Ominous Pieces

    A.D.

    My unchristian ancestors: for a lifetime
    they got along without God.
    Though something always happened
    that they had not foreseen. Two world wars,
    the downfall of their city, diseases, or

    what it is like to lose everything — freedom
    stripped from them, twice in a row.
    When unchristian beings (Hitler, Stalin)
    took this only world they had and turned
    it into a trap for millions, into hell.

    They survived, with a good deal of luck,
    though without religious persuasion. No word
    about the hurried prayers in the air-raid
    shelter, when under the sign of revenge, of justice,
    the one with the latest technology
    brought the empty skies crashing down.

    They (the ones who existed) never
    mentioned those fleeting moments
    in which fear dissolved and everyday life
    broke open like a fruit, a brittle fruit,
    that contained more than just seeds, tears, grief,
    and the ecstasies of the little people.

     

    Nazi Party Rally Grounds

    It was a grey February day in Nuremberg. I was due to give a reading that evening, and I could think of nothing better to do with the time until then than to take the tram out to the site where they used to hold Nazi Party rallies. At the reception desk of the Deutscher Kaiser hotel, the young woman who requested that I speak English with her was so put out when I asked how to get there that I withdrew and sheepishly looked for a map of the city so as not to have to consult my cell phone. Not only was I a stranger in this place, but my interest in a location that was rarely sought out by tourists to this medieval city, the city of Albrecht Dürer, seemed strange to her. She looked me up and down, as if I might turn out to be a troublesome guest. In terms of age, I was not unlike one of those Germans who, for obscure reasons, make pilgrimages to places that are taboo for most. And yes, I must admit, it was film images, scenes from the notorious propaganda film Triumph of the Will directed by Leni Riefenstahl, that brought me here. And also curiosity about what remained of this central forum of the Third Reich and its real historical dimensions: the Zeppelin Field, the Congress Hall, the Luitpold Hall, the Märzfeld, the Silbersee (Silver Lake, a name that evoked associations of the fantasy world of Karl May and his Winnetou novels that I grew up with). I wanted to see it all for myself, this massive site built around the Dutzendteich Lake, which still lay on the outskirts of the city at that time.

    How reassuring it was to arrive there at last and find a formula that absorbed everything and steered the inconceivable insanity of National Socialist projection and construction into the reassuring channels of a democratic culture of remembrance. After several stops, the tram halted at the Nazi Party Rally Documentation Center. First impression: you could easily get lost there, the signs lead into a vast area, only a drone could give you the desired overview. You pass through a large parking lot, and only then does it become apparent that the building before you is the huge rotunda of the Congress Hall, the back elevation of an arena that remained unfinished at the beginning of the war in 1939, like so many kilometres of the planned Reichsautobahn. Plus, a surprise for any resident or admirer of Rome: the building turns out to be a remake of the Colosseum in the style of a film set. Shades of Cinecittà, remnants of the set for a Nazi blockbuster mixed with those for a historic film about the fall of the Roman Empire. The inner courtyard doesn’t make much of an impression with its construction site fences and containers of rubble, a garbage-strewn antiquity of yesteryear that was never realized, a shell that is reminiscent of many things — prison yards, stormed fortresses, ruins forever left wanting. Somewhere in the jumble of mock theater boxes and empty rows, it was designed to give pride of place to the speaker’s pulpit for the “Führer.” The whole thing was intended as the theater for a pseudo-parliament — a foretaste of the gigantic meeting rooms planned by Albert Speer for Berlin after the final victory in the capital called Germania. Yet the relocation of the Nazi court to the Reich capital of Berlin was already so advanced at the time that the Nazi Party Rally Grounds only ever had a symbolic function. Ruins by design in every direction, a monumental building abandoned midway; and yet everything testified to the ambitions of the regime’s leaders, their bid to capture the imagination of a physically trained and mentally aligned population with a kind of National Socialist theme park.

    Modern stadium buildings came to mind, arenas of all kinds, from rock concert stages to the Super Bowl fields to be found in major American cities — and one wondered where the mass audience was supposed to go back then. A colosseum in Nuremberg, was this to be the venue for political gladiator fights? On the eve of the war, were the Germans really ready for such grandiose imperial showmanship? The total state remained an irresistible vision until its demise — at least for the Nazis. At the Sixth Reich Party Congress, the one filmed by Riefenstahl, hadn’t Hitler admitted that it was not the state that created the German people,but the other way around, that the people created the state for themselves?

    Wandering about, lost among the open spaces beyond the Great Dutzendteich, or Dozen Pond (nomen est omen!), one began to suspect what all this was conceived to do. The state that was so densely concentrated in the relatively small space of Berlin was here to be given a symbolic parade-ground along with the Zeppelin Field, the so-called March Field, a festival site outfitted with various halls and groves, laid out according to the model of Rome in Augustan times. But by then Germany had become a modern industrial nation, so it also needed a substation, a train station, its own small “Strength Through Joy” city kitted out with a stadium and swimming pool to contribute to the general merriment.

