way of discreet sensual impressions. We perceive them as part of a prior conceptual whole. Perception, argued Husserl, includes processes and events as well as static objects and their relations to each other. If this is correct, we need not worry about Kant’s “thing in itself,” for experience simply is the givenness of the world. 

    At the same time, phenomenology could build upon Kant’s attempt to provide an account of the underlying conceptual structures of science through transcendental argumentation, which Husserl also projected back onto Descartes’ method of doubt. Husserl called this process epoché, an ancient Greek philosophical term for the “suspension of judgment.” Epoché is a meditation on the essential structures of consciousness — a kind of careful distillation of the experience of consciousness. It begins with everyday experience and then attempts to bracket all aspects of the everyday in order to get to the essential structure of the “transcendental ego,” which lies hidden beneath the mundane details of life. Here, too, Husserl likens phenomenology to a religious conversion. Epoché affects a personal transformation in which the most ordinary and fundamental assumptions about personal identity are suspended: “I am not an ego who still has his you, his we…. All of mankind, and the whole distinction and ordering of the personal pronouns, has become a phenomenon within my epoché.” Just as a religious convert reevaluates the mundane world through the prism of the divine, phenomenology reconceives conventional assumptions about personal identity through the prism of the transcendental ego.

    The inclusion of “all mankind” with the operation of a single consciousness — the socialization of consciousness — raises a tension that pervades all of Husserl’s phenomenology. On the one hand, epoché, the procedure of isolating the essential features of consciousness, shows that consciousness always reaches (or intends) toward the consciousness of others. In this sense, the self is always bound up with other selves. On the other hand Husserl insists in some of his later work that the transcendental ego is self-contained and purely subjective and even, following Leibniz, “monadic.” This tension lines up with another one that continues to plague (or inspire) Husserl’s interpreters: is Husserl a phenomenological realist who ultimately grounds the self in a real world of genuine and embodied others? Or is he a transcendental idealist, since everything seems to come down to the mind of the self-contained, self-conscious subject? This is where Edith Stein and the problem of empathy come in.

    Husserl had addressed empathy — Einfühlung, or “feeling into” — and characterized it not as a feeling per se, but rather as a “transcendent perception” of a foreign corporeality similar to but also different from one’s own. Einfühlung differs from Mitfühlung, usually translated as “sympathy,” or “feeling with,” in that the latter preserves a distinction between self and other, while the former suggests a degree of constitutive commonality — we might call it an overlap of being — that makes possible an entry into the experience of another in which the other’s experience becomes my own. Husserl described empathy, the perception of another as co-originating with a perception of oneself, but he did not clarify much beyond this. Stein’s dissertation was an attempt to provide a fuller phenomenological account of empathy. Although she presents her work as merely the ramifications of Husserl’s investigations, Stein moves beyond him in further stressing the necessity of other people for self-knowledge. On the subject of empathy, she was a deep and original thinker. 

    Empathy, according to Stein, provides not just knowledge of another but also knowledge of the self. In making this argument, Stein, following Husserl, disrupts neat distinctions between interiority and exteriority, between self and other. Such divisions stand, for example, at the heart of Mill’s conception of sympathy as an analogical relation. Following Locke, Mill argues that it is because of my own inner experiences that I am able to understand the experiences of others: “First, they have bodies like me, which I know in my own case, to be the antecedent condition of feelings; and because, secondly, they exhibit the acts, and outward signs, which in my own case I know by experience to be caused by feelings.” When I see someone blush, I can recognize this as an outward sign of their inner state of shame or embarrassment because I have had that same internal experience. Sympathy, in such an account, is a generalization from, a scaling up of, individual experience. 

    Stein offers two correctives to Mill’s account. First, she contends that his characterization of empathy actually makes it impossible, since it begins with a conception of myself as “imprisoned within the boundaries of my individuality.” Second, phenomenological analysis corrects this problem by recognizing the constitutive role of bodies in perception and knowledge: I experience sensations in my body, but I also can observe these sensations from a third person perspective. This means that there is not a distinction between inward shame and the external act of blushing. They are one and the same and are both anchored in what Stein calls “the continuity of being.” Empathy helps us “obtain the world’s second and third appearance, which are independent of my perception.” 

