The Oracle

    She always speaks too little or too late.
    Never has lied, but always puts the truth
    So on the lean that touch it and it tips.
    She wears a blindfold as she paints her lips.

    You go to her when desperate and alone.
    Up from her navel comes the platinum word
    That cleaves you like a plum clean to the middle.
    You see your pit reflected in her riddle.

    Of course you wish to read these wracking limbs,
    Find sense among the entrails of your life.
    But you will be bad burned by each bright spark.
    Some lights are falser than an honest dark.

    The demon speaks. You offer nuts and dimes.
    The smoke goes up. You leave. The statue grins.
    And you will come again. You will forget.
    Because you do not trust the silence yet. 

    This poem appears concurrently in Paul’s new collection from Wiseblood Books, The Locust Years

    Hunting

    “A white doe in the green grass of a glade
    Appeared to me with two horns made of gold . . .”

    —Petrarch

    All joy, being considered in its truth,
    Has in it both the terrible and good.
    You will not know the beauty of the deer
    Until you’ve lain her low within the wood.

    All joy, being rejected for its pain,
    Has in it both the brutal and the kind.
    You will not know the virtuous or wise
    Until you purge perfection from your mind.

    This poem appears concurrently in Paul’s new collection from Wiseblood Books, The Locust Years

    Of a Hermit Thrush

    Her whistle is climbing its spiral stair
    And loathe are my evenings, loathe of bone,
    And fir trees are steeples in the air,
    And every confession is told alone.

    The little lung beats the feathered snare,
    And fair is my sunset, fair of light,
    And here bend the proverbs, the tricky prayer,
    And I sit and I know the quieting night.

    This poem appears concurrently in Paul’s new collection from Wiseblood Books, The Locust Years

    The Ps, the Qs, and the War

    1.

    In 1979, in an article entitled “What Is Wrong with Slavery,” the British philosopher R. M. Hare wrote: “Nearly everybody would agree that slavery is wrong; and I can say this perhaps with greater feeling than most, having in a manner of speaking been a slave.” The first time I read this I was incredulous: how could a comfortable Oxford don, in our day and age, dare to claim that he had been enslaved? Was he talking about some run-of-the-mill hazing ritual to which he had been subjected in his student days? Was he talking about the burdens placed on him by his family? 

    No, of course not. I had somehow forgotten all about World War II. Hare, it turns out, was a prisoner of war held by the Japanese from the fall of Singapore in 1942 until the end of the conflict three years later. He was forced to perform hard labor in the construction of the Burma Railway during a good portion of that time. Throughout his enslavement, he kept a notebook hidden on his person, and jotted down observations about fundamental ethical questions, notably the matter of how to lead a meaningful life under extreme duress. Biding his time, he also learned Italian and Persian. Upon release, he was, as those of his generation were expected to be, generally silent about his wartime experiences. So silent, in fact, that when decades later he would casually mention his time as a slave in a scholarly article, this seemed entirely incongruous with everything we thought we knew of him as a quiet academic leading an uneventful life.

    This observation may be extended to account for the style of mid-century British philosophers in general: the war significantly shaped the lives and destinies of most of the prominent figures of that generation, yet we find scarcely any mention of it in their written works. The war is thus a conspicuous absence, a black hole of unreason, unpredictability, and, yes, trauma, at the heart of the lives of the men (mostly) who would work so hard to cultivate a public image of themselves as ideal embodiments of the paired philosophical virtues of rigor and wit.

    Why does Hare’s avowal come as such a surprise to a reader like me, who of course knows full well that terrible things happened between 1939 and 1945? In part it may be that we have been conditioned in recent years to think of “slavery” as something approaching a proper noun, referring unless otherwise specified to the trans-Atlantic chattel slavery conducted by Europeans and Americans and inflicted upon Africans. I suspect Hare himself was playing on this presumption, in order to deliver this deadpan account of his own horrific experience in a register somewhere close to that of a joke. In this, Hare is exemplifying one of the two key virtues I have just identified in twentieth-century analytic philosophy — not laugh-out-loud wit, but the wit that is imparted with a sly and subtle Shaftesburian grin; and to do so he momentarily slips out of character, violating a key rule that prevailed among his peers: that you must never make it about yourself, that your background motivations, your childhood dreams, or your earlier life as a POW, must never come through to the surface as an explicit part of the account of why you believe what you believe. 

    When on other occasions analytic philosophers speak freely about the life experiences that shaped their thought, they often go out of their way to make clear that this is the sort of thing they only do on their “down time.” For an analytic philosopher, life itself is extracurricular. Thus John Rawls, in an autobiographical note, reflects on his adolescent experience working in a doughnut factory in Baltimore in the 1930s (his father would send a driver to drop him off and pick him up), watching the owner struggling to keep his bills paid through constant toil. He observes that seeing this example of the disparate economic plights of different members of society may have played a role in his “original position” thought-experiment. But there is nothing uniquely compelling about this reflection; after all, what human being, other than perhaps the young Siddhartha Gautama, has not witnessed economic inequality? 

    The autobiographies of the analytic philosophers often come across to the discerning reader as exercises in vanity. (Nicholas Rescher was so impressed with his own career that he made time to write two autobiographies.) One exception may be W. V. O. Quine’s somewhat eccentric memoir, The Time of My Life, which appeared in 1985: we may credit it, at least, for revealing to us just how happy Quine was to build his personhood up entirely out of rigor and wit. Anything that might trigger the rumbling within him of any more surprising sort of interiority is something he explicitly portrays as in need of avoidance. “I am deeply moved by occasional passages of poetry,” Quine writes, “and so, characteristically, I read little of it.” Hare briefly violates this rule about avoiding your own passions, but only so as to reconfirm the sharpness of his wit. Later in the article he affirms the idea, which Quine would share, that any conviction that comes to us laden with emotion is worthy of grave suspicion. Indeed, in the very next sentence, having just acknowledged his own time as a slave, Hare immediately corrects course and returns us to the familiar rigorous detachment of his tradition: “However, there are dangers in just taking for granted that something is wrong.” 

    Such detachment from one’s own passions obviously has its virtues. Analytic philosophy made wonderful progress in several areas of logic and the philosophy of language, and has even succeeded in dissolving some nasty paradoxes that had been weighing us down and making us look bad since antiquity. But such dispassionate focus also, quite obviously, has its limits, and in an era in which the most effective engine of dispassionate inquiry is the computer, analytic philosophy as conducted by humans runs the risk of degenerating into a faint imitation by human beings of what in any case the machines will always do better. 

    Under the label of “wit,” in a broad sense, we must surely include the performative dismissiveness that was once so common in seminar settings. More than once in graduate school I had professors, trained up broadly on the Oxbridge model, who delighted in raising an eyebrow as an anxious graduate student struggled to express a half-formed thought, only to scoff at the end of the student’s failed effort: “I haven’t the slightest idea what that is supposed to mean.” Rather than taking the charitable approach of a philosopher such as Leibniz, who was convinced that everyone is always speaking the truth, albeit with greater and lesser degrees of clarity, and that it is the purpose of philosophical dialogue to draw out the latent truth that we all already possess, the analytic philosopher instead attempts to convince an “adversary” that what has just come out of his or her mouth is complete nonsense. Of course, asymmetrical power relations and the broader pragmatic context of a seminar effectively ensure that when a professor says to a graduate student that what has just come out of that student’s mouth is complete nonsense, it is effectively guaranteed that whatever the student has just said, it will indeed sound stupid — somewhat as in a book review, if the reviewer writes that “this book contains such awful sentences as the following,” it is safe to predict that whatever that sentence says, the reader will be primed to agree that it is indeed awful. The haughtiness of many analytical philosophers would be hard to exaggerate. 

    It is of course an irony that even in a seminar studying questions of pragmatics through the lens of philosophy of language, the pragmatics of what is happening then and there, in its time and in its place, remain off-limits, beyond the bounds of legitimate consideration. To acknowledge that a power differential could in part shape the perception of the truth-value or meaningfulness of the claims of the different parties to the dialogue would be to abandon the project of philosophy itself, and to lapse into something approaching “critique” in the spirit of, say, Michel Foucault. The almost phobic avoidance of such a turn has resulted, for analytic philosophers, in a variety of inquiry utterly under-resourced for resolving the questions it has set for itself. In early analytic philosophy, these questions were almost exclusively within the subfields of logic, philosophy of language, and philosophy of science. In more recent decades, there is no particular limit to the range of questions that analytic philosophers may choose to address, and today some of the most prominent analytic philosophers work primarily on such things as microaggressions committed by hospital nursing staff or the social construction of medical obesity. It is not so much the focus that warrants the appellation “analytic” but the style, and to some extent the methodology: to be precise, a total absence of any awareness of rootedness in humanistic tradition, and a fairly thorough STEMification of the tools and the resources deployed for thinking about the human good — that is, a tendency to prefer citing the latest poll results about Shakespeare or Cicero, and an almost childlike unawareness of the inescapably tragic dimensions of human existence.

    2.

    One significant development in the thirty years that I have spent in philosophy is the sharp rise in course offerings focused on the history of analytic philosophy. Back in the 1990s, the party line, often implicit but sometimes also explicit (as when Gilbert Harman posted a note on his Princeton office door warning against any mention of works that dated back more than ten years), held that analytic philosophy simply has no history, or at least that there is nothing an analytic philosopher might gain by attention to its historical development. Philosophy was thus conceived much as physics or cosmology is: if you are a working cosmologist, you are perfectly free, in your own time, to look into Aristotle’s theory of the motion of the heavens, but this can be no part of your professional duties strictly speaking. 

    By now things have loosened up a bit. Today analytic philosophy largely accepts that it has a historical life to it, that it is one tradition alongside others. This amounts to a significant retreat from the aspiration to scientificity of much analytic philosophy throughout the twentieth century. Nikhil Krishnan’s recent book, A Terribly Serious Affair: Philosophy and War at Oxford, 1900–1960, skillfully reflects this latter shift. Krishnan’s work may be described, without too much stretching, as a form of ethnographic participant-observation. He is both an insider and an outsider, able to look at the supreme values of the Oxford philosophers, the rigor and the wit, with both admiration and bemused detachment. And this detachment is grounded in a familiarity with other traditions, notably those emerging in Indian history, that have the power to satisfy their adepts’ intellectual, spiritual, and social needs in a way analytic philosophy never could. 

    I have been focusing so far primarily on British philosophers, but have also drawn at will on examples from their American counterparts. If this can be justified, it would be by appeal to the fact that in the twentieth century analytic philosophy departments in the United States were one of the few pockets of American life in which ties to the former imperial occupier, of the sort that Ralph Waldo Emerson had sought to break already in the early nineteenth century, remained strong. In other words, the philosophical declaration of independence that was announced already in Emerson’s sermons was effectively rescinded by the mid-twentieth century, when, for better or worse, an influx of brain power from Central Europe into the Anglosphere brought about, once again, a new period of trans-Channel and trans-Atlantic hybridity.

    Throughout the 1990s it remained nearly impossible to come up through an American Ph.D. program in philosophy without becoming, or pretending to become, a proper Anglophile. You had to be able to order a “pint” without appearing flustered; you had to be able to speak competently of soccer — excuse me, football; you had, under threat of ostracism, to express your appreciation for John Cleese’s comedy sketches exploring the quirks of Ludwig Wittgenstein, or at the very least Monty Python’s far more famous sketch about the football match of the philosophers. Sooner or later, almost all American philosophers made some sort of pilgrimage through the colleges of Oxford and Cambridge, finagled invitations as guests at high table, and commonly described this experience in terms familiar from the believer’s description of a visit to the Holy Land. Many of the most elite American philosophers stayed on longer at those venerable old institutions, for doctoral research, post-docs, lectureships, or the rare coveted professorial chair. The pay was significantly below what one might expect in an elite American institution, but the prestige remained enormous, and irreducible to any dollar amount.

    Yet by the time I arrived in England, in the early 2000s, one already had a distinct sense of nostalgia for a lost golden age. In the same motion by which American philosophy curricula have begun to cast analytic philosophy as a historical phenomenon, so, too, at high table there was by now a sense that whatever had been great about the generation of British wartime philosophers had not managed to survive into the present. The stories related to a guest generally sounded, even to a first-time visitor, like stories that had been told before. Much of the talk was literally small — I can recall one elderly fellow next to me complaining that back when he first dined there in 1956, they offered two savories before they brought the concluding sweet. When conversation turned to philosophy, as with culinary matters, the general refrain was one of decline: back in the good old days, when the great masters of the twentieth century were still alive, my, how uncompromising, sharp, and again, how rigorous, the disputes could be! No one pulled any punches! You should have seen it! There was never any accounting for why these old veterans could not simply demonstrate that lost rigor themselves rather than bemoan its loss, but the message was clear enough: in the old days, we were man enough to accept that philosophy is, in its essence, a combat sport, a sort of sublimation of war, in which the faculty of reason is more a blunt weapon than an inner power that might facilitate our individual happiness, thriving, or liberation.

    War, as we have already been seeing, shaped twentieth-century Anglophone philosophy in at least two respects. First, most philosophers of the right age were in the war, even if their experiences were not generally as arduous as Hare’s. Second, regardless of any individual philosopher’s experience, the war, and the global post-war order that it helped to shape, did much also to determine the cultural values and political imperatives that these philosophers would largely take for granted as the default setting of human existence. In other words, British philosophy in the twentieth century was philosophy pursued at a highly peculiar and special moment in history, even if its practitioners for the most part engaged in their inquiries as if the contingencies of their historical moment had no role in shaping the style and the aims of their thinking. Though we are often loath to admit it, philosophy has always been found downstream from culture: the dominant classes determine what sort of things should be said, and the philosophers, for the most part (always with at least some dissenters), articulate the reasons why this is so. Sore thumbs such as Marx or Nietzsche have thus been in a position to complain, with some legitimacy, that the prevailing schools of philosophy are only the intellectual laundering of ideology, or that the canonical texts of mainstream moral theory are really only etiquette manuals for the bourgeoisie. 

    At the very least, we may agree with the counterfactual: if World War II had not happened, twentieth-century philosophy would have been very different. For one thing, the English-speaking world would not have benefitted from the massive continental brain-drain triggered by the rise of fascism in Europe. For another, it was largely the great leap forward triggered by the war, in the technologies of cryptography, intelligence, and computing, that would end up shaping the priorities of research in philosophy, and in particular the overwhelming focus on logic, decision theory, game theory, and related fields. Ultimately, in the post-war period this focus made it possible to conceive of philosophy largely as a politically neutral endeavor, as a technical field rather than a critical one. This argument is familiar from George A. Reisch’s important book, How the Cold War Transformed Philosophy of Science: To the Icy Slopes of Logic. Reisch argues that the early Cold War era brought about, first and foremost, a de-politicization of philosophy. This was somewhat reversed by John Rawls in 1971 with A Theory of Justice, his epoch-making work of liberal political philosophy. But even here the theory remained so abstract, or so “ideal,” as to seem to many to have very little to say about actual human society and about what the real challenges are for those who would improve it. 

    And twentieth-century analytic philosophy was shaped by war in another sense, too: it was conceived by its participants as a variety of dialogical combat. Though the idea of “interpretive charity,” stemming from the work of Donald Davidson, often came up in the conversations of the old-guard analytic philosophers, they were frequently anything but charitable in their interpretations of what their juniors, or those less quick-witted than they, were trying to say. It is hard in fact to imagine that anyone who had not been socialized exactly as they had been might be perceived by them as appropriate partners in dialogue. What they were missing, then, was any sense whatsoever of the ethnological dimensions of the human encounter — sometimes we argue with our peers, and we can indeed learn something from that experience, but sometimes we might want to learn, too, from people who are not our peers. To attempt to do so involves a particular set of challenges, since non-peers will not have been socialized in the same way, will perhaps have a very different sense of what counts as quick wit or decisive refutation. Yet as long as philosophers only talk to other philosophers, or even more narrowly to other philosophers working in the same tradition, in the same language, with the same points of reference and more or less the same values and background presuppositions, while they may be preserving for themselves the satisfaction of a fair fight with a suitable adversary, they are also preserving themselves from the vast majority of human minds, and choosing instead to remain in the comfort zone of high table and all the other rituals that perpetually reconfirm for them who exactly belongs, and who can be safely ignored. 

    None of this is to say that analytic philosophers, even if their methods have been gladiatorial, have been particularly bellicose or inegalitarian in their actual political commitments. There is, happily, no particular political litmus test for membership in this tradition, and I would say that overall the political opinions of academic philosophers are generally downstream of culture, or at least the urban and educated culture, as a whole. Around 2020, academic philosophy veered sharply to the left, or at least to the peculiar strain of left politics that was being called “progressivism.” But this was not the result of any internal developments, let alone any of new conceptual innovations or unprecedently persuasive arguments — it was just a matter of watching which way the wind was blowing. In this, the philosophers of the early twenty-first century demonstrated that they were no longer operating as the “handmaidens of science,” as many analytic philosophers a century before imagined philosophy ought to do, let alone as the handmaidens of theology, to invoke the formula often used in the Middle Ages, but had now become the handmaidens of the university HR department. 

    Analytic philosophers, again, are generally good center-left social democrats, who are ready to make room for Marxists in their midst, as well as some anarchists, and at least a few full-blooded conservatives. Quine was famously of a generally right-wing disposition. (The most offensively reactionary statement that I have seen from him was also undeniably funny: he said of lotteries that they are a “subsidy for smart people.”) This does not seem to have shaped any of his explicit commitments in the domain of philosophy to which he limited himself — indeed, the conclusions he came to about, say, the indeterminacy of translation parallel in interesting ways the work of the doubt-mongering continental postmodernists, who generally sought to position themselves, sincerely or not, somewhere on the far left. In terms of political orientation, we find a great outlier in the philosopher of language Scott Soames, author of the magisterial two-volume history of analytic philosophy, Philosophical Analysis in the Twentieth Century, and, more recently, an ardent Trump supporter. In his illustrious career at Princeton and at the University of Southern California, Soames has trained up numerous graduate students in his field, who have largely been more in line with the prevailing political sympathies of their community, have been proud feminists, Democrats, centrists, and progressives. None, as far as I know, has ever reported any sense of incompatibility with their advisor on the basis of political differences. 

    The cases of Quine and Soames are instructive. It is difficult or impossible to imagine a continental philosopher whose political commitments do not significantly shape their philosophical commitments. This is not to say there are no productive left/right crossovers or collaborations; indeed, it would hardly be an exaggeration to say that most post-war European philosophy has been devoted to finding ways to make the lucubrations of a certain prominent Nazi thinker palatable on the left. But the great difference is that this effort constituted the project of philosophy itself, as the continental philosophers conceived it: not so much to extract from Martin Heidegger what little may still be used once the Nazism is subtracted, but rather, much more ambitiously, to engage with the problem of his Nazism in order to understand critically how this ideology could have become so central to the history of Western metaphysics and its “overcoming.” By marked contrast, no disciple of Soames will feel compelled to engage with his Trumpism in any way. There is no need. In analytic philosophy, your political commitments are extracurricular, even if, at certain moments, as for conservatives in the post-2020 era, or for communists in the McCarthy era, it can be difficult for a political black sheep to feel at home within the broader sociology of academia.

    The surface neutrality of analytic philosophy, however, is undergirded by a deeper sort of conservatism. What has enabled analytic philosophy to present itself as not having a political valence has been precisely its ability to distinguish sharply and confidently between what belongs to the sphere of philosophy and what lies beyond it, while continental philosophy typically sees all domains of culture — not just politics but also the arts, entertainment, fashion, to some extent science, and, most important of all, history — not just as potential source material for philosophical reflection, but as directly constituting the discipline’s subject matter. Analytic philosophy can accommodate viewpoint diversity about politics — easily placing, say, Scott Soames in a seminar room alongside liberals and socialists — but only at the cost of suppressing any viewpoint diversity about what philosophy itself is. 

    It is unlikely that, if the United States or Britain were today to enter full-scale war with China or Russia, academic philosophers would have much of a presence among the people these countries might tap for heading up their intelligence operations. I myself speak Russian, and probably know what they are currently saying in Russian state media as well as any intelligence officer, but I am quite certain no intelligence agency will ever hope to get anything useful out of me. I am probably an outlier here in my public attitudes towards the sort of power that intelligence agencies represent, having spent many years now insisting, like Diogenes of Sinope, that to be a philosopher necessarily involves stepping away from all the endless contests over earthly dominion — to telling even Alexander the Great, should he come and offer his patronage, to stand the hell out of our light. Most of my philosophy colleagues would likely sit out any future war less for reasons of principle than simply because our particular set of competences no longer seems suitable for substantially contributing to any war effort, such as these are fought in the twenty-first century.

    To some extent, we may see a figure such as J. L. Austin, whose military and philosophical careers are exhaustively recounted in M. W. Rowe’s magisterial biography, J. L. Austin: Philosopher and D-Day Intelligence Officer, as arriving at the end of a long lineage of polymathic thinkers and doers, extending back to the likes of Leibniz in the seventeenth century, who was at once a metaphysician, a mathematician, a cryptographer, and a diplomat. Austin’s contemporaries who best fit this polymathic model, notably Alan Turing and Norbert Wiener, have not gone down in history first and foremost as philosophers. But that is definitely how they would have been identified had they been born a few centuries earlier, and in this regard they remind us that throughout the World War II era, probing into the fundamental nature of reality was still often held to be of a pair with the project of shaping reality: theoria cum praxi, to cite Leibniz’s favorite motto. But again, whether Leibniz was seeking to reunite the main camps of post-Reformation Christianity, or to convince Louis XIV to invade Egypt, or to work out the relationship between the Slavic languages and ancient Scythian, he was always motivated by a unifying philosophical vision, that of “unity compensated by diversity,” which he saw as furnishing the basic truths both for understanding fundamental metaphysical questions about the nature of reality, as well as the concrete social and political questions that arise in diplomacy or ecclesiology. By the time Austin, Turing, Wiener, and others signed up for the war effort, such a unity was no longer so clear: they are simply adaptable intelligent men, with background competence in thinking about questions that prove to be relevant to wartime intelligence efforts. 