    Appreciating the link that Stein makes between memory and empathy makes her argument a bit clearer. Stein distinguishes between the act of experiencing and the content of experience. Both memory and empathy are second-hand experiences, in that both are the experience of something that is not happening to me in the moment in which they are experienced. When I remember something, the content of a previous experience is experienced not as something happening to me in the present, but as an experience of the past. When I empathize, I also experience a “content” (such as embarrassment or shame), but it is displaced, it is not happening to me in this moment. In this way, memory and empathy may be likened to the experience of oneself as another. 

    To some extent, it may seem that Stein is still making an argument from analogy. Just as a memory requires that the act and content of experience were one and the same for me in the past, so too empathy seems to necessitate a prior integration of the act and content of an experience in my experience of myself. This might suggest that I can only empathize with someone if I have had a similar experience of my own. But this is actually where Stein’s theory of empathy gets most interesting. Stein contends that empathy for another does not begin and end with my own experiences. She knows that we certainly can and do misunderstand the experiences of others. Yet for Stein, the possibility of error in empathy speaks to empathy’s strength, not its weakness. It is helpful to quote her at some length:

    To consider ourselves in inner perception, i.e., to consider our psychic ‘I’ and its attributes, means to see ourselves as we see another and as he sees us… Inasmuch as I now interpret it [the other’s psychic life] as ‘like mine,’ I come to consider myself as an object like it…. This is how I get the ‘image’ the other has of me…. the reiterated emphatic acts in which I comprehend my experience can prove to be in conflict with the primordial experience so that this empathized “interpretation” is exposed as a deception. And, in principle, it is possible for all the interpretations of myself with which I become acquainted to be wrong…. Inner perception contains within it the possibility of deception. Empathy further offers itself to us as a corrective for such deceptions along with further corroboratory or contradictory perceptual acts. It is possible for another to “judge me more accurately” than I judge myself and give me clarity about myself.

    At its finest, empathy can be a form of self-correction by way of another’s perception of me. In this way Stein arguably saves empathy from accusations that feeling with another is ultimately only self-projection. Indeed, she stresses that far from affirming our perceptions of ourselves, empathy can be an instrument of self-criticism. 

             As is apparent even from this brief explication, Stein’s consideration of empathy is technical but deep in its focus on discrete affective experiences of empathy. There is also something moving, and expressive of her temperament, in her choosing empathy as a subject for close phenomenological investigation. And there is a great irony here: Stein’s sophisticated account of empathy foreshadows empathy’s failure in the competing Catholic and Jewish arguments about her legacy. Stein concludes her study by arguing that empathy opens the door to “the understanding of spiritual persons.” There she writes: “Whenever we come into contact with realms of value that we cannot enter, we become aware of our own deficient value and unworthiness.” But in celebrating Stein’s hybrid Jewish and Christian identity as a marker of Jewish and Christian reconciliation, Christians have not become aware of their “own deficient value and unworthiness”; instead they have looked at Jews and seen only themselves. And in vehemently denying Stein’s hybrid identity and opposing the Church’s canonization of Stein, Jews have also not become aware of their “own deficient value and unworthiness,” but have looked only within and, not surprisingly, seen only themselves. 