    Rowe describes Austin’s intelligence career in vivid detail, and one comes away from his excellent work fairly convinced that Austin’s contributions to military history are even greater than his contributions to philosophy. For one thing, he played an indispensable role in planning the Allied invasion of Normandy, as well as several other key offensives. As with Hare, we also see in Austin an extraordinary fatalism, an ability to accept the twists and turns of life in a turbulent world without complaint. One remarkable scene recounted by Rowe takes place during a Luftwaffe bombing of London in April, 1941. Rather than retreating to a basement, Austin and his wife did what many Londoners had taken to doing on such occasions: they went up to the roof to watch the incendiary spectacle, only both to be injured, he superficially, his wife rather gravely. And, like Hare, Austin spoke little of it after the war and allowed his experiences in it no evident role in the shaping of his great innovations in ordinary-language philosophy in the 1950s. 

    Here, indeed, being disciplinarily outside of philosophy narrowly conceived may have enabled other thinkers who played a role in the war to arrive at more comprehensive reflections on the relationship between their wartime duties and their postwar academic interests. The American cybernetician Wiener, who made crucial contributions to developing new anti-aircraft technologies during the war, would go on to offer profound reflections on the inextricable links between information theory, the progress of technology, the interests of state, and the new threats of global conflict. In this respect Wiener, more than the philosophers narrowly conceived, was following much more closely in the footsteps of Leibniz, and if this is what caused him to have gone down in history as something other than a philosopher, we may have here a clear measure of just how much the scope of philosophy had been reduced between the seventeenth and the twentieth centuries.

    3.

    What are the broader cultural and historical forces that led to this reduction? On Griesch’s account, postwar philosophy in the United States was both narrowed and depoliticized by a complex system of application of top-down pressure, shaping the way different grant applications were prioritized, and the way hiring decisions were made. This effectively ensured the long reign of a radically austere conception of philosophy that had already been articulated before the war, according to which this discipline’s exclusive concern is with analyzing the logic and the language of the claims of the natural sciences and mathematics. These claims, it was maintained by A. J. Ayer and others already in the 1930s, are meaningful only to the extent that they are susceptible to being proven false, and therefore the only true claims there are, while the claims of aesthetics, moral theory, and metaphysics, not to mention substantive political claims about the human and social good, are quite literally “nonsense.” 

    For Griesch, then, the apolitical character of postwar philosophy was but the superficial reflection of a cultural and institutional shift that was political through and through. In the United States and Great Britain in the postwar period, it was crucial that the project of philosophy be separated from the project of critique, that is, the project of exposing the pathologies inherent in the present organization of society as a first step towards remedying them. Philosophy had to be updated to a point where Marx’s admonition to philosophers a century earlier — that the time had come for them not just to seek to understand the world, but to change it — would now appear, even though it mentioned philosophers by name, to be describing a very different discipline than our own.

    The opposite of critique, in this sense, is analysis: the project of attending to claims that are already circulating out there in the world, and taking them apart in the same way one might take apart an engine in order to learn how it works. Sometimes the philosophers, on this conception of their project, will end up putting their engines back together again, but they will seldom take the newly disconnected parts and try to use them to build another more powerful engine than the one they started with.

    Of course, in spite of the extreme austerity of Ayer’s generation, analytic philosophy eventually did make room for the return of political and moral theory, aesthetics, and other species of alleged nonsense. But even these were reintroduced in a way that ensured their exponents would mostly be shooting blanks. In perhaps the most extreme example of this, the new field of analytic “metaethics” presupposed that the most productive engagement with ethical questions was the one that moves up a level, so to speak. Rather than asking whether some given x is “good,” metaethics instead analyzes the logical structure of claims of the form “x is good.” Whatever the results of such inquiries were, they seemed little likely to change the world, or even the personal behavior of anybody who was exposed to them. 

    Eventually, substantive claims would also return in moral and political philosophy, notably, as we have already mentioned, in the work of Rawls, who continues to represent the high-water mark of analytic political philosophy. But here, even if we cannot accuse Rawls of insisting on remaining “meta” — for he does make weighty claims about, among other things, what justice is, rather than simply analyzing what other people mean when they say things like “justice is x” — there has been a further persistent concern that in order for the Rawlsian liberal project to work, it must remain at the level of “ideal theory,” proceeding through thought-experiments so abstract and detached from lived experience as to reveal next to nothing about that experience. In recent decades, proponents of “non-ideal theory,” notably Charles W. Mills, have sought variously to supplement or to break down the Rawlsian program by insisting that in fact we experience no “original position” in human life, that we are “always already” (to speak with the continentals) in the world as members of particular groups defined by class, gender, ethnicity, and so on, and that this brute fact has very real consequences for how the members of various social identities will tend to understand what is at stake in the “original position” experiment. 

    Undoubtedly the most significant English-language work in moral philosophy of the postwar era was done by Derek Parfit, whose two milestone contributions in this field are Reasons and Persons, from 1984, followed by On What Matters in 2011. Parfit was a moral realist, whose singular obsession over much of his adult life was to discover the nature of moral truth in an age when this could no longer be referred back to a transcendent cause of the sort that religion had long provided. Although David Edmonds has recently written a fine biography of him, Parfit: A Philosopher and His Mission to Save Morality, Parfit’s life is not terribly interesting. He was born in China to doctor parents in 1942, but he returned to England in his first year and stayed in Oxford more or less continuously, sticking to a raw-food diet, until his death in 2017. His widow, the philosopher Janet Radcliffe Richards, has suggested that he suffered from, or perhaps thrived from, an undiagnosed case of Asperger’s syndrome. 

    It would be a bit of an exaggeration to say that postwar analytic philosophy amounted to a jobs program for Aspies, but there is no denying that Parfit’s particular set of personal traits served him well in the field: a singular and downright obsessive dedication to following every detail of arguments through to their end, and a monumental faith in the power of reason to solve, potentially without limit, humanity’s problems. As Edmonds tells us in one particularly sad passage, Parfit never celebrated his own birthday, since he could find no rational ground for taking that single day as more meaningful than any other. Nor did he celebrate other people’s birthdays, nor even did he give his wife a card or a gift when her birthday came. Birthdays were not among the things that “mattered.” You can see here, I believe, what happens when substantive questions, such as “What matters?” or “What is good?” are reintroduced into philosophy after some decades of banishment, but where the people who take up the task of answering these questions remain largely shaped by the earlier generation of philosophers dedicated to pure analysis and the pathological avoidance of “nonsense”: you get people asking big questions, whose minds and reading habits and manners of inquiry are ideally shaped for the asking of small ones; you get highly abstract answers to questions, about the nature of goodness for example, from people unable to see concrete instances of goodness — the celebration of your loved one’s birthday, for example — right before their noses. 

    The landscape of post-war analytic philosophy, to be fair, is somewhat more diverse than I have so far acknowledged. As Benjamin J. B. Lipscomb’s collective intellectual biography, The Women Are Up to Something: How Elizabeth Anscombe, Philippa Foot, Mary Midgley, and Iris Murdoch Revolutionized Ethics, reminds us, it was largely the women philosophers at Oxford in the World War II era and after who kept alive alternative philosophical styles, and kept their colleagues at least minimally aware of the existence of other ways of doing things. Midgley and Murdoch in particular were gifted essayists who reflected in their writing a surprising vulnerability, and even a willingness to appear foolish. Anscombe was one of the key disciples and Anglicizers of the philosophy of Wittgenstein, for better or worse, and she was at least as defiantly eccentric as the peculiar Austrian she worked so hard to promote. A devout if idiosyncratic Catholic, Anscombe argued against birth control and had an unusually large brood of her own. She chain-smoked and was known to eat baked beans straight from the can during her lectures. Her greatest contribution to philosophy was made in the field of virtue ethics, which involved an innovative and original transformation of Aristotle’s account of virtue into a substantive position in moral philosophy known as “virtue theory.” She also made significant contributions to the philosophy of action, a field in which Wittgenstein’s influence on her is particularly evident.

    Midgley found that she was unable to commit to Christianity, but her work is shot through with theological reflections and attests to an enduring preoccupation with matters of faith. She is also singularly preoccupied with the question of animals and their moral status, something that could hardly hold the attention of her most prominent male colleagues for long. In the 1980s she went and picked a battle with Richard Dawkins, characterizing his version of evolutionary theory as akin to religious faith. Seldom have two people so different, yet so alike in their utter willingness to risk looking foolish in public, faced off so dazzlingly. Midgley remains, like Anscombe, committed to a view of the project of philosophy along basically Wittgensteinian lines, in which it is best understood on analogy to plumbing: philosophy is for solving problems, and you tend not even to notice it unless something is not working as it should. This is “WASP philosophy” at its most minimalist, which essentially rehashes an old familiar bit of folk wisdom — “if it ain’t broke, don’t fix it” — and it does so at the same moment in history when a French philosopher such as Gilles Deleuze could articulate a far bolder conception of what philosophy aims to do, asserting that to be a philosopher is intrinsically to be in the business of “concept creation.”

    Philippa Foot is perhaps best known for releasing the famous “trolley problem” into the world, in an important article in 1967 on abortion and the doctrine of double effect, thus giving rise, eventually, to the proliferation of memes we now see on social media offering up humorous variations on the basic problem that she sought to address: whether it is “good” or “bad” to push someone (a “fat man” in the original version) in front of a trolley in order to prevent five people tied further down the tracks from being run over. (Some of the memes by now feature Trump, or overweight cats, variously eliciting unexpected moral intuitions, or just making us laugh.) The more serious side of “trolleyology,” such as it has developed in recent years, seems as if custom-made not just for social-media memetics but also for what is now deceptively called “tech ethics” or “AI ethics,” as for example the problems that programmers face when trying to “teach” a self-driving car to run over, say, two old men rather than a baby and its mother, when no third option is available. It is, in other words, the kind of “moral” reasoning even a machine can engage in, and it is a very worrisome sign of the times that so many people, inside philosophy and out, now take for granted that trolley-problem-style thought-experiments are basically all it takes to cultivate moral personhood. 

    The women who were, in Lipscomb’s phrase, “up to something,” were in some respects idiosyncratic, but in other respects very much of the same time and place as their male counterparts. One striking difference between them and most of their male counterparts was their openness to the world, their sharp reception of the tragedies of history. Whereas Hare, who endured World War II in the most grueling way possible, scarcely found fit to mention it in his later career, these four women were profoundly affected — emotionally and intellectually — by newsreel footage from the concentration camps. As Clare MacCumhaill and Rachel Wiseman show in their excellent book Metaphysical Animals: How Four Women Brought Philosophy Back to Life, they seem to have been triggered into probing the depths of ethical theory by this incontestable documentary proof of man’s lupinity towards man. 

    These women’s singular character as thinkers may result in part from a form of selection bias: you had to be a bold person at the outset to enter as a woman into a field that was presumed male by default. In this light very little seems to have changed since the seventeenth century, when women philosophers such as Anne Conway, Margaret Cavendish, and Damaris Masham, excluded from all official positions at Cambridge, ended up playing a vital and unique role in the extramural circle of the Cambridge Platonists, as, in some regards, freer and less guarded thinkers than the men who frequented them when they were not busy in their official roles at the university. 

    Today, in whatever chapter of the history of philosophy this is, we generally have a sense that the golden age of Anglophile analysis is over. The career of Kwame Anthony Appiah is perhaps most instructive in this regard. Having completed a Ph.D. on conditionals — that is, propositions that have the logical form of “if . . . then” — at Cambridge in 1982, Appiah went on to a distinguished academic career, making contributions in several subfields of philosophy. In recent years he has been racking up prizes like a Brezhnevite general racks up medals (to paraphrase Perry Anderson on Jürgen Habermas), even as he has become best known for his work as the author of “The Ethicist” column in The New York Times, that is, as a provider of agony-aunt-like etiquette advice to the bourgeoisie, answering letters from the newspaper’s readers, as hungry for exposure as they are for absolution, regarding such things as whether it’s okay to conceal your deceased parents’ long-ago infidelities from your clueless adult siblings. Not the sort of thing that Quine or Strawson or Ayer would have done. In many respects analytic philosophers are far freer today to pursue the range of things that interest them. There are blogs out there on which analytic philosophers share their parenting tips, or their exercise routines, or their strategies for pursuing “ethical non-monogamy.” And all of these activities are expected to count at least for something in their tenure and promotion dossiers. The problem is not that analytic philosophers should not turn their attention to whatever interests them. The problem is that after a century of rupture with humanistic tradition, what interests them tends not to be all that interesting.

    Even if the stranglehold of Anglophile rigor and wit has loosened, in my own native country there has been no return of any Emersonian spirit, no American Renaissance. Nor, perhaps, in the present chapter of the history of the United States, could there be. We are generally happy, or we generally understand the importance of pretending that we are happy, that Anglophone academic philosophy no longer aspires to the status of a combat sport, but rather to supportiveness and inclusion, and to the highlighting of previously marginalized voices. The old habit of relentlessly rigorous argumentation and witty dismissiveness is now largely seen as masculine-coded and exclusionary, notwithstanding the fact that it was so often exemplified by philosophers who were, in their extramural lives, committed liberals and socialists. Thus Martha Nussbaum reminds us of the time at Harvard when, asking why there was no faculty women’s restroom close to the seminar room in Emerson Hall, Rawls casually invited her to go use the students’ toilets.

    These changes surely are for the better, overall, no matter how wistfully nostalgic they may have left some elderly men still lingering, like ghosts, at high table. That said, both of these tendencies — both the late British imperial style in philosophy and the late American imperial one, both the exclusionary and the inclusionary, both the bellicose and the irenic, will from a global comparative perspective turn out to have been mere blips in the history of all the different things philosophy has been and might yet be. In early modern Europe, though we choose not to remember this, the primary sense of “philosophy” had to do with such natural curiosities as the use of quicklime to make transportable cooling devices, or the effects of burning coal on the quality of the air of London. Thus in the Fumifugium of 1661, John Evelyn wrote of “these unwholsome vapours, that distempered the Aer, to the very raising of Storms and tempests; upon which a Philosopher might amply discourse.”

    Today there is what we might call a “global style” in philosophy. It is dictated by what happens in the United States, and to some extent in the lands of its close allies and Anglophone cousins. But it is not “American philosophy” in any meaningful sense; it does not concern itself with the “American spirit” or the “American character” in the way Emerson imagined American philosophy ought to do. It is imperial rather than republican, which is another way of saying it has the luxury of taking itself for granted. Meanwhile, in most of the developing world, philosophers are split between two models of what philosophy might be: they can join up with the global style, or they can seek to embody a style that is held to suit their national character and that draws on homegrown traditions and luminaries for its primary inspiration. The former sort of philosophy is certain to open up more opportunities for grants, fellowships, and other markers of international prominence. The latter sort comes with its own more local advantages. In spite of their verbal enthusiasm for “inclusivity,” the mainstream of Anglophone philosophers today remains largely dismissive of the aspirations of, say, a penniless young Ethiopian or Ukrainian student of philosophy concerned to articulate what a philosophy fit for Ethiopia or Ukraine might be. 

    Despite its pretension to having successfully transcended worldly pressures and considerations, its presumption of perfect analytical insularity, analytic philosophy has always, and usually unconsciously, been intimately wrapped up with the cultures that surround it, as well as with history and geopolitics. What gets to count as philosophy, perhaps with a few decades of lag time, has always been determined in part by who is in power. In this light, we may venture that philosophy in its current post-analytic or quasi-analytic or “open-armed analytic” phase is in a holding pattern, an interregnum, and it is very unlikely that anyone will look back on its current productions and figures as representing anything like a golden age.

    Fitzgerald’s Follies

    In The Praise of Folly, in 1509, Desiderius Erasmus personified folly as a goddess. She develops the thesis that folly is good and that it is deserving of praise. Folly remarks on her own ubiquity — since we all, the wise and the unwise, live in folly’s grip. “Fortune herself,” Folly tells us, “the directrix of human affairs, is so thoroughly of a mind with me that she always has been most hostile to the wise.” Socrates figures repeatedly in The Praise of Folly, his life a spectacle of wisdom turned to folly. Socrates is the wisest man in a city said to favor wisdom, and after being put on trial for no actual crime he is compelled to commit suicide. This exemplary teacher is executed — absurdly — for corrupting the morals of the young. His gift for wisdom had been a death sentence.

    To make her case, Folly must go beyond the claim that folly is inescapable. She offers two separate explanations for its intrinsic worth. She contrasts “the mischief of wisdom” to “the enchantment of folly,” an enchantment that can resemble delirium — “for I fill the mind with a sort of perpetual drunkenness; I glut it with joys [and] dear delights.” In the end, folly is an incitement more to art than to inebriation. Poets are “of my faction,” Folly observes; “destroy the illusion and any play is ruined.” Illusion is art and art illusion, a fortunate state of affairs, for from art comes folly’s sweetness and its ability to enchant.

    At the highest reaches of folly there is love. Though Erasmus pokes fun at the self-importance and the pieties of theologians and clerics, he emphatically does not equate folly with nihilism or wisdom with hypocrisy. “The attribute of wisdom is meet for God alone,” Folly concludes. Always at hand, undivine human folly merits forgiveness. Folly is “so acceptable to the heavenly powers that forgiveness of its errors is assured, whereas nothing is forgiven to wisdom.” Folly furnishes the reason and the motive for love, and “he who loves intensely no longer lives in himself but in whatever he loves.” Folly is divinely generous. The more one “can depart from himself and enter into the other [through the folly of love], the happier [one] is.”

    Folly has a unique purchase on F. Scott Fitzgerald’s biography and a unique purchase on his literature. Fitzgerald is the most foolish of American writers. He was foolish in his successes, throwing away his time and talent on short-lived celebrity and on lucrative ephemera, chasing the dollar and compromising his immense talent. He was not less foolish in his many failures. His two finest novels, The Great Gatsby and Tender Is the Night, were commercial flops. He himself fell into penury in the 1930s, his wife Zelda having descended into madness. Fitzgerald overdid something to which Erasmus’ Folly admits — that she had been raised up and nourished by Bacchus. Fitzgerald’s alcoholism constrained his literary output and led to his premature death at the age of forty-five. The adult Fitzgerald could not take care of himself.

    We do not associate Fitzgerald with anything like wisdom literature. He never wore a beard, that “ensign of wisdom,” according to Erasmus’ Folly. He could not be confused with Tolstoy, who did have a beard and who broached the biggest and the best questions, boldly titling a novel War and Peace. (Fitzgerald’s first novel was This Side of Paradise, in which this side of paradise — a phrase from a poem by Rupert Brooke — is more or less a brilliant undergraduate career at Princeton University.) Fitzgerald did not even write novels of ideas. He was no Thomas Mann, no communicant with the philosophical heavyweights, no worldly interpreter of high politics. Until his death, Fitzgerald agonized about not being sufficiently educated or well read. He never graduated from Princeton, and it bothered him. 

    In The Great Gatsby, the book that will always define him, Fitzgerald expends marvelous prose on a small and insignificant man. It is a perfect novella to depict the dreams, the extravagance, the alleged greatness of a bootlegger whose golden girl got away. Gatsby lacks any guiding wisdom. He lacks gravitas. The incognito protagonist, he lacks a real profile even in his eponymous novel. He is an empty vessel of social climbing and romantic longing who embraces the folly-filled tawdriness of his cultural moment. Gatsby is the boy who never outgrew high school, not to mention college (which he falsely claims to have attended). His shallowness and frivolity would have made him a bit player in War and Peace, a petty officer. Or Tolstoy would have chosen to transform Jay Gatsby, to reform him, leading him through a moral awakening. Tolstoy would not have left Gatsby’s folly intact, as Fitzgerald is very willing to do.

    According to Edmund Wilson, Fitzgerald’s friend and later his literary executor, Edna St. Vincent Millay compared Fitzgerald to “a stupid old woman with whom someone has left a diamond.” A similar image occurred to John Dos Passos: “when he talked about writing his mind, which seemed to be full of preposterous notions about most things, became clear and hard as diamond.” Fitzgerald fretted about wasting his diamond-like literary talent on the literature of immaturity, or he was sensitive to the accusation of doing this. In 1934, in an unpublished preface to Gatsby, he wrote of being “kidded half haywire by critics who felt that my material was such as to preclude all dealing with mature persons in a mature world. But, my God! It was my material, and it was all I had to deal with.”

    Without cultivating an aura of wisdom, however, the beardless Fitzgerald did write wisdom literature. He wrote it not by denigrating folly, not by dismissing it, and not by treating folly as peripheral to wisdom. Folly and wisdom must be twinned: “one never attains to that renowned wisdom,” Folly stipulates in The Praise of Folly, “which the wise themselves call the citadel of happiness, except by taking Folly as guide.” Folly and wisdom conjoin, and, as Erasmus shows, proximity to folly can be the same as proximity to poetry, to the poetic impulse that silhouettes Fitzgerald’s better writing. Folly is also (as already noted) the path to love, the stimulus to love, and on love Fitzgerald could be austerely wise, as he is in The Great Gatsby. Gatsby is a virtuoso of the counterfeit, a cipher almost, who loves Daisy with a shocking sincerity and force. The heartless, loveless souls around him have wealth and a solid social position, and little else. 