    Most strikingly, Stein’s analysis of empathy also allows us to recognize how the inability to see another can simultaneously be a failure to see ourselves. What is perhaps most notable about the lack of empathy in Jewish and Christian responses to Stein’s canonization is their shared inability to recognize how their respective reactions conflict with their own distinct commitments. From an internal Jewish theological perspective, Stein, despite her conversion, was, as she believed, still a Jew, albeit, from a traditional Jewish point of view, a bad one. That Stein was, from the internal perspective of the Jewish tradition, both Jewish and Christian is the harrowing challenge that Stein, and Stein’s alleged synthetic Jewish-Christian identity, puts to Jews. And just as the Jewish response to Stein’s life and death is problematic from an internal Jewish point of view, so too the Catholic understanding of Stein’s life and death is problematic from an internal Christian theological perspective, if that theological perspective is committed to Jewish-Christian dialogue, which was certainly the case for John Paul II, who more than any other devoted himself to the tortured question of Jewish-Christian relations after the Nazi genocide. But if we understand dialogue as a serious exchange between two positions, then the Catholic view of Stein as a Jewish-Christian synthesis essentially silences any distinct Jewish perspective, not just in terms of Stein’s self-understanding but in terms of Judaism’s distinct point of view as such. That the Church, despite what at times appears to be a valiant struggle to the contrary, cannot overcome its supersessionism — and thereby, arguably, its anti-Judaism — in its continual denial that Judaism has an integrity of its own is the harrowing challenge that Stein, and arguments about Stein’s synthetic Jewish-Christian identity, puts to Christians. She remains a test of both faiths, and of the possibility of the moral and psychological self-overcoming that she studied in her inquiry into empathy. 

    It is important to stress that Stein herself, Sister Teresa Benedicta, fully embraced Christian supersessionism. Her understanding of her Jewishness is predicated on the distinct language of the New Testament. Her statement to her Jesuit confessor Father Hirschmann — “you don’t know what it means to me to be a daughter of the chosen people — to belong to Christ, not only spiritually but according to the flesh” — reflects a particularly Pauline distinction between spirit and flesh. Stein seems to have Galatians 5 in mind:

    Walk by the Spirit, and do not gratify the desires of the flesh. For the desires of the flesh are against the Spirit, and the desires of the Spirit are against the flesh;… the fruit of the Spirit is love, joy, peace, patience, kindness, goodness, faithfulness, gentleness, self-control; against such there is no law. And those who belong to Christ Jesus have crucified the flesh with its passions and desires.

    Stein’s allusion to Galatians to describe herself is intimately tied to her view that, in keeping with most (but not all) interpretations of Paul, the problem lies with Jewish clinging to the flesh and denial of the spirit. When she reported that she “spoke with the Savior” on Easter in 1933 and “realized it was his Cross that was now being laid upon the Jewish people,” her willingness to carry the cross on behalf of the Jewish people was owed to her view that the Jewish people needed to (finally) recognize that their “desires of the flesh are against the Spirit.” Stein believed that Jewish suffering was a direct result of the Jewish refusal to believe in Jesus –— that, theologically understood, the Holocaust was punitive. This was further articulated in her response to Kristallnacht in November, 1938: “That is the cross which falls upon my people. Oh, if only they could see the light! That is the fulfillment of the curse which my people have called upon themselves!”

    In her autobiography, Stein again affirms the Pauline distinction between the flesh and the spirit and its corollary belief in the spiritual inferiority of the Jews, who abide only by the flesh. That is, of course, the most ancient Christian canard about the Jews. Referring to the “rather frequent occurrence of suicide among Jews” after Hitler’s rise, Stein coldly remarks: “A Jew is able to endure severe hardship and untiring labor coupled with extreme privations for years on end as long as he sees a goal ahead. Deprive him of this goal and you destroy his vigor; life then appears meaningless, and so he can readily decide to throw it away. The true believer, of course, is deterred from such a course by his submission to the will of God.” Stein also at times traffics in other anti-Jewish stereotypes. About her friend Eduard Metis, for example, who “had one attribute which set him apart from all my other companions: he was an orthodox and observant Jew,” she remarked that she found his “Talmudic sophistry” “repugnant,” and described him in the following way: 

    He had a delicacy of feeling that might almost be termed maidenly. He was tall and slim; his face, rather thin, was usually slightly flushed; outwardly he gave no indication of being ill, but he suffered a great deal from migraines and many days was unable to work at all. Since I was always in excellent health during my university years, I pitied him for being less robust. 

    These pronouncements and others suggest that Stein did not see herself as a hybrid after all. Her worldview was Christian through and through; and like many Christians before her and after her, she simply wished that Jesus’ own people would see the light. 