    Fitzgerald’s wisdom literature took some time to materialize. First he had to live through different seasons of folly; he had to assimilate a poet’s rigor as a stylist; and he had to reflect on wisdom as such, which he did most cogently in the letters that he wrote to his daughter from 1933 to 1940. An intimate of folly, an intimate of wisdom, Fitzgerald slowly figured out how to translate the spiritual possibilities of folly into enduring art. Published in 1925, The Great Gatsby was a feint in this direction, but the full translation came almost a decade later in Tender Is the Night. It recounts the mistakes of a man who travels from emotional abundance and professional distinction to the purgatory of self-defeat and loss. The novel’s wisdom resides not in the tale it tells; the tale is too edged with folly for it to impart wisdom directly. The novel’s wisdom resides instead in the novel’s style, in its manner of telling the tale. Foolish protagonist, foolish life, wise narrative, wise novel. Not by accident does this saddened novel abound in love and poetry. These are the bequests of folly, which demand a measure of wisdom to be perceived, internalized and cherished.

    Scott Fitzgerald was an imperfect father. Often absent, he was self-absorbed even by the standards of ambitious writers, and his alcoholism affected his daughter directly. It damaged her father’s health and must have been terrifying to behold. Already in the 1920s alcoholism accrued to the Fitzgerald myth, a myth that lived in the public domain, and by the 1930s this myth dovetailed with another myth — of Fitzgerald’s diminishment, of his loss of stamina, of his fading from the scene and not writing. It was his destiny to have become a relic of the Jazz Age. In Fitzgerald’s biography, the motif of squandering is omnipresent — squandered youth, squandered literary potential, squandered time. Fitzgerald embeds this motif in his fiction, though in his letters to his daughter he consciously inverts the motif of squandering that haunts so many of his novels and short stories. With acuity of expression and without rhetoric, Fitzgerald tries to get his daughter not to squander her life.

    The biographical dimension to these letters is only minimally interesting. Fitzgerald was a worried, moralistic, and sometimes preachy father, one of millions. The literary dimension to these letters is far more enriching, for they document his preoccupation with wisdom. His paternal persona was conservative yet un-Victorian. Fitzgerald, who did not want conventional domesticity for his daughter, wanted her to feel the impress of duty, a prerequisite for feeling the impress of art. “All I believe in in life is the rewards for virtue (according to your talents) and the punishments for not fulfilling your duties, which are doubly costly,” he informed his daughter. Wisdom proceeds from virtue, and wisdom takes on two separate guises in these letters: the willingness to work hard and the achievement of a writing style. (Fitzgerald’s daughter was an aspiring writer in the 1930s, when he wrote his letters to her.) Style symbolizes something so consequential for Fitzgerald that it could be a cognate for grace. It is achieved not by transcending error but by leaving oneself susceptible to feeling.

    Throughout his letters, Fitzgerald implies a complicity between his daughter and himself. Both of them are foolish. Touching on some minor point, he notes that “like me you will be something of a fool in that regard all our life.” Painfully, Fitzgerald places his daughter within a fallen family. He and her mother should never have married. “I knew she [Zelda] was spoiled and meant no good to me,” he confesses. “I was sorry immediately I had married her . . . . The mistake I made was in marrying her.” He criticizes Zelda for “trying to solve all ethical and moral problems on her own, without benefit of the thousands dead.” Fair or unfair, this criticism reveals the door to wisdom in Fitzgerald’s eyes, which was the vocation of art and the vocation of reading. One enters it through an ambitious apprenticeship to “the thousands dead,” to the books they wrote for us. Put in academic terms, one enters it through the humanities.

    Time and again, Fitzgerald pleads with his daughter to love labor. “Please work — work with your best hours,” he exhorts. Reflecting on work, he writes that “wiser people seem to manage to pile up a reserve,” their wisdom being their foresight and their work. These injunctions take Fitzgerald to an arresting bit of self-criticism, and they encapsulate the strenuous wisdom he is trying to defend: “What little I have accomplished has been by the most laborious and uphill work, and I wish now I’d never relaxed or looked back — but said at the end of The Great Gatsby: ‘I’ve found my line — from now on this comes first. This is my immediate duty — without this I am nothing.’ ” The this here is the accomplishment. By “line” he means the choice to write real literature rather than to write for commercial reward. The this repeated three times is also — and more fundamentally — the work itself, the sitting at the desk, which (because true art is at issue) cannot be other than laborious and uphill.

    The work Fitzgerald praises in these letters is not tied to marriage or money or status, preoccupied as Fitzgerald could be with each of those subjects. He grudgingly argues for “some calculated path . . . to find your way through the bourgeois maze.” He then hastens to add, “if you feel it [your way] is worth finding.” It may not be. The bourgeois maze is hazardous. Echoing Thoreau, Fitzgerald outlines the precarity of wisdom in a society bent to industry: “Once one is caught up in the material world one person in ten thousand finds the time to form literary taste, to examine the validity of philosophic conceptions of himself, or to know what, for lack of a better phrase, I might call the wise and tragic sense of life.” One does not labor for the bourgeois maze and the burdensome material world. They are obstacles to the formation of literary taste, to the philosophical reckoning with self and, by extension, to a life wisely lived.

    Folly and wisdom mingle in these phrases and in these letters. By the wise and tragic sense of life Fitzgerald meant “the thing that lies behind all great careers . . . the sense that life is essentially a cheat and its conditions are those of defeat, and the redeeming things are not ‘happiness and pleasure,’ but the deeper satisfactions that come out of struggle.” Fitzgerald refers here to Shakespeare and to Lincoln. We are cheated by our mortality, by the obtuseness and malice of others and by our own foolishness. “To say ‘I will do valuable and indispensable work,’ ” and to do so against the grain, “is the part of wisdom and courage.” The work that is indispensable is more than the mere effort to write or to be an artist. It culminates in the painstaking acquisition of a style, not a pose and not a trademark but an internally excellent prose style. Work yields a style that wells up from within. “What you thought and felt,” Fitzgerald tells his daughter about the movement from living to writing, “will, by itself, invent a new style.”

    Fitzgerald was born with a gift for prose. In and after college, possessed of his gift, he gained a keen understanding of the literary marketplace. He had gone to college across the river from the center of American publishing. The Fitzgerald legend of the 1920s, of the man about town, arose because he was shrewd enough to construct it. Its constituent elements were: easy, accessible prose; well-made novels and short stories that had a flavor-of-the-month aspect to them, dispatches from a new generation; staged photographs and news stories that asked readers to associate the elegance of the author and of his wife Zelda with his fiction. This is the recipe of American celebrity more typical (with a few twists) of Hollywood. It is not atypical of American fiction — face, reputation, personalized relationship between the public and the famous individual. (It became more typical of writers under the impact of Fitzgerald’s legend.) In the 1930s, Fitzgerald’s friend and rival Hemingway would eclipse him by using the same tools of celebrity. Fitzgerald was at home in the Jazz Age, when conspicuous consumption and hedonistic excess were more in vogue than political zeal, self-styled manliness, or personal sacrifice. He was temperamentally too well suited for frivolity.

    Fortuitously, Fitzgerald never gave up on folly. One could imagine an alternative biography for him. He could have jettisoned his earlier self. He could have bid farewell to dissipation, a favorite word of his, and embarked on the journey of a wise man. Perhaps he could have evolved into an engagé writer of the 1930s, another Steinbeck documenting in bleak, hardened prose the travails of the Great Depression. Or he could have elaborated a “late style,” going where the wisdom-loving Tolstoy eventually went — away from illusions and away altogether from the gamesmanship of fiction. When he graduated from writing literature, Tolstoy mostly authored pamphlets and tracts on the moral and social improvement of society. Fitzgerald could have headed back to the Catholicism of his youth. Like Graham Greene or Flannery O’Connor, he could have woven Catholic notions of good and evil into his novels and short stories, and after the parties and the drinking and the meandering this could have been his badge of maturity. Yet Fitzgerald, who had so many ways to become older and wiser, seemed only to grow older.

    Skirting the pretense of wisdom, Fitzgerald the writer also had to escape the glibness of his early books and short stories. This was the laborious and uphill work that he mentioned to his daughter. His non-glib literary style would incorporate the antipodes of wisdom and folly — simultaneously lush, seductive, stylish and sober, subdued, meditative, moral. The style itself had three layers. First was an expository prose that channels poetry, that in its cadences comes quite close to being poetry. Second was the incorporation of literary modernism, which ennobles contradiction, tying contradiction to beauty. Third, Fitzgerald borrowed a narrative device from Joseph Conrad. This was to run a story through a narrator, to hold it at arm’s length and to orient it through a retrospective gaze, as Conrad had done in Lord Jim and Heart of Darkness. Thus could folly, the story, be regarded by wisdom, the narrative voice, an encounter that mandates a prose style as amenable to folly as it is to wisdom. It mandates a prose style of intricacy and complexity.

    In his letters to his daughter, Fitzgerald brings up Shakespeare and Ecclesiastes as poetry that she should read. Most of all, Fitzgerald writes to her about Keats. He conjures himself as a reader studying Keats’ “Ode to a Grecian Urn” until he “caught the chime in it and the exquisite mechanics.” Chime is a musical reference, and this word signifies an essential element of Fitzgerald’s prose style, its undergirding of poetry. (“Tender is the night” is a quotation from Keats.) From Keats and many others, Fitzgerald adopted his preoccupation with the sound and rhythm of words and with their coloration, a musicality of the word. The result is a prose style that is fabulously suggestive, with little intellection in it and without anything point blank — prose melodies drawn from the lyrical description of people and places. The chime that Fitzgerald heard in Keats is not there on the silent page. It sounds in the reader, awakening the reader to a private and subjective performance of feeling and meaning.

    Poetry instills music in prose, and as a model Keatsian poetry is minimalist. The words chosen — the machinery assembled by the poet/mechanic — have a delicate economy. Prose can wander if it is left to its own devices; it can pile up; and no author knows this better than the one who is paid by the word, as Fitzgerald often was. Dostoevsky wrote long novels in part out of financial need, and formidable as Dostoevsky the novelist is, he is not a first-rate prose stylist. He, like Fitzgerald, could churn it out. In his best writing, however, Fitzgerald was highly deliberate about his words — a kind of deliberativeness, of carefully chosen diction, that one associates with Keats. Imitation of poetry gave him the power to fold diverging moods into a phrase, an image, a word. Only the mechanics of poetry could generate a prose style that tolerates the diverging moods of folly and wisdom.

    Keats died in 1821, more than sixty years before Fitzgerald was born. Bits and pieces of the Romantic era entered into the Fitzgerald myth — Fitzgerald as the Byronic hero whose heart was tortured by love and who died before he should have; but in his prose style Fitzgerald was not a throwback. Rather than reviving Romanticism, he immersed himself in modernism. Though he never wore the mantle of an avant-garde experimentalist, he nonetheless extracted his stylistic tools from modernism: the evocation of a surreal world shaped and shadowed by the human psyche, and the eagerness to convey all that is discordant in the modern city and in the modern person. The tension and the energy of Fitzgerald’s prose style arise from his aesthetic of juxtaposition. Strange as it is for Gatsby to be trivial and great at the same time, a prose style attuned to the irreconcilable can express contradictions with clarity, and it can make them real. A modernist style freed from rationality brought Fitzgerald to the heart of the (not especially rational) interaction between folly and wisdom.

    Joseph Conrad inspired Nick Carroway, The Great Gatsby’s narrator. Without Nick, The Great Gatsby would have been a society novel like the ones that Fitzgerald had already published, This Side of Paradise and The Beautiful and the Damned. With Nick, The Great Gatsby becomes the mirror and the image in the mirror, the story and the memory of the story, the thing and its opposite. Nick’s sobriety and moralism are modified by Gatsby’s recklessness and shameless self-creation. Old at heart, Nick is a cautious Midwesterner who cannot condone the Eastern luxuries. Described by Nick, these luxuries are the novel’s archetypal attributes, the reason so many bars and clubs have been named after Gatsby. Conrad’s method of storytelling prompted Fitzgerald to operate in the shadows, between narrative and narrator, and in this space Fitzgerald’s style came into its own. It could convey the wish to be at the party and the regret that one was there, the wish to recall it all in detail and the wish to forget that it ever happened. A supple Conradian style helped Fitzgerald turn ugliness into beauty. The beauty proceeds from the folly, while the ugliness is what wisdom sees. For all its sheen and supposed glamor, The Great Gatsby is a critique of rich Americans and of the ugliness for which they are responsible.

    Tender Is the Night exceeds The Great Gatsby. It synthesizes the three elements of Fitzgerald’s style, employing a varied poetic range — ode, elegy, sonnet, epic, tragedy, satire, confession, ballad. Its modernism is self-evident. In Tender Is the Night, Fitzgerald makes a constant claim on freedom of language; its words very often struggle free from their conventional uses. Modernism also furnishes the organizational scheme for Tender Is the Night, a story broken into pieces: middle, beginning, end, beginning, middle. Gaps and disjunction dominate Fitzgerald’s canvas, and Tender Is the Night employs a Conradian narrator, one who goes unnamed. The novel’s narrative voice is omniscient and skilled at prose-poetry, the imperturbable and godlike voice of wisdom. The tale of human folly is entrusted to this voice, which without surprise, without outrage and without rancor seems to expect folly to run its usual course, and so it does.

    Starkly cautionary, Tender Is the Night is inviting to moralists. Dick Diver, a Rhodes Scholar, has been blessed with good looks, intelligence, willpower, and charm. He becomes a psychologist, a scholar and practitioner, marries a wealthy patient and slowly starts to lose his life’s thread. He finds himself in thrall to money, to leisure, and to drink. The scholarship trails off and the marriage unravels, Dick having fallen in love with a movie star, for whom he is simply one of a hundred youthful adventures. As many of his friends succumb to midlife despair, Dick follows along. His wife leaves him for another man, and he is banished less by poverty than by rootlessness to upstate New York. His ex-wife, who now and then pretends that “his career was biding its time, again like Grant’s in Galena,” knows that he is lost for good. Dick has traveled a cosmopolitan path to obscurity, to the nullity of a life in which everything significant has been mismanaged. The thief who stole his own promise, Dick is a fool who receives a fool’s comeuppance.

    Tender Is the Night upholds an elaborate architecture of folly-wisdom. Much as the novel might attract moralists, it is not moralistic. Its architecture has two planes, or consists of two relationships — between narrative consciousness à la Conrad and story, and between style and narrative consciousness. The filter for a story about fools (Dick is not the only one) is a narrative consciousness of luminous wisdom, neither naïve nor especially sorrowful, and a wisdom rigorously uninvested in condemnation. The wisdom of the narrative consciousness interacts with the novel’s style and with the novel’s high poetry. The interaction casts up an insight into mismanaged lives, which is that their folly can be restorative. The beauty in these lives — in all our lives — would not be there without the folly. Dick Diver’s folly is to have loved two women, both of them wrong for him. A wisdom of retrospect clarifies his every misstep, while the folly invests his mismanaged life with richness and with love. Dick’s folly, Tender Is the Night says to us in its style, corresponds to that which is best in him.

    Without being obtrusive or even very noticeable, the narrative voice regularly steps outside the story. It comments on its characters and on their evolutions. A knowing and unconfused voice, it wavers between sociology and philosophy, peering far beyond the characters’ passions and misdemeanors. The voice reminds the reader that, though it is set in France, Tender Is the Night is an American story, harboring American meanings, one of which concerns wisdom. As Dick says about Rosemary’s mother, “She has a sort of wisdom that’s rare in America.” The narrative voice confirms this rarity, suggesting that power and money and modern times, “the enormous flux of American life,” have fused into a mass unconsciousness. Americans are heedless, and they think they can get away with being heedless. The narrative voice observes a “tall rich American girl, promenading insouciantly upon the national prosperity.” Enjoying her paradigmatic prosperity, this American girl walks with insouciance, handmaiden to the unexamined life.

    Lacking cultural depth, Americans disappoint the narrative voice in Tender Is the Night. This is especially true of Americans in Europe. The narrative voice editorializes about a group of bored American tourists: “no stimuli worked upon them, no voices called them from without, no fragments of their own thoughts came suddenly from the minds of others, and missing the clamor of Empire they felt that life was not continuing there [in rural France].” Tocqueville, who worried about democracy as a dissolvent of nuance and therefore of the individual, could not have improved upon this description of American restlessness. Fearing the silence of their own solitude, they hope to mistake the thinking of others for their own thoughts. The narrative voice makes a similar point through Rosemary, who is American in her way of being unwise. She was “accustomed to seeing the starkest grotesqueries of a continent heavily underlined as comedy or tragedy, untrained to the task of separating out the essential for herself, [and] she now began to feel that French life was empty and stale.” (In a notebook entry in 1924, Fitzgerald wrote that “I’ve talked so much and not lived enough with myself to develop the necessary self reliance.”)

    Dick Diver and his wife Nicole come close to separating out the essential for themselves. The novel begins in 1925. The war is over and the Great Depression nowhere in sight, as Dick and Nicole summer with their gifted friends, living lavishly on the Cote d’Azur. The narrative voice explains that the “Divers’ day was spaced like the day of the older civilizations to yield the utmost from the materials at hand, and to give the transitions their full value.” No tragi-comic grotesqueries for them — not there, not then. They have made leisure civilized and rarified, “representing externally the exact furthermost evolution of a class, so that most people seemed awkward beside them.” In the word externally is the clue to the story. Internally, Nicole is still a psychiatric patient, still suffering from an abusive father, and internally Dick is unwell. He is wasting himself, looking back occasionally “with awe at the carnivals of affection he had given, as a general might gaze upon a massacre he had ordered to satisfy an impersonal blood lust.” 

    Underneath, Dick is yet another unwise American. As such, he wills himself past success and money and into the endless night of failure. His degeneration elicits no harshness from the narrative voice: it begets tenderness, even if the narrative voice does not indulge Dick. He is romanticized in the novel’s opening pages for the sake of contrast, so that his hell might be maximally dramatic. What the narrative voice tells us — with emphasis — is that Dick’s fall is his fault. No natural or external disaster covers him in misfortune. His folly is his erotic cluelessness, undeniably the same thing that Fitzgerald saw in himself and stated to his daughter — “the mistake I made was in marrying her [Zelda].” I made. The mistake I made, which is the mistake Dick makes twice in Tender Is the Night, is less the mistake of marrying then of falling precipitously in love. A modest two mistakes and the promising young man has reduced his life to “a perilous accident,” and to an accident that he is too weak and too unwise to survive. The peril and the accident expel him from the paradise — from the south of France in 1925. The novel’s narrative conscience is too stern to pity Dick for any of this.

    Dick goes astray in love, the narrative voice persuasively argues. Simultaneously, the novel’s style teaches us that Dick lives most expansively and most wisely in his love. The folly pushing his love forward undoes him, and it also makes him, robbing him of his self-discipline and revealing to him that life is poetry and poetry life. The contest between wisdom and folly plays out in this manner, back and forth, back and forth. Given Fitzgerald’s reverence for style, his genius for style, it cannot be said that wisdom triumphs over folly in this novel. Folly comes closer to triumphing over wisdom. It goes where wisdom cannot. It prospers where wisdom cannot. It enlivens in a manner that wisdom cannot. Adult life comes to fruition in the food for thought that folly gathers for wisdom. The wisdom would be pointless without the folly, antiseptic and unnecessary. Where wisdom is by nature astringent and melancholic, folly can be liberating and gorgeous, for folly recklessly affirms and acts and creates. In Tender Is the Night, its vast potential is realized not in narrative, not in character portrayal, and not in philosophizing about life and fate, but in the singular domain of literary style. 

    Two examples demonstrate folly’s splendor in Tender Is the Night. The first is the moment Dick falls in love with Nicole (around the time of World War I). She is a rich American girl and his patient at a Swiss sanitarium, and she is not at all insouciant. He tries to resist her, cognizant of being her doctor and of her being unwell, intuiting something of his eventual fate. He cannot resist, and “the impression of her youth and beauty grew on Dick until it welled up inside him in a compact paroxysm of emotion. She smiled, a moving childish smile that was like all the lost youth in the world.” The novel elaborates on this smile: “she smiled at him, making sure that the smile gathered up everything inside it toward him, making him a profound promise of herself for so little, for the beat of a response, the assurance of a complementary vibration in him. Minute by minute the sweetness drained into her out of the willow trees, out of the dark world.” 

    This passage unites detail, rhythm, and metaphor into a verbal medium at once meticulous and lyrical. It has the insistent motion, the grammar and the diction, of prose. There are pauses but not breaks. As in poetry, though, each syllable and each sound is calibrated for musical effect, the “compact paroxysm of emotion” doubling as a compact paroxysm of multi-syllabic accents. Metaphors fuel the climactic last sentence, a polished gem of expository prose. The willow trees donate their dolcezza to Nicole, and the world’s very darkness is drained away by her moving childish smile, less an enticement than a painterly image of love itself. It is all a poet’s homage to folly, for Dick happens to be making the worst mistake of his life. Yet his loss of self-control causes the world’s darkness to dissipate. Dick has enough folly within him to receive Nicole’s smile, while she passes — minute by minute — the world’s sweetness from the willow trees through herself to him. She is not robbing him of anything: she is bestowing the logic of beauty on his existence. Not to have experienced this moment would have been a mistake more grave and more enervating than the mistake Dick will make by marrying her.

    The second example concerns Rosemary, the femme fatale from Hollywood. Dick is married to Nicole; they have two children; and Rosemary is much younger than Dick. She is an object of desire who adores him and who is obviously not right for him. Again he cannot resist. Again he gives in. They cross a line in Paris — not quite into adultery but away from probity. It is the mistake that will definitively destroy Dick, the worst transition of his adult life, the point of no return, the cardinal error. Beset with emotion, Rosemary and Dick ride in a taxi with “no time to cry, and lovers now they fell ravenously on the quick seconds while outside the taxi window the green and cream twilight faded, and the fire-red, gas-blue, ghost-green signs began to shine smokily through the tranquil rain. It was nearly six, the streets were in movement, the bistros gleamed and the Place de Concorde moved by in pink majesty as the cab turned north.” Dick is turning onto a long series of false paths and dead ends.

    A study in foolishness, this passage lays bare the transformative power of love. They are traveling — Dick, Rosemary, Nicole, and their Parisian companions — from entertainment to entertainment. No one is sober, all of them are along for the ride. Paris is just a stage set to them. Dick and Rosemary enter another world in the taxi, falling “ravenously” on themselves, a world that seems an impressionist watercolor, a zone of magical adjectives, each quite simple and yet riotous in their profusion. A twilight that is green and cream fades into the city’s vibrant night. The forgiving tranquil rain distorts the fire-red, gas-blue, ghost-green signage into a shining smoky light. The majesty (pink or otherwise) cannot have been perceived by the two lovers, who are lost in their rapid embrace; the majesty is within them. They are the Paris twilight in movement. They are the taxi as it voyages through the Place de Concorde. Not-quite-consummated desire and the lights and bistros and ambient people of Paris get transformed (by means of an extraordinary style) into a set-piece work of art. This rampant aestheticization comes alive not against but through Dick’s folly, and not to have experienced this moment would have been a wounding and terrible mistake.

    Dick’s downfall, when it comes, has less to do with his ruined marriage than with his eventual inability to love. He is left with night and no signage, no Paris, no bistros. The denouement comes in Rome, where Dick and Rosemary meet and finally sleep with each other. It is “not a wild submergence of the soul, a dipping of all colors into an obscuring dye, such as his love for Nicole had been.” In Rome, Dick is flirting with emptiness instead of folly: “if he had to bring all the bitterness and hatred of the world into his heart, he was not going to be in love with her again.” Leaving Rosemary behind, Dick goes out to drink and is utterly miserable: “there seemed nothing to do but to go back to the hotel and lie down with his black heart.” “A vast criminal irresponsibility” burning inside of him, he continues drinking, gets into fights, and demeans himself. Dick does not progress from folly to wisdom in Tender Is the Night. He loses his capacity for folly and acquires no wisdom in the process. To be bereft of folly is to be bereft of wisdom, something akin to emotional suicide. Nicole, by contrast, wills herself into becoming healthy. She initiates an affair with a French aviator and, having been too serious in the past, she claims the laurel wreath of folly. Dick is left to contend with his black heart entirely on his own.

    Christian Gauss, Fitzgerald’s favorite literature professor at Princeton, once quipped that Fitzgerald resembled all three Karamazov brothers. He had an ascetic and spiritual side like Alyosha; he had a quizzical-philosophical-moral side like Ivan; and like Dmitri he was a hedonist. Fitzgerald may have contained multitudes, but whoever he was as a person, however riven or broken, he was not at all fractured or schizophrenic as a writer. His prose style synthesizes, it combines, it harmonizes, and on the printed page Fitzgerald could be — without cacophony — Alyosha, Ivan and Dmitri Karamazov. The harmony stems from the tonalities of his prose style, an impeccable harmony of the surface. This harmony is palpable and audible in Tender Is the Night, though it is a novel of depths. Precisely because the surface, the prose style, is so wondrously in harmony, the all-in-one Karamazov craziness of Fitzgerald the artist could be given free reign. In Tender Is the Night, chaos could be chaos and madness could be madness, and because of the laborious and uphill battle undertaken to find the right words, the right rhythms, the right images, and the right metaphors, neither chaos nor madness devolve into artistic bedlam. Fitzgerald applied a poet’s pen to the fabrication of a novel that must be twice as long as Gatsby, and a novel about people who themselves contain stubborn multitudes.

    Fitzgerald, who would not have disputed that folly is folly, indecorous and potentially lethal, uncovers the dignity of folly in Tender Is the Night. This dignity is not pleasure, not the desire to be entertained, not an addiction to the clamor of empire. Folly often brings pain and can easily issue in indignity, as it does for Dick. Dick humiliates himself with Rosemary by giving in to her allure, forcing himself into the role of the desperate older man. Folly’s dignity is more subtle and less familiar: Erasmus spelled it out in detail. Folly can coincide with intoxicants — wine, poetry, heroism, love — wisdom being meted out only to God. Intoxicants consumed to excess are poisons, and (with the possible exception of love) they are also temporary in effect. So, too, are they bound up with the dignity of a life well lived, that preoccupation of philosophers. Folly’s dignity inclines toward wisdom, and at the pinnacle of wisdom stands the ideal of a life well lived. Ivan Karamazov, the philosopher, should have learned more from Dmitri, the hedonist, who himself has everything to learn. In search of dignity, Alyosha is too young — in The Brothers Karamazov, the first volume of an intended though never completed trilogy — to understand that dignity and folly can and should be paired.

    In 1940, after Fitzgerald’s death, Zelda wrote a letter to Gerald and Sara Murphy, friends of the Fitzgerald’s, and to Harold Ober, Fitzgerald’s literary agent, that captures the dignified dichotomy of folly-wisdom in her husband’s life and art. In it, she described grieving for “his devotion to those that he felt were contributing to the aesthetic and spiritual purposes of life — and for his generous and vibrant soul that never spared itself, and never found anything too much trouble save the fundamentals of life itself.” He never took control of the fundamentals. In his incapacity, in his folly, he did not spare himself, he spent himself, without ever pulling back from the folly of an error-filled life. The merciless fundamentals did him in, but not before he discovered the aesthetic and spiritual purposes of life, a discovery that added up to no organized set of propositions, no immortal dialogues on justice or the soul, no tractatus philosophicus, and no theories of any merit. The discovery of these purposes, present just beyond the literal meaning of his words and most searchingly just beyond the words that make up Tender Is the Night, was contained, as it might be in a novel by Flaubert, within the style. In its quicksilver instability, this style wears the noble mask of wisdom, wearing it graciously and sincerely. Beneath the mask is the face of folly, which can approach and approximate wisdom. When it does, folly is wisdom with a human face and a human heart.

    Mourning Negative Space

    My estranged father’s death did not affect me as I had expected it would. I had been informed just two days before his passing that he was gravely ill. On the windless drive from France to Germany, somewhere in Belgium on the Sunday before the American elections, I was told he had died. My husband was driving us through a thicket of slow cars. He was the first person to hear me say it after receiving the phone call. “He just died.” We were three hours away. Our GPS predicted we would arrive at the hospital in Cologne where we expected to find him sedated by 6:43 PM. I had been looking out the window and my recollection now is of a mildly sunny pastoral view, like those from my childhood train trips through the flat corridors between Paris and the other side of the Rhine where he had lived since I was a teenager. 

    Just the previous week I had been told he did not want to speak with me or even see me one last time after receiving his terminal diagnosis. But his wife had offered me the option to visit him during his final drift from consciousness. Perhaps he would recognize me or even be roused to speak. A close friend of his predicted he had been clinging to life so he could have a final visit with me. I was told my visit might ease his passing. 

    The whole saga was bizarre. How could this man, whom I had not spoken with or seen in more than a decade, be dying? I had been in a state of apprehensive terror over the prospect of another Trump term, and hardly had the bandwidth to brace for another looming cataclysm, even for the passing of my father. It is hard to imagine the death of a man who bathed you and played with you as a child, made your favorite foods and told you when putting you to bed that he loved you; the death of a man who kept secrets from you, who hid whole lives from you while you grew up, who would invite his young graduate students to his living room and have affairs with them in the home you shared. There had been many lies and even more omissions that I would learn of over the years, so much that explained my mother’s outbursts throughout my childhood. 

    My estranged father was a mild mannered and gentle man. He would cry occasionally, and rarely raised his voice. This made the rare occasions when he had violent outbursts towards me even more disturbing. I recall with special clarity the time he beat me with a walking stick till it broke. 

    I had been playing with dolls while wearing one of my mother’s handbags over my shoulder. I cannot remember if I was also wearing her heels at the time. He came into the room, and asked me to hurry up or else we’d be late. “Get up now!” he shouted, which startled me. I began to put away the dolls and the toy tea set — it was aluminum, colored powder pink with magenta borders and I think some white rose patterning. I walked towards him in the doorway with my mother’s handbag swinging from my shoulder. He yanked it off as I passed and I asked, “Why did you take that off? I want to keep it.” He put the handbag down on a bench near the door.

    While he looked for his keys I picked up the bag and restored it to my shoulder. Enraged, he grabbed a wooden walking stick and struck me hard across my back with it. I screamed in pain and shock, and fell to the floor. He loomed over me and repeated the violence all over my body. I was shaking with terror and each strike felt as though it was cutting through my skin, which the bruises later would confirm. He had never hit me before. No adult had. I had always been the studious and obedient child. A primary school teacher had once told my parents that when boys pushed or hit me on the playground, I would never fight back. My parents said that the teacher found this passivity confusing and disturbing.

    The stick could not bear his wrath and it snapped mid-assault. He threw it down. He walked out of the door, and drove off in his car leaving me on the entryway floor. I was alone in the house, shaking and crying. After what felt like hours I relocated to my bed. Later I told my mother everything, and in tears she reassured me that I would never be staying with my estranged father again. Though he apologized profusely for what he had done, I felt numb listening to him as he explained his anger at himself and his shock at his own actions. On some level of consciousness it was clear to me that he had beat me because of the handbag, the dolls — that he had beat me because I was a girl. A girl, without the body to match.

    He had often seen me play with dolls or dress up in my mother’s accessories, and the most I could ever detect in his expression was a mild discomfort. Other children would mock me or ask in confusion why I played with dolls. Sometimes if someone was coming over while I was staying with him, my father would hide the dolls. “They don’t understand why boys play with dolls, and they will laugh at you.” 

    At about four or five, having never heard of gay people, or queer identity, and never having seen a person in drag, I began to find it uncomfortable to be referred to as a boy. It was deeply confusing for me. When I played house, I always wanted to play the mother.

    In the early months of kindergarten, I remember walking past a few teachers, two women and a man, and saw them looking towards me and laughing amongst themselves. My cheeks burned and a cold chill that I can still feel rippled through my body as I walked towards them, heart pounding. The man was swaying his body in an exaggerated way to mimic how I moved, and waving his hand to caricature my femininity. The women were both laughing. As they walked towards me their expressions shifted from mirth to warm smiles. They didn’t know I had heard them. “Are you not going to the playground?” one of them called out to me. I rushed to my desk in the classroom, relieved to discover no one else was there. The shudder of shame came over me and the chill gave way to a cold sweat. I wept. Why had these teachers, one of whom was my own, mocked me as so many of the children in my class did! 

    Usually the teachers would reprimand the other children for teasing me, and mine would intervene when the boys hit or pushed me to the ground. A boy once kicked me for no reason. I was just walking toward the swings, and as I fell a rock slashed my knee. The pain was sharp. Blood stained my pants. I started to scream at the sight of so much blood. The bully himself was stunned. A teacher called my parents, and I needed to be taken to a clinic where I was given stitches. The scar is still there, a permanent reminder of that day. “Why don’t you hit these boys back when they hit you?” my mother implored her child, whom she mistook for her son, her voice breaking with frustration and remorse and — what I only later could decipher in her expression — fear. Unlike most of the scars in my life, it has remained visible. 

    It would have brought me immeasurable relief to have understood who I was as a child, and to have known that children like me existed and that we were born this way. The affirming care I received as an adult was essential. It relieved a distress that had been a part of me since I was old enough to be self-aware. As early as seven or eight, I remember wondering when it would all change down there for me, even though at that age I could not remember having seen anyone else naked. My parents were concerned, but not as concerned as certain doctors who recommended running chromosomal tests on me to see whether there was something “wrong.” 

    At my father’s hospital I felt like I was moving out of time as I walked out of the elevator and down the corridor. There my estranged father’s wife stood, waiting to let me into his room with tears in her eyes. Regulation required her to remain there while I was in the room with his body. As I caught a glimpse of him, covered in a white linen sheet, it was suddenly like the numerous times when I would walk into his room when he was asleep, either to tiptoe and collect something, or to wake him up for some reason. There was no sound of him snoring, or even breathing, and that was different, but it seemed to me that he could still just be asleep. The nurse came in and said something to his wife in German, which I could not make out, other than it sounding like permission for me to approach him. “You were very dear to him, so you should know you are also very dear to me,” his wife said to me after a few minutes.

    How do you mourn a negative space?

    Night and Golden Stuff

    The Met on a cloudless Tuesday afternoon was not too crowded (the Vermeer room was empty for five minutes — a record, in my experience). We came to Rembrandt first. I entered his art with a helping of Malraux to guide me. He had written that Rembrandt was a brother to Dostoevsky and “one of the few biblical poets of Western Christendom, and that is why his painting, which does not illustrate his poetry but expresses it, encountered bitterer hostility than Franz Hals had to face.” His poetry “expresses” his painting — again that primal word. I hadn’t been able to make that connection even on the day I read Malraux — I had to see it myself, in person. Here were the familiar six late period paintings, ending with the vaunted Self-Portrait from 1660 and beginning with Aristotle Contemplating a Bust of Homer (The Toilet of Bathsheba is just before it) and going to Hendrickje Stoffels, then to The Standard Bearer, before the Woman with a Pink, and finally Man with a Magnifying Glass. What they all share is that burnished background chiaroscuro, so the figures — often in dour or dark garb, save Aristotle — emerge from the plane of the canvas like Ezra Pound’s words in Canto XVII:

    Flat water before me,
    and the trees growing in water,
    Marble trunks out of stillness,
    On past the palazzi,
    in the stillness,

    This image of Venice is perhaps unsurprising. This poetry might not express Rembrandt’s painting, but it portrays it.

    While looking at these paintings assembled in a certain trajectory, I came to see the haunting of Rembrandt by Rembrandt and the reverse-haunting of myself in the similarly dark portraits hung in a local faux Mexican fast-food restaurant of my youth, a chain called Zantigo. It held half-swarthy, half-kitschy paint-by-numbers works with a host of subjects similar to Zurburan and Velazquez — particularly the former, a key cog in my fossil record, as his large dark (six and a half foot-long) St. Francis of Assisi in His Tomb hung in the Milwaukee Art Museum, a bejeweled though rare trip of youth. Velazquez and Rembrandt have overlapped in the greater world in the centuries following — Malraux: “Idealized faces, realistic faces, Raphael, Rembrandt, and Velazquez were grouped together, in one collective style.” The Rembrandt paintings in the Met don’t have much in common (save the background) except as a series that New Yorkers may come to know. The sailor sea-blue wall backing makes a difference in the presentation (all the European paintings in the museum have color schemes for the specific country of origin). What goes on when I see the Rembrandts at the Met is hard to perceive, but put the words of Malraux in the atmosphere next to them and changes ensue. In the opening of his Museum Without Walls, he observes: “Inevitably in a place where the work of art, and at a time when the artistic exploration of the world is in active progress, the assemblage of so many masterpieces — from which, nevertheless, so many are missing — conjured up in the mind’s eye all the world’s masterpieces. How indeed could this mutilated possible fail to evoke the whole gamut of the possible?” The paintings compete with one another. So much of the Rembrandt six comes across from what is not there in the other more realist portraits in the room: works by Hals and de Hooch and Flinck, with a couple of quiet Dutch still-lifes by Maes, plus a “follower” of Rembrandt’s more intriguing canvas.

    When one looks long enough at a painting things emerge, say the squarish parcel of canvas with a more slick-grained patch of black just above Aristotle’s head that is fairly impossible to see in reproductions. This glaze is a major part of the painting — in a dark honey way it highlights the exigencies of the emotional power of line and coloring that seem to be contained in the clothes, the hat, and the withered, though still strong, face of one great man contemplating another (in stone) — the ruffle of his enormous shirt lending weight to a human body that the bust lacks (Malraux: “Rembrandt showers his [figures] with light so as to raise them above man’s estate”). The massive bunchy folds of the garment (off-white off the black of his torso) suggested something else grand and uncommon. Though the man is Aristotle, he is no Aristotle that we have ever imagined — he is dressed in seventeenth-century Dutch clothing. So he is simultaneously in and out of time — himself and more and other. But this eventually gave way to another painting, a smaller one, the portrait of Hendrickje Stoffels — it was at this picture that I looked most during the visit, though I did not know who she was. I just kept gazing at her face, which isn’t so much looking as floating forth caught in some commotion, but standing in to show herself to the viewer like few other figures can — a fresh degree of love.

    One cannot fully grapple with Rembrandt until our hairs get stippled with gray and our face has been under the sun for fifteen-thousand days. Helen Cixous details Rembrandt’s subterranean ways: 

    Where does Rembrandt take us? To a foreign land, our own.
    A foreign land, our other country.
    He takes us to the Heart. [. . .]

    — A scene by Rembrandt (let’s take a family scene, or a scene like this one, a scene of “corporation”), what gives it its force — by which it takes us, pushes us, pinches us, caresses us, is, beyond courtly war exchanges — beyond pretenses, codes . . .
    — that it always occurs at the same time in the cellar in the cave or in the forest, in these great and somber prehistoric cathedrals where our colors, our drawings stir, where attraction and repulsion shine, like lanterns in our obscurity. It is there (to the bottom) that Rembrandt leads us. Taking the red staircase, down to the bottom of ourselves, under the earth’s crust,
    This world is full of night and of golden stuff. The stuff of night is a clay. A mud. It is still moving, imperceptibly.
    No landscape and no “furniture” either. Instead of furniture, “shelving,” “shelves” of color. Bands, brush strokes.

    I often don’t know what I’m seeing until I read another’s words on the image before me. Cixous is more than generous in this regard. Malraux keys in the overall, Berger details the emotions, and Cixous nails the landscape, which is “no landscape.” “It is there (to the bottom) that Rembrandt leads us. Taking the red staircase, down to the bottom of ourselves, under the earth’s crust” — this is why I could not get a full sense of Rembrandt until fifty — how do you know at twenty-two that the bottom of ourselves is under the earth’s crust?

    The War on Foreign Students

    When Rümeysa Öztürk, a 27-year-old Turkish student, was snatched off the street by masked plainclothes police officers and put in the back of an unmarked car, she wasn’t marching on the streets of Istanbul protesting Turkey’s authoritarian president, Recep Tayyip Erdoğan. She was walking in America in broad daylight, about to meet friends for dinner in Somerville, Massachusetts. Ozturk’s “crime,” so far as anyone can make out, is to have co-authored in March 2024 an op-ed in a student newspaper criticizing Tufts University’s unwillingness to divest from companies with ties to Israel. After the article’s publication, Rümeysa Öztürk’s name and photo were published on the website Canary Mission, which documents individuals who “promote hatred of the USA, Israel and Jews on North American college campuses.”

    For months now the Trump administration has been ramping up its cynical war against freedom of speech under the guise of combating antisemitism on college campuses. In his “Executive Order to Combat Anti-Semitism” of January 30, President Trump promised to deport Hamas sympathizers: “To all the resident aliens who joined in the pro-jihadist protests, we put you on notice: come 2025, we will find you, and we will deport you. I will also quickly cancel the student visas of all Hamas sympathizers on college campuses, which have been infested with radicalism like never before.” During a visit to Guyana on March 27, Secretary of State Marco Rubio bragged that the administration had cancelled over three hundred student visas thus far. “We do it every day, every time I find one of these lunatics,” he stated. In May, the Trump administration revoked Harvard’s certification for accepting any students from abroad.

    At the time of her detainment, Rümeysa Öztürk was a Fulbright Scholar on an F-1 student visa completing a doctoral program for Child Study and Human Development. She had previously completed an M.A. in Psychology at Columbia University. She is exactly the kind of student the United States ought to covet, not reject. And yet for exercising her right to free speech she was arbitrarily detained outside her home, put in the backseat of a car, and then, in violation of a court order, flown over fifteen hundred miles to an ICE detention center in Louisiana. “It’s fully constitutionally protected speech, no crimes at all,” said Esha Bhandari, an ACLU attorney who is representing Öztürk. “If this is allowed, anyone could be punished for anything they say.”

    I came to the United States in 2007 as a foreign student. I could hardly believe my luck. Like everyone else who grew up in the 1990s in northern Europe, my cultural upbringing was decidedly America-centric: American television, American music, American books. In high school I had a poster of the Brooklyn Bridge on my wall; I would lie beneath it on Saturday mornings reading Saul Bellow and listening to Thelonious Monk, dreaming of one day living in an American metropolis. And suddenly I was there: first in Miami, then in New York. On my morning commute to classes I would crawl out of the subway at Union Square and walk down Fifth Avenue. Every morning, without fail, I turned to see if the Empire State Building was really there behind me.