    Stein is clear that, since she was a teenager, Judaism was not a living option for her. She was increasingly attracted to Christianity during her university years, but it was only after she read Teresa of Avila’s autobiography in the summer of 1921 that she decided to convert to Catholicism. As Stein reported, “I picked at random and took out a large volume. It bore the title The Life of Teresa of Avila, written by herself. I began to read, was at once captivated, and did not stop until I reached the end. As I closed the book, I said, ‘That is the truth.’” While Stein was unaware of this, historical scholarship has since uncovered the fact that the sixteenth-century Spanish saint was of Jewish descent, as her father and grandfather were forced to convert to Catholicism during the Inquisition. And although she did not publicly acknowledge it for obvious political reasons, Teresa was apparently aware of her lineage. It seems safe to assume that Stein would have been heartened to hear this. 

    Teresa’s description of the different stages of grace that are experienced as an increasingly deeper interiority likely resonated with Stein’s earlier attraction to Husserl’s phenomenology and its practice of epoché. Just as bracketing is an attempt to weed out the mundane exteriorities of lived experience in order to get to the transcendental ego’s essential structure, prayer for Stein, following Teresa, is a movement from the activity of the world to the passive reception of God’s grace, which “is love, and love is goodness giving itself away.” While phenomenology is hardly a mystical doctrine, it does proceed by keeping the world away from consciousness so as to isolate from all its distractions an essence of experience and therefore an apprehension of truth. And in keeping with her preference for spirit over flesh, Stein writes: “the work of salvation takes place in obscurity and stillness” and “the soul no longer sees or hears anything, the body no longer feels pain when injured, and in some cases becomes rigid like someone dead. But the soul lives an intensified life as if it were outside its body.” This is somewhat reminiscent of the phenomenological structure of empathy. 

    Yet despite whatever formal parallels there may be between phenomenology and Teresa’s account of prayer, Stein’s conversion to Catholicism was not just a movement away from the Judaism of her birth, but also a movement away from Husserl’s philosophy, which she came to equate with “the obscure faith of the intellect.” In her contribution to a Festschrift on the occasion of Husserl’s seventieth birthday in 1929, Stein imagined a conversation between Edmund Husserl and Thomas Aquinas. Adopting Thomas’ point of view, she contrasts what she calls “Catholic philosophy” to phenomenology. Whereas Husserl’s phenomenology is egoistic, idealist, and insists on a divorce between reason and faith, Catholic philosophy is theocentric, realist, and ultimately rejects a distinction between reason and faith. These points taken together may explain why Husserl, in Catholic Austria, was attracted and converted to Protestantism, while Stein, in Protestant Germany, was attracted and converted to Catholicism. Broadly speaking, Husserl’s and Stein’s differences, as she describes them, map onto Protestant and Catholic differences more generally. Although Husserl likened phenomenology to a religious conversion, he, following Luther, posited an absolute distinction between philosophy, which is fundamentally rational, and faith, which is fundamentally non-rational, if not irrational. Philosophy for Husserl is an approach to “knowing that does not know any revelation or that does not recognize it as an already given fact…[it] is a-theistic.” Stein, in contrast, following Thomas, believed that faith rightfully informs philosophy just as philosophy clarifies faith. This is because God’s reality infuses all of creation, and not just the inner lives of the faithful. Stein learned this as well from Teresa’s autobiography.

    Stein saw parallels between her life and Teresa’s. In her autobiography, Stein describes herself as a child as introverted, bookish, and detached from life with others in terms similar to Teresa’s description of her own early years. Despite the alienation from other people that both Teresa and Stein felt as children, Teresa focuses on her grandmother’s pious presence much as Stein focuses on her own mother. Most notably perhaps, Stein shared Teresa’s struggle to reconcile her love of her family with her love of God. In a hagiographical essay on Teresa, written in 1934, Stein comments that “after the interior battle came a difficult outer one. In spite of all his piety, Don Alonso [Teresa’s father] does not want to be separated from his favorite daughter. All her pleas, and the advocacy of her uncle and siblings, are in vain.” In her memoir Stein writes movingly of her deep love for her family and especially her mother. Painful as it was for Stein’s mother to accept her conversion, they continued to have a close relationship. But Stein knew that her decision to enter a monastery would be incomprehensible to her mother. And indeed it was. Stein entered the Carmelite monastery in Cologne in 1933. She remained there until the last day of 1938, when, for the sake of the safety of her sisters in Cologne, she found refuge in the monastery in Echt. During her first year in the monastery, Stein’s mother did not acknowledge her letters, though she did ultimately resume limited communication with Edith. She died in Breslau in 1936, and was thereby spared the fate of her daughters and other family members. 