    One of the many reasons the ongoing assault on educational institutions and students’ civil liberties is so heartbreaking is because it is a betrayal of the very ideals many of us not born here most associate with life in America: openness and tolerance. Why would any American want to tear up the admiring image of America abroad? Contrary to the claims of conservative culture warriors, American campuses, in my experience of a handful of them as both a student and an adjunct professor, are largely inclusive and reflective spaces in which students are prepared for the responsibilities of democratic citizenship. And yet we should not let the current administration’s brazen actions delude into thinking things were fine before. It was former Columbia University President Minouche Shafik who permitted the New York City police to enter campus and brutally conduct mass arrests of student protesters last year. And neither should concern about political and intellectual insularity and dogmatism at colleges and universities be dismissed out of hand. Everyone stands to benefit from an educational environment in which free thought and free speech is actively encouraged.

    But let’s not delude ourselves: the Trump administration’s attack on universities and students is no misguided plea for educational reform or viewpoint diversity. It is a nihilistic attempt to sow fear and chaos, buoyed by a decades-long campaign by the right to undermine American institutions of learning. “The professors are the enemy,” as Vice President Vance said in 2021, echoing Richard Nixon. This folkish, nativist dislike of anything cultivated or foreign makes international students easy and obvious targets. According to the Associated Press, more than 1200 foreign students have had their visas inexplicably revoked since March, leaving them at risk of deportation. Following court challenges and resistance from federal judges, the administration abruptly reversed those terminations and instead issued new guidance expanding the reasons international students can have their legal status terminated.

    The release of Rümeysa Öztürk on bail on May 9 offers hope — for now. Clearly, this administration will go to extraordinary lengths to bend the American justice system to its will. In the meantime, many foreign students have left the country. And why not? The process of applying for and being granted a student visa is intimidating enough as it is. I could never quell a flutter of anxiety every time I traveled back to Copenhagen for the holidays, all too aware of holding a non-immigrant visa that did not guarantee me a right of entry at the border. But the great good fortune of receiving an American liberal education was more than worth it. It played a significant part in my later decision to become an American citizen and participate in the public life of my adopted country. John Dewey’s claim that “a society transforms uninitiated and seemingly alien beings into robust trustees of its own resources and ideals” has always held a special resonance for me.

    I was therefore shocked, and deeply saddened, by my own sense of relief when my youngest sister recently decided not to apply to American colleges. I told her I thought it was a wise decision under the circumstances. How many other young people like her, or like Rümeysa Öztürk, have reached similar decisions? If ever America was exceptional, it was in part because young people from all over the world aspired to come here and study. No longer, I fear. The Trump administration has put students on notice. The damage done is incalculable. We are all the poorer for it.

    The Other Obliteration: 
A Report from the West Bank

    In August of last year a video was posted on X by the Israeli human rights organization B’Tselem in which four masked settlers, three of them wielding clubs, can be seen walking onto a Palestinian man’s land. One settler, wearing a sheet of white cloth tied around the lower part of his face, is recorded insisting that the land, and therefore the home and the herds on it, had been bequeathed to him by his forefathers to whom God had given it millenia earlier. The Palestinian owner of the land and the home and the sheep says, in English, “What do you want?” The settler replies, also in English, “I want to dance with you, man.” The Palestinian says, “I’m not your bitch.” The settler replies, “You look sweet. You are my bitch. And you look sweet. You look so sweet.” And then he walks menacingly around the man in a circle before saying “I would be happy to sit with you in jail someday. I would be happy. You know Sde Teiman? Sde Teiman!” And he continues, in Hebrew, “Rape in the name of God, as they say. Understand? Rape in the name of God.” And then he makes a kissing noise before the video goes black. 

    The settler was referring to the violence committed by Israeli prison guards against inmates in the detention center at Sde Teiman, an Israeli military base in the Negev. One of the horrors perpetrated was systematic rape. (B’Tselem published a report which revealed that detention centers were used as “a network of torture camps for Palestinians.”) The settler speaking in the video is named Shemtov Luski. The Palestinian he was threatening is Hamdan Ballal. You may have heard of him. Earlier this year he stood on stage at the Dolby Theater in Los Angeles to accept an Oscar for the documentary film No Other Land, which he co-directed. You may have also heard that on March 24, 2025, Ballal was brutally beaten by an Israeli settler and some Israeli soldiers. The settler kicked his head “like a football” while attacking his village. That settler was Luski. After the attack, Ballal was charged with “throwing stones at Israeli soldiers,” arrested, and held for twenty hours blindfolded on the floor beneath blasting air conditioning. Luski was not charged with any crime of any kind. 

    Ballal told CNN that each time new soldiers rotated onto guard shifts, they would kick, punch, and beat him with a stick. Ballal doesn’t speak Hebrew, but he could hear them saying his name and the word “Oscar.” From this he surmised what anyone who has been in Israel since the Academy Awards ceremony has seen for themselves: Israelis are extremely angry about the movie that he made. “I realized they were attacking me specifically,” Ballal told reporters after his release. No doubt he was right in his assumption, but that doesn’t mean that the treatment he received was rare or unusual. After all, he didn’t have to win an Academy Award for Luski to attack him the first time. 

    On the day that Ballal was released — his face marked with bruises and his shirt spattered with blood — an Israeli activist named Dafna Banai had driven to Palestinian villages in the West Bank delivering food and water to Palestinian shepherds and their families so that they would have something with which to celebrate Eid al-Fitr. (Owing to crushing poverty, exacerbated by conditions since October 7, food is hard to come by in the West Bank, and water even more so.) After she returned home, Banai told me that “every single family I saw had at least one person in it who was severely injured by settlers. Every single one. I saw cracked skulls, I saw broken arms.” 

    Israeli settler terrorism is hardly a new phenomenon. Banai, for instance, has been going into the West Bank for over two decades to protect Palestinian shepherds from Israeli settler violence. And as soon as she started regularly practicing this form of activism it became evident to her and her colleagues that Israeli soldiers and police officers were not interested in doing anything to stop the settler violence. “Our job is to protect Jews, not Palestinians,” one soldier told Banai in the early 2000s. 

    But over the past few years, and accelerated dramatically since Donald Trump won the American elections in 2024, the Israeli government has been using settler terrorism as a tool to push Palestinians off land in the West Bank. The government has been pioneering a new strategy for Palestinian displacement, utilizing what they call “agricultural farms” or “shepherding outposts.” The strategy is simple and effective. The Palestinian shepherds live in the open fields of the Jordan Valley because their herds require grazing lands. As a consequence of the requirements for raising their livestock, they control more land than just the land on which their houses were situated. Settlers, in collaboration with the Netanyahu government, realized that they could do the same thing: they could construct these shepherding outposts next to Palestinian shepherding villages and force out the Palestinian inhabitants through terror tactics while also controlling the land radiating out from their outposts. 

    Before this strategy was implemented, the primary tool for displacing Palestinians in the West Bank was what we now call lawfare, organized by right-wing Israeli lawyers and often funded by their American allies. The subject of Ballal’s film was precisely this kind of legal oppression: the film details the past twenty years of legal disputes about Masafer Yatta, a village in the West Bank which the Israeli government claims can be legally destroyed to use the land as a live-fire military training zone. In a country in which the highest law in the land is written by and for Israelis, the Israeli court system hardly ever results in legal victories for Palestinians against the Israeli government. But why waste years litigating the case in court and incrementally destroying the villages when one can simply employ “shepherds” to terrorize Palestinians until they leave of their own volition?

    A few days after I arrived in Israel in early March of this year, I drove the short distance from my apartment in Yafo to Ramat Gan to meet Dafna Banai. She is a small, fiery woman with decades of experience as an activist — an “angelic troublemaker,” to borrow Bayard Rustin’s phrase. Banai goes to protests and makes posters for them: she was among the first group of activists who held up photographs of the children killed in Gaza at the anti-war protests in Tel Aviv, a seemingly small gesture but with such enormous social implications that the police immediately banned the posters and then were forced to lift the ban. Most of Banai’s activism takes place out in the fields and the villages of the West Bank. She is a member of the various ragtag groups colloquially called Protective Presence. Its members are volunteers, most of them Israeli Jews, who go in shifts to different Palestinian villages in the West Bank and keep watch so that Israeli settlers will not attack the Palestinians who live there. 

    I accompanied Banai on one of her missions. The drive from Ramat Gan to the checkpoint in the West Bank took about half an hour — only thirty minutes reach an alternate reality. In the thinking of diplomats and pursuers of peace, the West Bank was supposed to be the ground for what would one day be a Palestinian state. Now the highway on the Palestinian side of the checkpoint is punctuated with enormous billboards in Hebrew beckoning settlers to build houses and settle the land. Banai and I visited three villages that day — Duma in the mid-Jordan Valley; Bardela, in the upper eastern part of the Valley close to the Jordanian border; and Ras El-Ein, all the way down at its southern tip — and these billboards greeted us at every point. 

    At the beginning of our drive it wasn’t clear to us whether it would be possible to enter any of the villages that we hoped to visit. Since October 7, the Israeli government has been erecting gates at the entrances of most of the Palestinian villages in the West Bank and locking them without warning, so that their residents cannot drive out and cannot plan in advance to be picked up by a car on the other side of the gate that descends without notice. This is a kind of incarceration. Duma was still gateless — at the start of the war the Israeli government had blocked Duma’s entry road with an enormous boulder which had since been moved — but it was always possible that entry would be somehow barred. 

    At regular intervals we could see small white buildings atop distant hills. These were the Israelis’ shepherding outposts, the nuclei of what were intended to become enormous suburban residential Jewish neighborhoods, which we also spotted, though more sporadically. Each small white hut houses a family and a settler “shepherd,” whose job is to use his own herd, provided by the Israeli government, to muscle out the Palestinian livestock. Every shepherding outpost is also outfitted with a drone — the first thing the “shepherd” does in the morning after prayers is fly the drone to locate the closest Palestinian shepherd — and ATVs (all-terrain vehicles) which they are allocated to drive into Palestinian neighborhoods. These were the violent men I had seen in the videos. And most of these huts are stationed on a hill surrounded by what are now fields of tall grass. Every single one of those empty fields once abutted a Palestinian village, the residents of which had been forced out. All of the grazing land that had grown back into the undulating fields through which we were driving testified to the successful eviction of Palestinian shepherding villages and the steady eradication of Palestinian culture and life. 

    Within the first half hour of our trip, Banai’s phone buzzed and she tapped the green button on her car’s touch screen. A sweet, raspy male voice spoke in Arabic on the speaker system. “Hussein!” Banai smiled. She and the man chatted back and forth, jumping from Hebrew to Arabic — both are fluent in both languages. From the half of the exchange that I could follow, I surmised that this man was waiting for us in Duma. Banai explained after hanging up that the man on the phone was Hussein Dawabsheh. Israelis who have never met a Palestinian may recognize his name, because in July 2015, settlers firebombed the home of Hussein’s daughter Rahem, while she, her husband Sa’ad, and their two children were sleeping inside. One child, Ali, burned to death. He was eighteen months old. His father died days later, and Rahem died of her injuries five weeks after the attack. The remaining child, Ahmed, was adopted by Hussein and lives in the house towards which we were driving. While Hussein came and went from the court proceedings of the terrorists who had attacked his family, a group of Jewish settlers jeered and taunted him in Arabic: “Where’s Ali? There’s no Ali. Ali is burned! On the fire! Ali is on the grill! Where is Rahem? Where is Sa’ad? Too bad Ahmed didn’t burn too!” At about the time Itamar Ben Gvir was invited into Netanyahu’s government, it was reported that he had attended a settler’s wedding at which celebrants printed out photos of Ali and took turns stabbing it with knives. 

    Over the decades that Banai had been volunteering in the West Bank, she and Hussein had become close friends. “It’s Ramadan, so my grandson is sleeping,” Hussein told me in Hebrew after welcoming us inside. He and his wife keep the fast during the holy month but insisted on making us tea, which we drank in their living room beneath an enormous photograph of their murdered daughter and grandson. There was a gentle kindness in Hussein’s eyes and voice that juxtaposed grotesquely with the horror that destroyed so much that he loves. 

    After draining the last of our tea we drove from Duma northward to Bardala, which is encircled by a newly paved road. This is another strategic innovation: the Israeli government has paved the road very tightly around the village, cutting off its inhabitants from the grazing lands that its shepherds depend upon, and then had made it illegal for the Palestinians to cross the road. Banai expects that the same method will be repeated in other villages; years of experience have taught her that once a strategy is deemed effective it is rapidly institutionalized. Bardala’s gate was open and we drove along the unpaved main road (it is illegal for Palestinians to pave new roads) towards the broken Palestinian water pump (it is illegal for Palestinians to fix their water pumps). On the way we stopped at the townhall so that Banai could say hello to the mayor. He greeted her warmly and began explaining animatedly in Arabic that the Israelis had given him notice that he must demolish the newly built second floor of his home, for which he did not secure a permit, or they will tear down his entire house.

    Next we visited Bardala’s single Palestinian water pump, which has been dry for years. It stands as a physical testimony to one of the most debilitating and effective Israeli methods for immiserating Palestinians: dehydration. In summertime the Jordan Valley simmers at an average of a hundred degrees fahrenheit. Water is essential for the Palestinians and for their herds, and the Israeli state has made water maddeningly difficult to secure. Israel has criminalized Palestinian hydration in many ways, and most of them have been in place since the Israeli occupation of the West Bank in 1967. All the water in the West Bank is managed by Mekorot, which means Sources, Israel’s national water carrier, which is not a private company but a company owned by the Israeli government. In November 1967, months after Israel’s occupation of the West Bank, the state issued Military Order 158, which stipulated that it was illegal for Palestinians to construct any new water installations, extract water from any new source, or develop any new water infrastructure without a permit from the Israeli army. Palestinians are also not permitted to deepen existing wells without obtaining a permit. These permits are all but impossible to obtain.

    Israel also controls the collection of rainwater in the West Bank. Palestinians are not allowed to build rainwater cisterns without permits. Existing Palestinian cisterns, pipes, and wells are routinely smashed by settlers with impunity, and Palestinians are prohibited from fixing the damaged infrastructure as well. The Israeli settlements next door, and sometimes inside Palestinian villages, over-pump to provide water for settlers, who enjoy green lawns and swimming pools next door to the yellowing Palestinian fields. On a daily basis the average person in a Palestinian shepherding village consume twenty-six liters of water a day, whereas the average Israeli in both the West Bank and the rest of Israel consume an average of two hundred and forty-seven liters of water a day. Thirty-six percent of all Palestinians in the West Bank have access to running water on a daily basis, while one hundred percent of the Israeli citizens living in the occupied territory enjoy that basic resource. Bardala, unlike most of the villages in the West Bank, once had a working pump because it sits on top of a natural reserve of water. Its residents are lucky that there are nearby springs which they can visit when the army does not cordon them off. 

    Banai had promised a Palestinian shepherd that she would visit him in the fields inside Bardala — the ones within the village that Palestinians could still use for grazing. But on our drive up the hill towards the open grass, a white SUV with an Israeli flag flying on its roof whipped around in front of us and cut us off. Four men in Israeli military uniforms, each with an enormous gun slung across his chest, got out of the car. The menacing bunch brandished their guns at Banai and insisted that it was illegal for us to be there. She repeated several times that this was nonsense — she knows her way around the place as well as the thicket of regulations that apply there — but the men merely gripped the guns and repeated themselves until she finally desisted. They followed behind and escorted us all the way out of the village and onto the main road.

    On the way from Bardala to Ras El-Ein, Banai pulled onto a gravel path and drove up a steep hill at the top of which were the remains of what had once been a village. Banai explained that many of the villages that she used to visit were destroyed after their inhabitants finally capitulated to settler demands and fled. But the village that had once stood on this hill was one of only two that she had actually watched being dismantled by its residents. Banai saw an old man weep on the ground. He said he would rather die on the hill than leave it, that he had been a shepherd all his life and he could do nothing else. Finally, though, he had been dragged along with the rest of the village to the closest city with space for them. There the families that had lived side by side for so long were divided up into the different neighborhoods where they could find housing. Now they languish there along with all the other unemployed and impoverished city dwellers, hungry, poor, but farther at least from the settler terrorists’ reach.

    When we arrived at Ras El-Ein, an Israeli lawyer from a human rights organization was sitting in a circle surrounded by Palestinian shepherds, one of whom was translating on behalf of the rest. The day before, settlers had invaded the village, stolen its herds, and attacked one of the men present. The lawyer dutifully wrote down his account and then packed up and left — presumably back across the checkpoint, a universe away, a world where rights are recognized, where human beings have legal resources — she drove to a world with a future. 

    Dafna Banai was in Tel Aviv on Independence Day in 2001, when she read a story on the internet of a little Palestinian girl in a village in the West Bank. All of the villages in the West Bank at that time — the Second Intifada was raging — were in total lockdown, but this little girl had a disease that was causing sudden and terribly painful convulsions. Word got around that she was suffering but could not get medications or medical treatment because of the lockdown. She was, Dafna read, screaming in pain. 

    Banai followed the story obsessively all day. At the time she had resolved never to go into the West Bank because she did not want to be an occupier, and because the conditions in the West Bank — the visible inequality, the double society, the apartheid — are so evident and so grotesque. She did not want to assert her own superiority before the law by going into the Palestinian territory in which, due to her Jewishness, she has more rights than the people who live there. So she stayed still. The hours heaved from one to the other, and towards evening she got word that former Prime Minister Shimon Peres’ assistant had been briefed about the Palestinian girl’s situation and that he had sent an ambulance to take the girl for treatment to the closest hospital. Dafna closed her computer for the evening, and the first message of the next morning alerted her to the fact that when the ambulance arrived the girl was dead.

    The shock exploded the sensible rationalization which had kept Banai from crossing the Green Line. A week later a friend of hers, named Yakov Manor, called to tell her that somebody in the same village in which the girl had died needed medications and that he, Manor, had acquired them and needed a partner to make the delivery. (Protective Presence volunteers always go in groups of at least two, for protection and for witness.) Banai agreed to accompany Manor on what would become the first of many such excursions into the West Bank. The pair waited at the edge of the village for the residents to come and pick up the medications, and while they waited a settler in a pick-up truck spotted them. He drove up next to them and asked, “Are you okay? Do you need help?” The pair told him they were fine and that they needed nothing, so he asked what they were doing there. They explained and he promptly opened the door to his car, drove forward and then quickly backwards, so that the door slammed into Yaakov and knocked him over. Then the settler jumped out of the car, pulled out rifle, pointed it at Dafna and said “I’m going to kill you.” She passed out. When she came to, she heard the settler shooting at the Palestinians who had by then arrived to retrieve the promised medicines. Nobody was hurt, and the settler got into his car and drove away. Years later Banai saw a photograph of him in the newspaper and read that he had been arrested for murder, but escaped abroad.

    That day changed Banai’s life. The first two years after Banai started her work she would talk about the debilitating conditions in the West Bank incessantly. Surely the knowledge would operate on others as it had operated on her! But it was still possible for her to live just a short ride away from an entirely different and cruel universe. Most Israelis live that way, that close. All this information is certainly available to them, but they do not want to know it, just as they want not to know that their country has waged a genocidal war on the people of Gaza for the past year and a half. And then there are the Israelis who insist upon knowing but cannot bear to stay, with the weight of that knowledge reasserting itself afresh each day. Living the way Banai and her colleagues do risks living in a state of protracted pain verging on hysteria. Such stress and strain are not sustainable: hysteria brings nobody closer to a solution. Indeed, these crimes were conceived by their perpetrators calmly, they were crafted by politicians with clear eyes, level heads, and complicated maps and budgets. Of course the radicals are useful to the bureaucrats, but the radicals do not write policies, they merely carry them out. Every single recounted action committed by an Israeli settler, soldier, or police officer in the West Bank was the implementation of a policy, the result of planning. The settlers, as so many activists and experts have repeated to me, are the arm and the face of the Israeli government in the West Bank, just as the military is in Gaza. 

    Since December 2024, following Trump’s victory the month before, a committee within the Israeli government called the “Higher Planning Council” has been convening weekly — as opposed to quarterly, as it had before — and at each meeting it approves the construction of anywhere between several hundred and over a thousand new housing units for Jewish neighborhoods in the West Bank. In the first three months of this year, Israel approved more housing units than it had in all of 2024. As of the end of April 2025, 15,190 units have been approved just this year. Thanks to Bezalel Smotrich, the Higher Planning Council no longer requires approval from the Minister of Defense in order to accelerate unit construction. Meanwhile, in the same period, at least ninety-five percent of all Palestinian building permit applications are rejected. Before 2016, an average of ten units were approved for Palestinians per year. But between 2016, after Trump’s first victory, and 2020, after Biden’s, Palestinians submitted 2,550 building applications, of which only twenty-four were approved.

    In this premeditated manner Israel has seized at least 786,000 dunams of land — fourteen percent of the West Bank’s total area — over the past three years. Since 2022, seventy percent of all land seized by settlers has been taken under the pretext of these grazing activities. Settlers have spoken publicly and explicitly about this strategy. As Ze’ev Hever, the executive director of the Israeli settlement organization Amana, put it in a settler newspaper in June of 2023: “Our primary goal is to maintain open land. Our key tool for achieving this is the agricultural farms, [he means the shepherding outposts] which span an area 2.5 times larger than the combined area of all settlements.” Between 1996 and 2023, a total of seven outposts or “agricultural farms” were established each year in areas B and C of the West Bank. (Land in the West Bank is divided into Area A, under the control of the Palestinian Authority; Area B, under the joint control of the Palestine Authority and the Israeli government; and Area C, which accounts for sixty percent of the West Bank and is under total Israeli control.) And in the three years in which seventy new “agricultural farm” outposts have been approved, sixty Palestinian shepherding communities have been dismantled.

    As Banai showed me on the ground, Israel has been busily paving new roads across the West Bank which Palestinians are prohibited from crossing. Hagit Ofran, a specialist from Peace Now’s Settlement Watch program — a woman who knows more about settlement expansion than virtually any person outside of the government — estimates that these roads now block Palestinians from thousands of acres of land. Hundreds of illegal roads have been paved over the past year — over 114 kilometers — in order to facilitate settlement expansion in areas B and C of the West bank. Until recently most of the shepherding outposts have been in Area C, but settlers are beginning to encroach on Area B as well. In 2024, at least fifty-nine were built, at least eight of which are in Area B — the area controlled by both Israel and Palestine.

    These roads run like veins over much of the terrain, and they are the most visible evidence of the fact that the settler terrorists in the videos which circulate online are not vigilantes whose crimes are merely tolerated by the Israeli government, but emissaries of the government sent to the region to do its inhuman work. Ofran has reported that, since the war in Gaza, for which most of the reservists in the country have been called for service, every single settlement now has reserve soldiers who operate as an armed militia. These are the soldiers in the videos who accompany the settler shepherds on their attacks.

    On the drive back from Ras El-Ein to Tel Aviv, Banai’s daughter phoned. They chatted on speakerphone about family plans. When she hung up Dafna told me that her daughter is a psychiatrist and that she has been volunteering to work with survivors and families of victims of the Nova Festival, the site of the greatest atrocity among the Palestinian atrocities of October 7. Then she paused and said she had thought a lot about leaving Israel and moving to Berlin, so that her children and grandchildren would not have to grow up under a racist and violent government. (There has been a 287 percent surge in Israelis leaving the country since October 7 — nearly eighty-three thousand left in just the 2024 calendar year.) But she knew that wherever she went she would be thinking about this land, and the farther away she was the less good she could do. 

    Dafna Banai’s sober strength thwarts the ugliness on all sides. It is comforting to pretend that only anti-Semites care about the welfare of Palestinians, and that only anti-Semites accuse Israel of apartheid, of occupation, of genocide, or whatever other words you think fittingly characterize all you have just read. Maybe that seems true in Manhattan, but Hussein Dawabsha does not live in New York, and neither does Smotrich, Ben Gvir, Netanyahu, or any of the other relevant actors and victims. Zionism demands that we fix our eyes on Zion, and learn to understand that the settler terrorist who proclaims his right to rape in the name of our God is a deadlier enemy than the non-violent keffiyeh-clad students on university campuses, no matter how despicable their prejudices may be. 

    The Israeli policy toward the Palestinians is a policy of political, cultural, and physical obliteration. Right now Gaza is rubble and the West Bank is pockmarked with settler terrorist outposts. But in ten years, if this Israeli regime succeeds, all of Gaza and the West Bank will look like Efrat, a suburban town over the Green Line in the West Bank which, forty years ago, was condemned as illegal by international bodies, but today is globally recognized as de facto part of Israel and cherished as a model by religious Zionists everywhere. That is what total obliteration looks like. It is invisible. Not even the rubble remains. The tanks in Gaza and the gun-gripping settlers will be replaced by bourgeois families with Acuras and swimming pools (complete with guns in the pool house, of course), unless the boring work of political victory is mastered by liberals in Jerusalem and Washington. The settlers are forming their committees. So should we.

    Kulturkampf on the Potomac

    There is perhaps no more reliable measure of the health of a political order than the degree of autonomy that culture enjoys within it. Culture, high and low, may be construed as the sum total of the feelings and the values of a society as they are expressed by means of beauty (or by their opposite, if that too is an aesthetic ambition) — the spiritual life of humanity as it submits to form. Breakthroughs in culture, including strictly formal breakthroughs, have been breakthroughs in human freedom. That is not because anything and everything needs to be said and shown, though a case can be made for such wanton laissez-créer, but because the decision by artists to exert their skills upon inner and outer materials that have not yet been the subject of such exertions multiplies the evidence of what human spirits can accomplish when they are unfettered and their powers of creation are left alone. Even people who cannot hear the structure of a Coltrane solo can hear the freedom in it (and learn from it that there is no contradiction between freedom and structure). 

    Culture generally advances by means of shock, which is its method of expansion and enlightenment. The shock eventually becomes platitudinous as the innovation is accepted and acknowledged to have been a gift, an enlargement of a horizon that was in need of enlarging. Our understanding of life has often been heightened by works that were once regarded as blasphemous. Consider the ravishing amorality about love in Così fan tutte, or the genitals of Christ that Michelangelo painted on the wall at the Vatican. If you could consider them, that is: not long after Michelangelo died a colleague of his, acting on the ferocious criticism that the master’s voluptuously neo-pagan figure aroused, painted them over with the image of a loincloth, for which he became known as “the breeches-maker”; and a direct line runs from this orthodox rectification to, say, the refusal of the Corcoran Gallery in Washington, D.C., to host the Robert Mapplethorpe show in 1989, a capitulation to pressure from a breeches-maker from South Carolina named Jesse Helms. 

    But danger is culture’s middle name. Freedom promises the giving and taking of offense. Umbrage should be welcomed as evidence of liberty. The only safety that a polity owes its members is physical safety. Too many people now mistake censure for prohibition; but when I criticize what you say, it has nothing to do with your right to say it. Go ahead, be wrong. You are free to err, as am I. And please say it all, so that I may know where we stand. And pardon my antagonism, but the unpleasantness of our exchange must be endured for the sake of mature self-governance. Civility is a fine practice, but not if it represents an early form of self-censorship, or an avowal that comity is our most cherished ideal. 

    The rules by which culture operates are its own and nothing else’s; or so they should be. Even when cultural expressions are difficult or obscure, they add to what we know and do not subtract, and the same is true of the most rudimentary three-chord love song that enhances the oldest emotion in the world. Who ever made out to Verklärte Nacht? And the intrinsic independence of the imagination — except from its own internal distortions and blockages, which are owed to its confinement in the early circumstances of a particular psyche — is the exhilarating equivalent of the intrinsic independence of the mind. Many thinkers, most trenchantly Moses Mendelssohn, have shown that, strictly speaking, belief cannot be compelled. You cannot force someone who does not agree with your opinion to agree with it; you can only force him to pretend that he agrees with it, and thereby produce not a convert but a hypocrite. In some circumstances this hypocrisy is a clandestine heroism. (The annals of the Spanish Inquisition, and of the crypto-Jews that it created, abundantly document this doubleness, which is a characteristic feature of life under tyranny.) External conformity is not internal conformity unless there is internal agreement, which cannot be imported from outside, when force stupidly attempts to do the work of persuasion. This is true even now, when the technological instruments of manipulation and demagoguery are staggeringly strong. 

    The problem, the crisis, the tragedy is that the impotence of power before the inner lives of other people is not generally welcomed by those with consolidated power. They do not grasp why culture cannot be directed or legislated or decreed. They are offended by whatever will not bow and bend. After all, the autocrat’s most precious verification that he has made it to the top is the constant sensation of the supremacy of his will. And so the history of authoritarianism is riddled with political campaigns against cultural liberty and cultural diversity. These campaigns, indeed, are one of the first signs that a dictatorial regime, or a would-be dictatorial regime, has arrived. 

    The essential multiplicity of cultural expression, which can serve as an engine of tolerance, stands as a formidable obstacle to the uniformity that autocratic (and theocratic) regimes desire. They harbor a top-down fantasy of perfect consensus. Their intellectuals’ screeds against “relativism” are at bottom complaints against the limits of political power in matters of belief, against the failure of absolutists to impose absolutism. Shouldn’t it be enough that they are in exclusive possession of the truth? If there is only a single truth and only a single authority, what is all that other noise? Silence it! Or better yet, bring it into line — synchronize it with power. 

    One of the most central, and most swiftly implemented, concepts of Nazi ideology was Gleichschaltung, which means synchronization, regimentation, integration, coordination — the unification of disparate elements in government and society under a single ideological description, so that all diversity and dissonance is banished and smoothed out into a seamless and coercive general will that reflects the ideals of the regime and nothing else. As soon as it had the power to do so, the Nazi regime applied the concept to the German civil service, which had to be synchronized racially, and to German culture, which had to be synchronized with the official standards — reactionary, anti-modern, Volkisch — for art. In Lingua Tertii Imperii, or The Language of the Third Reich, known as LTI, the dazzling analysis of the Nazi vocabulary that he composed in 1957, having lived the entirety of the war in Germany and documented it secretly in his diaries, the philologist Victor Klemperer noted that the word Gleichschaltung “is so horrendously representative of the basic attitude of Nazism that it is one of the few expressions accorded the honor of satirization” both by clergymen and cabaret performers. He recalled a tour guide in a forest telling his group “that they had now been gleichgeschaltet with nature, a remark which earned him a round of applause.” Klemperer was especially struck by the dehumanizing effect of the term, by “its tendency to mechanize and automate” individuals with its strident insistence upon the dissolution of distinctness. 

    The coordination of culture with power did not begin or end with the Kulturkammern of the Reich. And with this allusion to the Third Reich I do not mean to wade into the swamp of analogies, the touchy terminological debate about what sort of authoritarianism has dawned in America. There are more urgent things to discuss. Trump is certainly not Hitler, but then Hitler was very distinguished in his field. It is odious enough that Trump is Trump. Yet it does not seem inaccurate to say that we are witnessing the emergence of what Karl Dietrich Bracher called “the total leadership state,” as we come to be ruled by the leader’s executive orders, his doctrinaire but also arbitrary edicts. And there is no denying that one of the earliest abuses of Trump’s power in his second term was his immediate and thoroughgoing program of cultural synchronization — at the Kennedy Center for the Performing Arts, at the National Endowment for the Arts, at the National Endowment for the Humanities, at the Smithsonian Institution, at the Institute of Museum and Library Services, at the Woodrow Wilson International Center for Scholars (including the Kennan Institute), at the Library of Congress, at the libraries of the military academies (in Annapolis Mein Kampf is in and Maya Angelou is out), at libraries across America, at National Public Radio and the Public Broadcasting Service, at government websites that provide a “woke” account of American history (read: a recognition, and even a celebration, of the incontestable fact that America is not all white, as established, say, on the Pentagon website, with its putatively “woke” documentation of Jackie Robinson and the Tuskegee airmen), at Arlington National Cemetery (graveyards are important repositories of culture), at the Voice of America and other information agencies, and of course at the universities, where a war against higher education has been peddled as a war against anti-Semitism. (Imagine, defending Jews by denouncing intellectuality! Thanks.)

    Trump — or more precisely Trump’s Sharpie, his little black scepter — has nullified debate in American governance. There are screaming matches in the halls of the West Wing, but there are no sophisticated discussion of policy options beyond a collective nodding of docile heads at every statement of the president’s preferences, and the only thing that stands a chance of reversing a policy is a change in the president’s poll numbers or in his mood. Otherwise it is all a heavy shower of diktats: the potentate scribbles his strange EKG-like (or better, lie-detector-like) signature and then displays the document as if it were written on ancient parchment, and then the sycophants around him scurry to execute, and that is the entirety of the executive branch of the American government. The legislative branch, which is half supine and half impotent, is a disgraceful sideshow. The entire plot of American government is now the president versus the judges, and all the other discourse does not matter.

    Trump’s cultural encyclicals attempt to bring cultural institutions into line not only with his exclusionary opinions but also with his philistine tastes. Yet the violation does not lie in the president’s philistinism. It lies in his authoritarian assumption that his own tastes should have any pertinence whatsoever to the nation’s culture. Who gives a damn what he likes? But powerful people (and rich people) like to believe that their tastes should rule. Dictators and other creatures of power have always been literary and theater and film and music critics, sometimes with disastrous consequences. They care deeply about entertainments and their social effects, and are acutely mindful of the power of images and words to ridicule and to subvert. It is one of the most counterintuitive but reliable facts of political psychology that the people with the most power are the people with the thinnest skin. Authoritarians are often afraid, and unlike the rest of us they can banish their fear by banishing its causes. Iconic figures fuss about icons (and some of them have had religious or secular institutions to do this for them posthumously). Frightened kings are dangerous but they are also funny. There is something delicious for the rest of us, who enjoy no extraordinary protections against life’s perils, that the conceit of invulnerability heightens every intimation of vulnerability. One almost feels sorry for them, the big shots behind so many layers of safety, who cannot abide even the slightest disturbance. Still, the rule must be: the more power, the less pity.

    Nothing ruins an autocrat’s day so much as the discovery of a limit to his power. He prefers, and even expects, to wake up omnipotent. And so, as the fantasy of presidential omnipotence (“the unitary executive” is the chin-stroking euphemism) invades the realm of American culture, it is important to proclaim throughout the land that political authority confers no cultural authority, just as it confers no religious authority. There is no president of culture. The domain of politics is a secular domain, a material domain, an immanent domain, a domain for the common defense and the general welfare and nothing more — a site for citizens and not for souls. Introduce the soul and you introduce trouble. Politics, and more specifically political office, is incapable of providing answers about the meaning of human life. When it seeks to do so, when it practices what was briefly known thirty years ago as “the politics of meaning,” when it intrudes upon the purposes of art and philosophy and religion, upon the purposes of culture, a great warping occurs. 

    Our political leaders are not our pastors or our teachers, except in the unlikely event that they show signs of genuine wisdom, and even in those rare Lincolnian circumstances their influence beyond politics is owed to qualities of their person and not to qualities of their office. Their personal ideals of life deserve to command no fealty, though they may inspire assent. When an attempt is made to impose them upon us, officially, de haut en bas, we owe them, or their purveyor, a sustained effort at refusal. This disjunction is more established in the case of religion, where the president’s personal savior may be just a kindly ancient carpenter to me, but it holds also in matters of culture. A program of cultural synchronization reflects a deep contempt for culture, a denial of its irreducible significance (which is itself a highly contested proposition now, as the reactionaries reduce it to metaphysics and the progressives reduce it to economics), a false assertion of commensurability, and sometimes an early warning of oppression. 

    A Washington tale. In 1985, Ronald Reagan gave a state dinner for Rajiv Gandhi. The entertainment was a recital by Mstislav Rostropovich, the renowned Russian dissident cellist who was beloved in the capital. Reagan was a consummate vulgarian, and it came as no surprise that he fell asleep during the master’s concert. There is a droll photograph of the president in the front row dreaming in black tie. The important point, however, is that he invited music that bored him — that he did not mistake his own taste for the best taste, or for an appropriate cultural response to an august occasion. He recognized a good above himself and wished to represent his country with it. (I recall my perplexity a decade or so later, when I learned that the entertainment at a state dinner at the Clinton White House would be Whitney Houston — was she really the best we could show the world? — but the dinner was for Nelson Mandela on his first visit to America as a free man and the president of his country, and so anything about that event could be joyously forgiven.) 

    A love of the low does not warrant a demotion of the high. Must popular culture devour everything? Is it too absent from contemporary life? A decade ago I committed an act of generational treason — I knew only one or two people guilty of the same betrayal — when I was revolted by the award of the Nobel Prize in Literature to Bob Dylan. That, too? He has written imperishable songs, and even a few art songs, but literature is literature, and literature of the more exquisite and more exigent kind is inadequately honored. There must be a place in posterity reserved for the likes of J. M. G. Le Clezio, the 2008 laureate in literature, whoever he is. I rather like the fact that I never heard of him.

    Popular culture, long may it flourish, has become an imperialist enterprise. Trump has his own cultural roots: he is the product not of business or politics, but of professional wrestling, beauty pageants, reality television, and metropolitan Roy Cohn-like mob worship. Yet the problem for American culture is not that he is a vulgarian. The president would have no right to impose Schoenberg on the nation, either. His aesthetic judgements must be completely irrelevant. (As are mine, which is one of the reasons that I rise to defend the inclusion of Maya Angelou in libraries. From the perspective of cultural freedom, she is no better or worse than Wallace Stevens.) One of the most essential characteristics of culture is its dispersal: it travels as far and as wide as the technologies of communication will allow. It is everywhere and it has many capitals. There are no central authorities, at least none that can be justified on cultural grounds or as boons for culture. 

    “The democratization of culture” is an old slogan about the praiseworthiness of open societies, but it invites some intellectual pressure. It must not denote a process of levelling in the name of equality, so that “elite culture” comes to be scorned and we wind up in the Caesarist predicament in which we find ourselves now. Equality is a political notion, not a cultural one. The democratization of culture is achieved not by its popularity but by its ubiquity — by the ever-increasing availability of more levels of culture to more strata of people. This dream of universal accessibility, hindered perhaps by the market but never by the state, is in its way a system of merit, as it exposes as many expressions as possible to as many people as possible, so that all of the latter can judge all of the former for themselves. This is how the late Mario Vargas Llosa put it in 2002:

    It is necessary to democratize culture, but that also has its risks, if that means that we make ideas banal in order to make them accessible to everyone. That is not democratizing culture but rather corrupting it and replacing it with a caricature. The democratization of culture can only be understood as the creation of conditions that facilitate and promote access to culture for those who are prepared to make the necessary intellectual effort to enjoy and enhance their lives through culture. And democratization should ensure that everyone should have this opportunity.

    Opportunity, or oxygen. Culture is a challenge, not a compliment. Moreover, the mental effort of which Vargas Llosa speaks may not be rewarded with edification or affirmation; culture makes no promises, except for the promise of non-trivial expanses of time. So many of our confusions are owed to a spurning of intellectual work — to spiritual sloth. Is it “elitist” to prefer artists who set themselves more difficult goals and proceed to meet them — to prefer Shostakovich to Prokofiev, or Sinatra to Manilow, or Hopper to Wyeth? And is it “populist” to deny the significance of actual differences in talents, so that they matter less in the evaluation of art than provenances? In Trump’s Washington, the answer to the latter question is yes. We are presently governed by the untalented and the incurious and the ineducable, who tastes have been hallowed in their own eyes by their throbbing sense of their own marginality. (It is the oldest comedy in town: the marginalized of 1600 Pennsylvania Avenue.) 

    I know, I know: the prevailing taste among the liberal mandarins of culture also do not reflect only the finest aesthetic ambitions, as the travesties of the art market regularly demonstrate. They have their pets, too. When I read the New York Times, I begin to wonder whether there is a mediocre black artist in all of America. But the liberal cultural institutions are not remotely as exclusionary as Trump asserts, or as he plans to make them become. Trump’s refusal to respect the limits of the realms, and so many of the glories within them, is of a piece with his inability, a sociopathic deformation, to recognize any boundary or standard outside himself to which he must answer. He liked Cats, so let them eat Cats. (His vice president is on record that in Ohio they do.) As if any political liberal or cultural highbrow ever set out to deprive the republic of Cats.

    We are all a little tacky in our tastes; pity the person without guilty pleasures in the arts. There is something cold and hard about the Adorno-driven literature on “mass culture,” about the “culture industry” industry: mass culture is, in actuality, what delights many millions of people, who take away stimulating and enchanting ideas about life from works that are not by Debussy. Vulgarity is often a close cousin of vitality; and the homogenizing pressures of the entertainment executives notwithstanding, not all its emotions are counterfeit. For this reason, it has a strong claim on the sympathy of humanists. I melt at the sound of the Five Satins and Little Anthony and the Imperials and Dion, and gladly drop whatever I’m doing at the sight of The Girl Can’t Help It and (shame on me) Pootie Tang; I remain weak for Rihanna, though a little grumpy about her low musical productivity; I find respite in Jason Statham’s affectless campaigns for justice; nearly any page of Dumas and Haggard and Sabatini and Cain and Elmore Leonard is good enough for me. Art Garfunkel’s Central Park rendition of “Bridge Over Troubled Water” is forever a tremendous experience, and there are moments in Andrea Bocelli’s Milan version of the theme from Gladiator that sound to me like the greatest song Puccini never wrote. And so on. 

    But I hasten to stipulate that my own pleasure is not the only pleasure there is. An open society is a society that always includes and even encourages bad taste. I mean, other taste. For years I have had to live with venerations of Norman Mailer and Katharine Hepburn and Jerry Seinfeld and Keith Jarrett and Beyoncé and Anselm Kiefer and Stephen Sondheim and Wes Anderson; I have suffered, but so be it. For wherever one parks one’s brow, everything will be found. The plenitude is the point. And snobbery at whatever level (Hank Williams? Are you kidding? Lefty Frizell!) (Tennstedt’s Mahler? Are you serious? Horenstein’s!) is an attempt by people with no respect for their own uncertainty, and no patience for the formation of their own tastes, to hide a perfectly understandable state of confusion behind the anxious enactment of a specious clarity. Cultural snobbery is social intimidation disguised as artistic discrimination. 

    If I can hear the symphony that I wish to hear, it does not bother me at all that in the theater next door people are swooning over Hamilton. Let a thousand tickets bloom. This is not to say, of course, that there are no distinctions of aesthetic quality between people’s pleasures. Tolerance should not have the last word on artistic standards: like equality, tolerance is a political concept, not a cultural one. Within and between all the levels of culture, there must be criteria of better and worse, and these criteria should be thoughtful and even philosophical, and of course may be contested. I admire the man who notices that the harmonies of the Righteous Brothers are lovelier than the harmonies of Crosby, Stills, and Nash, and that the formlessness of Ornette Coleman is more rigorous and more soulful than the formlessness of Albert Ayler, and that Grace Hartigan is a bore but Lee Krasner is not, and that (with the exception of Mahalia Jackson’s “Trouble of the World”) John Stahl’s early film of Imitation of Life is deeper than Douglas Sirk’s later one, and that Spohr’s chamber music is an utter delight but Schubert’s chamber music is — well, obviously. A denial of aesthetic distinctions should not be allowed to take shelter behind an argument for pluralism. Anyway, the president’s plan is to abolish any pretense of pluralism, within and between the cultural forms, on grounds that have nothing to do with artistic considerations. The scandal is not that Trump’s favorite acts may play the Kennedy Center: book them, and let the box office render its verdict. The scandal is that the targets of his biases (please give a thought to the Trocks!) may no longer play the Kennedy Center, which is a soft form of censorship.