    The relationship between Stein and her mother (as well as her family more broadly) is a testament to the kind of empathy that Stein described in her dissertation, and which Christians and Jews in arguing about her death seem unable to achieve. Once again, in Stein’s words: “Whenever we come into contact with realms of value that we cannot enter, we become aware of our own deficient value and unworthiness.” Perhaps Stein learned about the possibility of this kind of empathy from her life in a Jewish family. 

    After her conversion, however, Stein came to reassess her account of empathy. Whereas her dissertation was premised on her view that human experience alone provided both the fact and the possibility of empathy, Stein now believed that God’s intervention was necessary. As she put it in her most mature work of Christian philosophy, Finite and Eternal Beings, which appeared in 1936, “many sources of error are…hidden from us so long as God does not, through a genuine interior shock — through a call in the interior — take the bandages, which cover the interior of each human being in a special way, from our eyes.” It is hard not to read this reference to God’s removal of bandages from our eyes without being reminded of the canonical anti-Jewish image of the blindfolded and broken synagogue, and of Paul’s words in Romans 11:7: “Israel has not obtained that which it seeks; but the elect have obtained it, and the rest were blinded.” 

    The ambiguities of Stein’s moral exemplarity are captured in her extremely Christian belief that God’s love begins and ends with the annihilation of Jewish particularity. To be sure, this may seem a surprising conclusion, given how the Church has presented Stein and how the Church has attempted to understand itself after the Nazi genocide. But Stein’s Jewishness, as she affirmed again and again, was in the service of the fulfillment of the Christian message, which for her meant sacrificial atonement for Jewish unbelief. (There were other German Jewish intellectuals, most famously Franz Rosenzweig, who believed that Judaism was a stage on the way to Christianity, though Rosenzweig eventually revised his spiritual itinerary and offered instead a kind of inverted supersessionism in which Christianity is always trying to catch up to Judaism.) She wrote of “the urgency of my own Holocaustum” before the Nazi genocide, but the term that she uses which eventually became the name for the genocide itself — neatly captures her theological vision, as well as the starkly divergent Christian and Jewish perspectives on both Stein and the catastrophe. The term comes from the Septuagint’s translation of the Hebrew ‘olah, a burnt offering, a sacrifice that is wholly consumed by fire. The word is used in Leviticus and in Samuel with reference to Temple sacrifices, but it is also used in Genesis 22 when God commands Abraham to sacrifice his son Isaac, referred to as Abraham’s “only son,” as a burnt offering. From a Christian perspective, Genesis 22 is a foretelling of God’s sacrifice of his only son Jesus. Stein is on strong Christian theological grounds, then, in understanding herself and the Jewish people as a holocaustum. But for most, though not all, Jews, and perhaps also for many non-Christians, the horrors of the Nazi genocide make the ascription of any theological meaning to it, any redemptive purpose, perverse and grotesque. It is for this reason that Jews have increasingly referred to the Nazi genocide as the Shoah, a Biblical Hebrew word for catastrophe with no theological connotations attached to it. 

    Edith Stein was willing to pay the ultimate price for her convictions. That in itself is courageous and rare. She started as a Jew and ended as a Christian, and Jews, who themselves believe in the possibility of conversion, should let her go and respect the authenticity of her spiritual experience. Christians, meanwhile, must teach themselves to revere her while looking askance at the anti-Jewish dogmas that she endorsed. As a philosopher, she has a lesson to teach about the human quality that our society most desperately needs now. And yet Edith Stein’s most enduring legacy may be not her doctrine of empathy, but the hard questions about the value and meaning of human life that her life and her thought broached. The questions that she left us are more valuable than the answers.