    The titanic struggle between “populism” and “elitism” is disfiguring our culture as well as our politics. Trump’s lowest-common-denominator plan for the Kennedy Center, his proposed usurpation of the high by the low, is designed to strike a decisive blow against the takeover of the entirety of American culture by us over-educated pinheads and our coterie tastes. But the stereotype is ludicrous. A bit of empiricism is in order and I have done some research. I have made a brow-driven study of the Kennedy Center honors. Between 2010 and 2024, they were awarded to Merle Haggard, Jerry Herman, Paul McCartney, Oprah Winfrey, Barbara Cook, Neil Diamond, Sonny Rollins, Meryl Streep, Buddy Guy, Dustin Hoffman, David Letterman, Led Zeppelin, Herbie Hancock, Billy Joel, Shirley MacLaine, Carlos Santana, Al Green, Tom Hanks, Sting, Lily Tomlin, Carole King, George Lucas, Rita Moreno, Cicely Tyson, the Eagles, Al Pacino, Mavis Staples, James Taylor, Gloria Estefan, LL Cool J, Norman Lear, Lionel Richie, Cher, Reba McEntire, Wayne Shorter, Hamilton, Earth, Wind, and Fire, Sally Field, Linda Ronstadt, Sesame Street, Dick Van Dyke, Garth Brooks, Joan Baez, Debbie Allen, Joni Mitchell, Bette Midler, Lorne Michaels, Berry Gordy, George Clooney, Amy Grant, Gladys Knight, U2, Billy Crystal, Barry Gibb, Queen Latifah, Dionne Warwick, Francis Ford Coppola, the Grateful Dead, Bonnie Raitt, Arturo Sandoval, and the Apollo Theater. Alongside these artists, the award was presented to Bill T. Jones, Yo Yo Ma, Natalia Makarova, Martina Arroyo, Patricia McBride, Seiji Ozawa, Martha Argerich, Carmen de Lavallade, Phillip Glass, Michael Tilson Thomas, Midori, Justino Diaz, Tania Leon, and Renee Fleming. 

    An arduous process of quantification — I mean counting — yields this: sixty-one “popular” artists, fourteen “classical” artists. Admittedly the rubrics are imprecise and the hierarchies are vexing. Where do Sonny Rollins and Wayne Shorter belong, aesthetically speaking? Surely not with Gloria Estefan and Lionel Richie. (Jazz is always the art that defies the categories.) Millions of people who admire Yo Yo Ma have never heard his versions of Bach’s solo suites for cello. Film is indubitably a popular art, but the man who made the Godfather movies is not exactly a pulp artist. And there are no artistic categories in which Oprah Winfrey may be said to have distinguished herself, though she has raised celebrity worship into an art. To be sure, there is no denying that the names of Lee Greenwood and Kid Rock are missing from this roster of immortals, but that is an elitist oversight that will soon be corrected. 

    The conclusion is clear: by 61–14, the lowbrows have it. A wipeout. The president’s view of the Kennedy Center — and I have not discussed the institution’s regular programming — is preposterously incorrect. Demotic tastes — including country music, the alleged soundtrack of MAGA authenticity — have been plentifully satisfied at the Kennedy Center. The institution is not expiring from a surfeit of Ligeti. Yet there is another way to interpret the information that I have just presented. Look again at the list. I have a hunch that in Trump’s coarse head, when he surveys the talent that appears on those stages, there are two other genres that appear alongside the genres of classical and country and rock and rap and jazz and so on, two genres that are more encompassing and less improvisatory: the genres of white music and black music, of white art and black art. Of course those are not genres at all. They are illiberal notions that disfigure both the right and the left. But the salience of such a classification in the mind of the president — comrades, are you still opposed to color-blindness? — is a horror not only for the culture but also for the country. (Lawrence Welk, thou shouldst be living at this hour!)

    Like everything Trump does, his cultural interventions are conceived as acts of restoration, as rescues in an emergency. He is going to make American culture, too, great again — and as in all the other realms, “again” means going backwards, like to coal and to oil. Now, nostalgia is always an important factor in the formation of taste. There is no cultural expression that makes one happy in quite the way that the cultural expressions of one’s youth make one happy. In my own case, I am swiftly brought to joy by the neolithic sound of the Easybeats and Tommy James and the Shondells (the long version of “Crimson and Clover” is a neglected masterpiece) and Mitch Ryder and the Detroit Wheels and the entire oeuvre (we used that term in Flatbush a lot) of the depraved Phil Spector, and by the Rise Stevens recording of Carmen and the Mario del Monaco recording of Otello. (My parents gave me those LPs in their big square boxes and I still recall the moments at Fortunoff’s on Livonia Avenue in Brownsville when they placed them in my quivering hands.) I feel a tingle every time I pass Monet’s Garden at Sainte-Adresse at the Metropolitan Museum of Art, not because it is one of his greatest pictures but because the museum acquired it when I was a boy and the papers made a big deal of it. I raced off to the subway to see it, and I remember thinking: there it is, and if they say so. The rule, then, is that the earlier I heard or saw something, the lovelier it must be. I was completely dead to the charms of Frank Sinatra’s recordings with Tommy Dorsey until I saw the lit-up look on the face of a friend who had grown up with them in Chicago in the early 1940s: the individual bliss of the individual past. There is no aesthetic aura like the aura of memory, though the latter cannot confer the former. So backwards is an inevitable and dependably magical direction in the appreciation of art. (There is also the backward gaze required by the stewardship of tradition, about which Trump cares nothing.) If only Fred Trump had adored Wozzeck!

    Like all reactionary attitudes toward culture, Trump’s Kulturkampf is premised on a static conception of it — or more accurately, on a desire to deny the conspicuously dynamic character of culture and return it to an infinite repetition of the entertainments that existed in the era before the changes of which Trump disapproves. Those egregious changes were social and political as well as cultural, which is why Trump’s priorities in culture may be plausibly interpreted also as an expression of his larger hostility to the civil rights revolution. This sanctified stasis — as if culture was not evolving also in the good old days! — is a source of blindness to the achievements of the present, which would be too obvious to state except that I know cultivated people who have not been to the New York City Ballet since Balanchine died because it will never be that good again, full stop. And strictly speaking, it likely won’t. I was once one of those people, until some years ago I beheld splendid performances by the company, even though Suzanne and Peter were not on stage, and I felt like a fool for my self-impoverishing decades of dogmatism; and even when the dancers danced poorly I could tell the dancer from the dance. (How else could I feel confident in criticizing them? Yeats was wrong about this.)

    Evanescence is an inalienable attribute of the performing arts, even where there are scores and recordings and films. In culture there is no full stop. One must live in one’s time. The aesthetic life is supremely a life lived in the present, because it is comprised of experiences. And there never was a moment or an era in the history of culture, not in fifteenth- and sixteenth-century Florence or in early twentieth-century Vienna, that consisted entirely, or even chiefly, of brilliance; the picture has always been mottled and mixed, and incandescence has always co-existed with junk. 

    Trump’s politicization of culture will provoke a response in kind. The left certainly has a long and glittering history of political art. And the spirit of protest has certainly produced masterpieces in all the arts, except that masterpieces are not the point of protest art. Such works are made not to delight, but to persuade; to induce not wonder, but rage. Protest art is contrived to drive the spectator into the street, so as to join other like-minded spectators, whereas the objective of non-political art is not a joining but an individuating. It is contrived to make one shun the public for the private, the sphere of action for the sphere of contemplation. In political art, aesthetic quality matters less than rhetorical efficacy. It is almost pointless to lodge a formal complaint against a work of political art, since it is not primarily consecrated to form. Indeed, beauty in a work of political art is mainly a diversion, a cunning stratagem for glamorizing a doctrine or sneaking it into the spectator’s standpoint under other pretenses. (This was certainly true of the services that the arts performed for the church, and consider also the artistic reputations of Eisenstein and Riefenstahl and Oliver Stone.) And it is never the case that your posters are propaganda but my posters are art. All political art is propaganda, regardless of one’s political sympathies.

    “They won the war, but we had the best songs,” was Phil Ochs’ verdict about the 1960s. He was a wickedly funny and wrenchingly lyrical and ideologically radical man whose work deserves to be liberated from the Dylan hegemony, and unlike many of the protest singers of his time he was also genuinely political. (For many years I welcomed interns to The New Republic by making them listen to “Love Me, I’m a Liberal,” and never mind that it slandered the house creed.) There is no reason not to deploy art in the service of justice, however one defines justice. Happy is the man who has known the exhilaration of singing along in a cause. And of laughing along with others in the ridicule of the powerful, even when the details do not add up. (Who remembers MacBird!, with Stacy Keach as Lyndon Johnson?) Especially given the complete degradation of oratory in our times, principles may be more stirringly represented in melody and imagery — in culture. 

    Beware, however, of mistaking a refrain for an analysis. A stirringly represented principle is not yet a policy. Political art, even when you concur with its politics, is the enemy of nuance, but governance is almost all nuance, at least when it is scrupulously practiced. And the satisfactions of protest, which are considerable, can easily issue in complacence, in an illusion of effectiveness, in intellectual laziness. (Macbird! was funny, and the war in Vietnam was a nightmare, but Lyndon Johnson was not an entirely despicable figure. His signature is on the civil rights legislation.) If ever there was an object of protest who deserved to be depicted grossly, it is Trump: measure for measure, no? But the temptation must be resisted — or indulged and then resisted — lest cultural mockeries be confused for political strategies. Our way out of this vale of meanness lies in votes, not in epithets; in politics, not in culture. What is required of us now is an almost unimaginable sobriety.

    All art is political: is there anybody in America who does not think so? If so, as Ochs used to sing, I wanna see him, I wanna wish him luck, I wanna shake his hand. The irony about the idea that politicized art of one kind must be met with politicized art of another kind is that it misses an even more decisive artistic statement against political power: that art essentially escapes the grip of power, on its own, of itself, owing to its nature, by the force of its intrinsic independence, its ontological autonomy, which is not retracted by the banal facts of its social origins and which thwarts the designs — the synchronizations — of politics. Those who make the case for the political character of art believe that they are elevating it to a plane of necessity that it otherwise lacks, but this is just another sorry instance of the damage that the slavery to history, the politicization of life, does to life. On the day when peace comes and justice with it, art will be exactly as necessary as it always has been, because the material conditions of existence are only some of what we must confront as the souls-in-bodies that we are. Art of the non-political variety, non-politicized culture, is precisely what establishes the terrain on which we may gather the inner resources for sustaining a struggle against the crimes of power. 

    Artists may sometimes need to be liberated, but art never: it begins and ends free. It is beyond the reach of the despots. In our time this was the supreme teaching of the Russian poets under Stalinism. They were unfree people writing as free people; their persecutors, if they did not murder them, or until they murdered them, were no match for them. (And even then . . .) If it is appropriate to reach for the metaphor of martyrdom with which to describe them, then they were martyred for the invincibility of art. Please forgive my fustian: for a characterization of these masters it is the sheerest socialist realism. The most definitive articulation of this unshakeable internal grandeur — a subtle analysis of it and a ringing example of it — may be Andrei Sinyavsky’s essay “The Literary Process in Russia,” which appeared in 1974 in the first issue of Kontinent, an émigré dissident journal that was later translated into English and other languages. Every writer ought to read it.

    I first met Joseph Brodsky in the late summer of 1979 at a symposium at New York University, and by the end of the symposium I loved him. The theme of the discussion was politics and art. I did not yet know that he had an impish streak and enjoyed a passing intellectual perversity, and on that afternoon he, the hero who did hard labor in a Soviet prison camp and was immiserated in a Soviet psychiatric hospital and issued that immortal retort in that courtroom in Leningrad and was forced by policemen onto an airplane into exile — he chose to make a somewhat unexpected argument against the art of protest. I will never forget it. The problem with protest art, he said, was that it was still in thrall to the state. In the thralldom was the servitude. A negative relationship had replaced a positive relationship, but a relationship persisted; and as long as it persisted, in one way or another, the state won. 

    A protester, notwithstanding the morality of his cause, remains trapped within a fate that the state has dictated. For this reason, Joseph declared, the only true protest poem is a love poem. He could imagine nothing more powerful than its sovereign indifference to power. And he recited a short love poem in Russian, which I did not understand. Joseph was not opposed to protests, of course, or to cultural protests, and years later he wrote a bitter protest poem for my pages against American indifference to the atrocities in Bosnia; instead he was insisting severely upon the boundary of politics, and upon the spiritual freedom that precedes political freedom and therefore readies us to confront the abuse of political power. There was nothing unworldly or precious about Joseph’s happy fanaticism about the sanctity of art: we once raised a glass to one of Reagan’s large defense budgets. 

    But now we must also defend the right to protest and the political role of the streets, whatever the cause. There can be no inconsistency here: either we all can march or none of us can. And the delegitimation of protest — particularly student protest, which is as American as avocado toast — is one of the central aims of Trump’s war on higher education. Every admonition against the politicization of culture must therefore be accompanied by a reminder of the nobility of politics, of the right of the people peaceably to assemble and to petition the government, or any other oppressive and unresponsive body, for a redress of grievances. The climate of freedom that can be established only by politics affects even the most solitary and apolitical artist. The only politics that protects the apolitical is democratic politics.

    O, for the days when all that impeded the unconstrained experimentations of culture were corporations!

    The Canary, the Historian, and the Ukrainian War

    I have a friend who takes other people’s suffering as her own, and almost physically. When she visited Babyn Yar — the place where Kyiv’s Jews, thirty-three thousand men, women, and children, were shot in the fall of 1941 — she described being torn by excruciating pain. Her experience reminds me of Simone Weil, who died in London in 1943, a year after she left Nazi-occupied France, refusing to eat because of her compassion for prisoners of the Nazi camps. Like Weil, my colleague has mystical experiences. Her health is frail, and she has experienced clinical death. From that time on she has claimed she could see the future. I am a rational person, and normally the last to believe such claims, but there was one episode in August 2021, when we were drinking coffee on a summer terrace in our native city of Lviv, in western Ukraine, when she told me that this was “the last peaceful summer.” She predicted the date when Russia would launch its invasion, erring only by a day. After the war started, she moved to Krakow. I have since met her there, and she told me when and how this war would end. I keep her words to myself, because I do not wish to expose her to derision. I can only say that with the development of events at the front, and after Trump’s victory, her forecast looks very plausible.

    My friend is a poet. In our part of the world, poets are believed to have a gift for prophecy. The greatest of them are even called national prophets. This is in contrast to us, the historians: we can barely deal with the past, so what could we possibly say about the future? Still, historians do have one advantage. They can look at daily events from a historical perspective and reveal long-term tendencies of the past that may be working both for the present and the future. In the 1960s, a group of historians and political scientists at the University of Michigan started a project entitled Correlates of War, or COW. Since then, they have compiled a rich dataset on military conflicts of the past two hundred years. The most significant finding of the project is a general constancy in warfare. There have only been twelve years during this period when a new war did not start — but there has never been a year with no war ongoing. These findings pose a challenge to the literature of “democratic peace,” and its projections of a declining trend in warfare.

    Ironically, one of the most bellicose periods was the end of the Cold War, at precisely the time when Francis Fukuyama published his infamous essay on the end of history. Its last paragraph reads:

    The end of history will be a very sad time. The struggle for recognition, the willingness to risk one’s life for a purely abstract goal, the worldwide ideological struggle that called forth daring, courage, imagination and idealism, will be replaced by economic calculation, the endless solving of technical problems, environmental concerns, and the satisfaction of sophisticated consumer demands. In the post-historical period there will be neither art nor philosophy, just the perpetual caretaking of the museum of human history.

    Would he have retracted his article if he had been familiar with the statistics of the COW project? In any case, for historians a “return of history” is not a surprise. History neither ended nor returned. It has been always with us, as have its darker themes of mass violence, wars, and genocides. The Russo-Ukrainian war is another proof of this historical tendency.

    This war can be compared with many military conflicts of the past. As a war between a smaller democratic state and a large authoritarian neighbor, it can be compared to the Greco-Persian wars, in which a smaller and more free-spirited tribe of Greeks gained an empire. If we remove democracy from the comparison, then this war is similar to the Finnish-Soviet war of 1939–1940. If we add a colonial dimension, then it looks like the French-Algerian war, or any other war of decolonization.

    When Putin started his full-scale invasion of Ukraine, he was counting on a victorious Blitzkrieg — just as Hitler had expected of his Blitzkrieg against Poland in 1939, against France in 1940, and against the Soviet Union in 1941. The facts show that those who start a war tend to lose it. The rate of victory for initiators of inter-state hostilities has been on a constant decline, and now comprises thirty-three percent. The reason for this is that decisions to go to war are often emotional rather then rational, with no real goals and no real appreciation of the war’s ultimate costs.

    After his Blitzkrieg plans for Ukraine failed, Putin resorted to a war of attrition. And here a comparison with the First World War — a classic case of this kind — comes to mind. In this type of war, the outcome depends not so much on what happens on the battlefield, but on who is able to bear the brunt of war longest. Such a war ends not in a military victory but in a collapse. The latter occurs, to borrow Hemingway’s famous remark about bankruptcy, gradually and then suddenly. Collapse can happen not only to one of the parties in the conflict but to all of them. World War I ended with the collapse of the Russian empire in 1917 and of the Austro-Hungarian and German empires in 1918. It may be said that the Russo-Ukrainian war is a competition between two countries for who will collapse first.

    Ultimately, in a war of attrition, the outcome depends on resources. If Ukraine is left on its own, its prospects — no matter how bravely the Ukrainians fight — look bleak, even doomed: Russia has a three-to-four times advantage economically and demographically. But if Ukraine has access to the West’s resources, then Russia’s chances are slim. Russia’s GDP is slightly larger than that of Italy, and comprises only about ten percent of that of the European Union and nine percent of that of the United States. It is not surprising that both countries are looking for allies. Ukraine counts on the West; Russia counts on China, Iran, India, and most recently North Korea. This is not a world war, but a war that is distinctly global.

    Comparisons can also be treacherous. In the summer of 2024, the Center for Applied History at Harvard’s Kennedy School prepared an analytical report on the possible outcomes of the Russo-Ukrainian war. The experts looked for the best possible solutions that could satisfy the national interests of all the belligerents and their primary patron states, i.e. Ukraine, Russia, the United States, and China. Their choice fell on the outcome of the Finnish-Soviet war. Although Finland lost a part of its territory and remained neutral during the Cold War, in the long run it aligned strongly with the West, joining the European Union in 1995 and NATO in 2023. Such a scenario offers a hope for Ukraine’s long-term democracy and self-determination under a similar outcome.

    The authors of the Harvard report, however, ignored an important detail. I refer to Putin’s attitude toward Ukraine. It has the character of an obsession. More than once, he and his spin doctors have stated that Ukraine is a nation artificially created by the West in order to undermine Russia. For this reason, comparisons with the Soviet-Finnish war, or the two similar cases of the Korean War and the division of Germany after World War II, do not quite work. Even Stalin, in his wars with Finland, Germany, and Korea, did not aim to destroy their national identity. Not so with Putin. In this sense, he can be compared with Cato the Elder, who ended his every speech with the words “Carthage must be destroyed.” Or with the current Muslim leaders who set themselves the obsessive goal of destroying Israel.

    In some ways this is an uprecedented war, and the longer it goes on, the less history has anything to say about it. Pavlo Kazarin, a Ukrainian journalist who volunteered for the war in its first days, wrote that he could not watch Hollywood war movies anymore: they did not reflect the realities of war as he experienced them.

    The protagonists of Apocalypse Now were not attacked by guided bombs. The de-miner from The Hurt Locker doesn’t know what tank combat looks like. John Rambo’s position was never hit by a 152-caliber shell. . . . We are the only ones who have ever shot down hypersonic missiles. The only ones who have destroyed long-range radar detection aircraft. No such experience exists in any army in the world — including the US Army.

    Before Russia’s full-scale aggression of 2022, there were futuristic speculations that wars would come to resemble scenes from the Terminator movies. Warfare, it was said, would undergo a transition from industrial war, with the clash of tanks, to war of the information age, when military equipment is controlled by computers via the Internet, with minimal involvement of manpower. The first phase of the Russo-Ukrainian war was nothing of the kind. It looked exactly like conventional modern warfare, with extended front lines, infantry, tanks, and planes. But soon drones brought a change. They now control large strips of territory on both sides of the front line, making close combat virtually impossible and snipers largely redundant. Drones helped Ukrainians to neutralize the Russian fleet in the Black Sea and to compensate for manpower shortages on the ground. The end of last year saw another breakthrough: in a location north of Kharkiv, Ukrainians conducted a ground attack using exclusively unmanned ground vehicles and drones for the first time.

    The war may move to other zones that were previously unaffected. The First and Second World Wars brought warfare underwater and into the sky. Now the sky is no longer the limit. The British philosopher A. C. Grayling warns that as the new space race intensifies, conflict over resources on the moon is all but inevitable. The moon, the New Frontier, may become a new Wild West. And I have not mentioned AI, which is being frantically integrated into the militaries of many countries. It was used in the war in Gaza.

    As the Russo-Ukrainian war drags on and acquires unprecedented features, it seems that history has less and less to say about it. Yet it is important to point out that many things are not new. We used to talk of the Soviet Union as the last empire and believed that with its demise the age of empires was finally over. Now the Russian Empire is attempting to return and reclaim its status as a superpower. The same can also be said about China, its ally. So we may indeed be facing a new age of empires. We also believed that “the short twentieth century,” 1914 to 1989, the era of war and revolution, is over. Ukraine may undermine this conclusion, too. Since the country’s independence in 1991, it has experienced two revolutions and two wars. You might say that Ukraine is stuck in the twentieth century.

    Moreover, the Ukrainian case may not be so exceptional. Since the end of the Cold War, the world has experienced two great revolutionary waves — the “Color Revolutions” of the 2000s and the short-lived Arab Spring in the next decade — as well as the wars in Iraq, Afghanistan, Sudan, and Gaza. From this perspective, the period between 1991 and 2001 looks like a short respite between two major periods of wars and revolutions, just as the period between 1919 and 1939 was a respite between two major wars. The twentieth century is proving to not be all that short. In significant ways we are still living in it.

    Two paradoxes characterize the current situation on the Russo-Ukrainian front lines. First, since the fall of 2023, the Russian army has overcome a positional stalemate and made a steady advance — but despite tremendous efforts and tremendous losses, it has made no strategic breakthrough. After three years of fighting, the front line is largely where it was at the beginning of the war, and no large Ukrainian city has been captured. Second, the war has entered a stage in which soldiers are becoming harder to send into a battle. An overwhelming majority of the Ukrainian population (88 percent in November 2024) believes in Ukrainian victory — but many if not most of them are not willing to go to the front. The same may be said about the Russians: they support Putin, but they want this war to stop.

    For historians, these paradoxes are not really surprising. They may easily recognize a familiar pattern from the First World War, when after three years of fighting the initial patriotism faded away and military advances had little effect. During the next two years, the front line collapsed, as did the whole European geopolitical order. The latter had been established in 1815 at the Congress of Vienna after the defeat of Napoleon. With all its imperfections, the Viennese system set a historical record. For almost a hundred years, the European continent did not have a major war, and the nineteenth century went into the annals of European history as the longest peaceful century.

    With the end of the Second World War, an opportunity arose to beat this record. Putin, with his aggression against Ukraine, destroyed it. In this war, another geopolitical order is at stake. That order emerged in postwar Europe. In the past, Europe was an exceedingly warlike continent: the two world wars originated there, and it was the Europeans who brought about major advances in military technology. Nowadays, it is hard even to imagine a war between England and France, France and Germany, or Germany and Poland — even though in the past these countries fought each other ferociously. After the Second World War, military conflicts were replaced with the politics of reconciliation. These improvements began with the Franco-German reconciliation of the 1950s and ultimately led to the creation of the European Union, which was defined as a “no war zone.” That was an unprecedented achievement. There had been nothing like it in the past.

    Since the fall of Communism, there was a chance that this “no war zone” could be extended further east. Polish-Ukrainian relations were a test case. In the past, Poles and Ukrainians fought frequently, and in the twentieth century their conflicts over the disputed Polish-Ukrainian borderlands took the form of mutual ethnic cleansings. There were fears that, with the collapse of communism, the Polish-Ukrainian war would resume with a renewed force. In 1969, the Polish poet Czesław Miłosz wrote to Jerzy Giedroyc, the editor of the Paris-based Polish émigré journal Kultura:

    For several years now and especially recently, I have been obsessed with the thought of a coming catastrophe . . . Politically we are facing the growth of nationalisms of the Nazi type. It takes place in Russia, it also takes place in Ukraine and other republics, and it is the same in Poland . . . If that outburst occurs, it will be completely blind, with people slaughtering each other, and the problems of Lviv, the Treaty of Riga etc. will be revived, and this time we are prepared to ultimately perish under the heaviness of that cataclysm.

    Fortunately, this did not come to pass. A solution to the conflict was proposed by Giedroyc. In the early 1950s he suggested that, for the good of Poland, Poles should agree that Lviv is a Ukrainian city. This proposal was so radical that a majority of Poles refused to accept it — for them, it was tantamount to treason. The situation changed when the anti-communist Solidarity came to power in Poland in 1989: Giedroyc’s doctrine served as the basis of its foreign policy. Since then, whoever comes to power in Warsaw or Kyiv — and regardless of any “ups and downs” in their relations — treat each other as allies.

    The “Giedroyc doctrine,” as well as the entire system of postwar European reconciliation, was built on the premise that while there are no just historical borders, the existing borders are best left alone, lest interference with them provoke a domino effect. History should be bigger than applied politics. Hence the “Never Again” slogan of the postwar European system. Nowadays, with the annexation of Crimea and other Ukrainian territories, this humane and pragmatic system is in jeopardy.

    In Putin’s mind, his war of attrition against Ukraine is just another episode in the millennial confrontation between Russia and the West. According to his worldview, the past dominates the present and there is no room for a future other than permanent war. After the start of the Russo-Ukrainian war, we witnessed how this precedent was used by Azerbaijan to reclaim Nagorno-Karabakh from Armenia; and Xi is brooding about Taiwan; and Trump is running his mouth about annexing or buying or conquering Canada, Greenland, Gaza, and Panama.

    Still, there is a basic difference between the language of Trump and the language of Putin. Trump talks about interests, however wildly, but Putin talks about values. On many occasions, Putin and his satraps have claimed that they stand for traditional values against a corrupted liberal West — that theirs is a holy war. In this rhetoric they sound similar to Muslim terrorists. No wonder they treat each other as allies.

    And so this war is not about Ukraine alone. Nor is it even about the global order. It is at its heart a war of values. This gives it a completely different dimension. It is easier to reach a truce when it comes to interests, but it is much harder to strike a compromise when it comes to values. For values, people are ready to go at each other’s throats.

    Values are like air: we cannot see them but they affect all our lives. This is one of the main findings of the World Values Survey, the largest academic social survey project, which has collected data from one hundred and twenty countries over the last hundred years. Societies with secular values that prize self-expression tend to be richer and democratic. Societies with traditional values and an overriding concern about survival tend to be poorer and autocratic. There are many differences between the two types, but the most distinctive difference concerns gender, particularly the status and rights of women.

    When we talk about values and living standards, it is impossible to determine what is the cause and what is the effect — they are forever locked in a “chicken-and-egg” relationship. What matters, however, is that the choices that societies make are to a large extent determined by their past. There are three major historical factors: traditional religious denomination — Protestant or Catholic, Christian or Islamic, and so forth; an imperial legacy; and the presence or absence of communism in the past. All factors combined, as Ronald Inglehart and Christian Welzel have shown, Western countries have fared better.

    With the fall of communism, Russia and Ukraine started from a similar position. They were somewhere between the West and the Rest. In the 2000s, however, their historical trajectories began to diverge. Ukraine tilted to the West and democracy, while Russia sank into isolationism and authoritarianism. In both countries, there emerged a large and educated middle class that stood for political freedom against predatory and corrupted elites, but the outcomes diverged. In Russia, the opposition was either suppressed or forced to emigrate; in Ukraine it came to power in the two Maidan revolutions. The last one, the Euromaidan of 2013–2014, was called the Revolution of Values or the Revolution of Dignity. Those were not empty words. The Ukrainian revolutionaries were risking their well-being, their health, and even their lives for what they saw as the European values of dignity and liberty.

    As a former KGB officer, Putin does not believe in spontaneous mass protests. He managed to suppress them at home, but he failed in Ukraine, despite his persistent interference since 2004. To explain his failure, he came up with the myth that the two Ukrainian revolutions were the result of a Western conspiracy against him and Russia. Putin believes — or wants us to believe — that he is waging a war not with Ukraine, but with the West on Ukrainian territory, in the name of traditional family values against the permissive Western liberal order.

    The values-based character of the war was evident from its first weeks. Back then, groups of Russian mercenaries were reported to have been in Kyiv with a mission to assassinate Volodomyr Zelensky and to destabilize the government. There was a debate among military experts regarding how this plan would affect the war if it succeeded. The consensus was: not very much. Ukrainian army commanders and city mayors acted independently and were not looking to Kyiv for guidance. These were the values of individual autonomy and self-expression in action.

    The Russo-Ukrainian war may be considered a military conflict between a vertical establishment and a horizontally organized society. Among other things, this is reflected in the fact that Ukraine has demonstrated the cutting edge in military technology. Very often these innovations come from private IT companies and other non-state organizations. Owing to their ingenuity, Ukrainians have managed to hold back a stronger and more numerous enemy. It is not surprising that the Pentagon and NATO are watching the Ukrainian experience closely — they are attempting to learn how to conduct a new type of war from Ukranians.

    But the enemy learns, too. Russians, using their advantage in resources, adopt and scale up many Ukrainian innovations. It takes months for this to happen, given the usual slowness of the administrative vertical. And the time lag is important: during those months the Ukrainians invent something new, and the race continues.

    All these stories may arouse skepticism. If Ukrainians are so resourceful, then why do they retreat all the time? Historical studies may provide an answer here, too. They reveal that free societies tend to fight better, but their advantage diminishes as the war drags on. The greater the losses and the suffering, the more survival values come to the fore.

    Values not only distinguish one society from the other; the dividing line also runs within every society. And since the army is a snapshot of the society, this division affects military forces, too. It has been said that there are actually not one but two Ukrainian armies, with two contesting military cultures. One army is trained according to NATO standards and is made up of units that are allowed to fight the way they want to fight. They are able to figure out the best way to use their people and resources and they have the authority, the duty, to improvise according to circumstances. The other one is very similar to the Russian or the old Soviet army, where commanders lack flexibility, strictly follow commands from above and demand that their subordinates follow them as well, without particular regard for rationality or changing conditions or consequences.

    The first army is made up largely of volunteers, often the same people who stood on the Euromaidan. They were at the front from the very first days. Many of them have perished or been promoted to senior officers’ positions; some are burned out after three years on the battlefield and the latest escalations in fighting. In short, their role has decreased, and the second army, the rigid army, has come to the fore. In the end, the conflict looks like a large Soviet army fighting a small Soviet army — and the situation is often saved by an even smaller NATO-like army. This affects the general mood. As a recent survey on Ukrainian concerns about military service shows, initial enthusiasm is being tempered by the reality of a protracted war. Apart from the fear of death or disability, there is the fear of unprofessional commanders, the fear that military equipment would be inadequate or not arrive in a timely manner.

    New realities have forced Ukrainians to redefine their understanding of victory. At the beginning of the war, they regarded victory as a return to the 1991 borders. Now many see it as the preservation of Ukraine as an independent state with international guarantees for its security. This would not be a complete victory. Still, it would be a strategic gain against the backdrop of Putin’s plan to erase Ukraine from the political map altogether.

    To be sure, a large part of the responsibility for Ukrainian failures falls on the Ukrainian leadership, its inefficiency, its corruption, its chaos, and its populism, which does not allow unpopular but necessary decisions to be made. At the beginning of the war, the Ukrainian state enjoyed enormous social trust. Now there is a rift between state and society, and the rift is growing.

    Yet the West also carries its share of the blame for the Ukrainian situation. It does not want Ukraine to lose, but neither does it want Ukraine to win. It fears the repercussions of a Russian defeat, just as in 1991 it feared the collapse of the Soviet Union. Experts say that if the Ukrainians had sufficient weapons and support from the West, they could have won the war as early as 2022. The same goes for the failure of the Ukrainian counteroffensive in 2023 and the fact that Ukrainians were slowly losing ground in 2024. The Russian army was able to go on the offensive because the package of military aid to Ukraine was blocked in the U.S. Congress for seven months — from October 2023 to April 2024. According to American officials, by the end of 2024 only about half of the total dollar amount that the United States had promised from American stockpiles had been delivered, and only about thirty percent of the promised armored vehicles had arrived.

    To better understand the importance of this factor, imagine what would happen to the young state of Israel if it were supplied with American aid at the same pace and level as Ukraine. One of the factors in the victory of the entente in the First World War and the Allies in the Second World War was American aid. This was recognized even by Stalin: he admitted that if the United States had not helped the Soviet Union, the latter would not have won its war against Hitler.

    They say that old generals fight wars in the old ways. President Biden was formed as a politician during the years of the Cold War. He believed in the containment strategy that had been central to keeping the peace for nearly seventy years. This strategy was carried over and applied to the current Russian “hot” war — so as not to turn it into World War Three and not to provoke a nuclear attack by Russia. His support of Ukraine was genuine but it lacked alacrity. Yet what worked during the Cold War does not necessarily work in the conditions of a hot war. The strategy of “helping Ukraine for as long as it takes” does not work, because for Ukraine, given its smaller resources, “as long as it takes” can be, certainly by impatient American standards, too long. It is true that Russia is exhausting its resources, and its economic prospects beyond 2025 look bleak. But it would be naive to think that the collapse of Russia is imminent, whereas Ukraine most certainly may collapse. As the Ukrainian proverb says, the dew will burn your eyes before the sun rises. The West, in sum, must move to more decisive action. Otherwise the Western leaders are themselves condemning Ukraine to protracted agony. The signs are not auspicious.

    It is not hard to imagine what would happen to Ukraine if Russia wins. Even before the Russian invasion, there was information about Russian “kill lists.” Their existence has been confirmed since the war started. The people on these lists included teachers of Ukrainian language, literature, and history; journalists, scientists, and writers; priests of the Orthodox Church of Ukraine and other denominations that support Ukraine; and public and political figures, chiefs of regional authorities and self-government. What may appear to the West as an exaggerated fear is for Ukrainians a harsh wartime reality, reinforced by the memory of the Holodomor, the Stalinist repressions, Chernobyl, and, most recently, in 2022, the massacres in Bucha, Irpin, and Izium.

    At demonstrations abroad in support of Ukraine, Ukrainians have adapted Golda Meir’s words — “If the Arabs put down their weapons today, there would be no more violence. If the Jews put down their weapons today, there would be no more Israel.” — but they replaced “Arabs” with Russia and “Jews” and “Israel” with Ukraine. It is abundantly clear that many in the West do not care about the fate of the Ukrainians, just as before they did not care about the fate of the Syrians. But unlike the savagery in Syria and elsewhere, the war in Ukraine has a stronger impact on the West and its people.

    For Putin’s war will not end with Ukraine. The degree of his contempt, if not outright hatred, for the West should not be underestimated. Oleksandr Lytvynenko, the head of the Foreign Intelligence Service of Ukraine, predicted that “having failed to defeat Ukraine in three days in a large-scale war, the Kremlin has passed the point of no return in relations with the West,” and left for itself only the options to “triumphantly win or lose crushingly.” Putin’s has geostrategic plans for the next ten to fifteen years; their implementation is to be accompanied by conflicts of various scales and intensity, possibly with the use of nuclear weapons. (I take this analysis from “A Few Theses on Putin’s Policy: How The Kremlin Thinks and Wages The War,” Foreign Intelligence Service of Ukraine, November 11, 2023.)

    Western intelligence confirms these assessments. The Kremlin could be in a position to attack a NATO member within the span of three to five years. The next most probable targets will be the Baltic States and Poland. This prognosis has been recently reiterated by the EU’s chief diplomat Kaja Kallas. She warned that “We are running out of time. The Ukrainians are fighting for their freedom and ours. They are buying us time.” And Valery Zaluzny, the former commander-in-chief of the Ukrainian army, went so far as to say that with North Korean forces fighting with the Russians on the front line and Iranian and Chinese weapons flying into Ukraine, a Third World War has already begun.

    To many skeptics in the West, the Ukrainians are crying wolf. But people who are under an existential threat must be believed over those who are not. People who are fighting for their lives generally do not lie. Ukrainians warned about Putin’s plans long before the war. He developed them back in 2008, right after the Georgian-Russian war. According to this plan, Ukraine was to be “punished” by a full-scale invasion if it continued to move out of Russia’s orbit. Most of the territory was to be either directly annexed by Russia or turned into a puppet state. The exception was the western part of the country, which historically is least Russified and Sovietized — it was to be divided between its “former owners,” Poland and Hungary. This plan leaked to the West and was published first in an Italian geopolitics journal, and then reprinted in one of the main Ukrainian newspapers. Putin spoke about this partition plan in 2008 during his meeting with then-Polish Prime Minister Donald Tusk and then- (and now-) Polish Foreign Minister Radek Sikorski. He offered them Lviv.

    Sikorski revealed this offer several years later, when he was out of office. His revelation created a scandal. In Poland, he was asked why he remained silent for so long, and in the West his words were taken as a provocation. Finally Sikorski had to disown his report. But it is worth noting that the British journalist and security writer Edward Lucas insisted that Sikorski was right and that the plan did exist, since he had himself heard of it at numerous off-the-record sessions at security conferences and think-tank meetings. The problem was that Western leaders did not grasp their significance. “Now the West is taking a belated class in practical geopolitics,” Lucas wrote in 2014. “It is an education paid for by hundreds of thousands of innocent Ukrainians, in blood and misery. But the full fee for the course will, I fear, be far greater.”

    Those decade-old words might have been written yesterday. In the very first week of the current war, the German Chancellor Olaf Scholz defined it as a “historic turning point.” Now, three years later, it looks like the turning of this point is proceeding according to the same formula as the Western aid to Ukraine — too little, too late. We are witnessing a situation that is reminiscent of the “springtime of nations” in 1848. Back then, the liberal revolutions that broke out in Europe ended in spectacular failure. As G. M. Trevelyan wrote, it was “the turning point at which modern history failed to turn.” We may face a similar scenario.

    Ukraine is not crying wolf. It is, rather, like the canary in the mine. Outside of Ukraine, many ignore its warnings or are even annoyed by their persistence. Life would be much nicer if the canary would stop chirping. And so they look through a microscope at all of Ukraine’s faults, at its corruption and its past sins, to prove that it is not worth helping. In the eyes of some, Ukrainians are the main culprits behind the protracted hostilities: if Zelensky were only more accommodating, the war would have ended a long time ago! All together, they are ready to sacrifice Ukraine to Putin for their own mental peace.

    They do not believe that what is happening in Ukraine today may happen to them tomorrow. They forget that attempts to appease aggressors do not work. Must one really remind Westerners of the Munich agreement of 1938? That surrender of Czechoslovakia to Hitler did not prevent the Second World War; it accelerated its beginning. This history lesson seems so banal that it feels embarrassing to bring it up. But as skeptics like to joke, humans do not make the same mistake twice, they usually make it three or more times.

    We are living in an era of enormous historical importance in which our politicians usually do not think historically. Their horizons are generally limited to the projected duration of their own political careers. This is especially the case if they, like Donald Trump or Elon Musk, come from fields that are a far cry from a knowledge of history. In their cases, indeed, they evince a contempt for the past and prefer to believe that they are completely without precedent. So they may put the Russo-Ukrainian war on pause, as a discrete matter of policy, but they can hardly stop the looming war crisis. If history has any lessons, one of them should be this: if you see war coming and you are not sure if there is a serious possibility of preserving peace, you would be wise to bet on war as the most probable scenario, and be ready for it. As the Latin adage says, si vis pacem, para bellum — if you want peace, prepare for war. Those words should be translated into every known language.

    The knowledge of history helps us to sort out what is new and what is old in the current Russo-Ukrainian war. This knowledge does not make us feel better. Still, it leaves room for cautious optimism. The revolution of 1848 was defeated, but seventy years later most of the revolutionaries’ demands had become political realities. It took the First World War to make the impossible possible. For war brings not only carnage, but also opportunities. To take constructive advantage of postwar opportunities, you must have a historical imagination.

    It was seventy years after the revolution of 1848 when the first volume of Oswald Spengler’s The Decline of the West appeared. Since then, the decline of the West has been predicted many times. And still the West is still vigorously with us. Over the last two centuries, it has survived several deep crises, including major wars. Some of those wars ended with solutions that provided an impetus for further social and political development. The Napoleonic Wars ended with the Congress of Vienna, which established the “long peace” of the nineteenth century. Without this peace, the quantum leap of the Industrial Revolution would have been impossible. The First World War brought the final collapse of the old regime, and the Second World War led to the emergence of a large “no war zone.”

    None of these solutions lasted forever, and the time always came for a new crisis and a new solution. The war in Ukraine may be the crisis that the contemporary West needed. Whether the West will take advantage of this opportunity, whether it will recognize the moral and historical lessons of this awful war, is an open question. But Ukraine should be for the West not only a source of anxiety but also a source of hope. Ukrainians are interested in a strong and free West and are ready to work on its renewal. For them, this is not a whim. It is an ultimate need: finally to escape the shadow of Russia, which has a centuries-long historical record of mass repressions and wars. Like the West, Russia also proceeds from crisis to crisis. There is an essential difference, though. Unlike in the West, short-lived attempts to democratize Russia after her defeats in the Russo-Japanese War, the First World War, and the Cold War failed, and ended with protracted periods of reaction by Stolypin, Stalin, and Putin.

    In principle, the Russians, too, should be interested in overcoming their harsh past. But for various reasons they are not capable of doing it on their own. The memorable words spoken by German President Richard von Weizsäcker on the fortieth anniversary of the end of World War II could be applied to Russia as well: “May 8, 1945 was not a day of defeat for Germany — it was a day of liberation.” The best thing that can happen to Russia is that it loses this war; if not right now, then in the foreseeable future. This will open up a chance for a new democratic Russia that no longer poses a threat to its own people or to neighboring peoples and will no longer constitute a threat to global stability. The “no war zone” could be extended further east of the Polish-Ukrainian borderlands of the West.

    According to the custom of the genre, an essay such as this one should end with a ringing conclusion. I will not do this. The text ends but history does not. As the war drags on, it is too early to close the book. Suffice it to say that the canary is still singing.