    Laid low by the absurd scale of the place, exhausted, I gave up my inspection at some point. There was just enough time to take a look at Luitpold Hall, where an interim exhibition with pictures and panels instructed visitors about the temporary use of the whole thing at the time, the construction measures and their background. From the deployment of the German Labor Front, the architects and companies involved, to the forced laborers and Russian prisoners of war who were made to toil and die until the futile plan came to an end, everything here was pre-meditated. As is so often the case, history had fragmented, and was presented through individual stories and small erratic objects, the significance and meaning of which a good schoolteacher could unravel if the curriculum allowed. The city of Nuremberg and its museum directors tried to distract the accidental onlooker for the time being with the promise of an eventual and final reappraisal of the whole thing. Meanwhile, next door in the documentary hub, the good folks of Nuremberg courted the audience with evening concerts. Unfortunately, there was no time for Shostakovich and Schulhoff. I had to get back for my reading and was glad that a tram was there to restore me to the main station. At the reading in the Literary House that evening, I did not breathe a word about my excursion into the past.

     

    Spoils of War

    And they almost kidnapped the child,
    the girl with the black braids
    the broad cheekbones, my mother,
    who looked like one of their own,
    a child of the Siberian steppes.
    They would have just taken her with them
    on that dusty suburban street in Dresden
    on their march back to the East,
    just as they took anything with them
    that was not nailed down.
    She was already up on the small horse-drawn cart,
    a princess perched on top of the spoils,
    said the neighbour who ran after her
    screaming and snatched the child
    back from the Russians still screaming
    and cursing. From the victors of the World War,
    lads fond of children and a song.
    They didn’t like screaming women.

     

    What We Knew About Dictatorship

    I do research into dictatorship, said the young woman at the table that evening at her friend’s birthday celebration. That was the invitation to the dance: finally a conversation partner for a serious topic that interested no one else in the group. We establishedthat dictatorships can be divided according to the degree of severity — tryannies and autocracies. It comes down to the cooking time: how long it takes to prepare the dish. We know little about the recipes of cannibals. The longer people stew in a form of rule in which unlimited power deprives them of all natural rights, the easier it is to prepare them socially; particularly coveted is the brain. And it doesn’t take much for neighbors to turn each other into sausage meat, I recalled. At some point, having themselves fallen into the meat grinder of the murderous system, they dig into the frozen soil with their bare hands for edible roots (as in the Gulag). They rummage through the legacies of those who have fallen under the wheel, ensuring that they are utilized to the full (as in Auschwitz). They are ready to cull their fellow citizens, to send them to the gas chamber, into the cold, the fire, even to betray their own relatives, parents, the sick, people on a dying branch.

    Depending on the degree of bedevilment, a distinction is made between three forms of dictatorship: terrorist, trivial mythical (tinnitus-like), and totalitarian. There is not a single dictatorship that has not been based on law, rules of exclusion, even on a constitution, an implicit intergenerational contract. The young bring down the old, the old sacrifice the young to maintain their power until they themselves must be sacrificed before their time — for example, in war. The dictatorship records everyone according to their live weight, every gram of fat is counted in the food allocation. Without ever really asking themselves what happened to them, everyone is silently wondering how they can survive the centrifuge of mass mobilization, of mass management. The failure to speak, the silence of each individual is unmistakable even in the midst of the greatest jubilation — on the wide boulevards, in the lion’s den where they are whipped up by propaganda, in the fascist forums or even simply in the sports stadiums where they cheer on the victory of their own athletes. Dictatorships radiate out from a center of emptiness: a stable source of radiation, permanently sending out negative energies in the form of physical violence. This is, at the same time, also psychological violence, because all the morality consumed by a dictatorship emanates from the totalitarian state; the individual soul weighs next to nothing.

    Dictatorship grows imperceptibly. It is often confused with a medium that is considered the embodiment of all its fears and desires, a leader, a generalissimo, or a chairman, who appears on the scene one day out of the blue and can no longer be voted out of office. Dictatorship does not come from nowhere (whatever the Greeks say about it, and the Romans, and the annals of the Renaissance); for us, the moderns, it comes from democratic elections. A savior is elected, a redeemer in the guise of a party that hovers above all the other parties, “other parties” which the leader then forbids as soon as the populus has elected him. He starts straight in on culture, on the icons, the cooking recipes, the religion. He collects campaign money from those who have the funds and also the hope that the money is better invested with him than in the culture of a thousand opinions, which leads to nothing and only confuses the people. Once he has neutralized all his opponents, he is soon regarded in popular superstition as a benevolent sovereign, takes to stroking children, and is ubiquitous overnight in millions of images, with the help of newspapers and other media, in every size from postage stamps to monumental sculptures.

    What else? I asked her. Dictatorships, she said, have their own way of reckoning time, they can last for a shorter or a longer time, in which the lifetime of the leader plays a certain role. In any case that role is gradually absorbed under the daily overcast skies. False expectations are the binding agent of every dictatorship, barely visible to the naked eye (except under a sociologist’s microscope), interchangeable just like ideology, religion, or policies. It is like in the opera: the song of the chorus swells to fill the stage, but there are moments when the high C of a mortal voice emerges from the wall of sound. In an emergency (martial law, trouble among the cooks, betrayal in the innermost circle), the Iron Curtain is lowered, while the audience sinks into a collective trance. Until the prompter rises from the pit and signals that she has forgotten the text. Then, and only then, it may come to pass that a child appears, suddenly, in the emergency exit. It is looking for its father (shot long ago) or its mother, who has been dreaming of a better future all along, hidden behind a fan.

     

    One-way Street to Jerusalem

    Can anything be learned from anecdotes? This question arises when the experience on which they turn is so striking that it leads to far-reaching conclusions. In exile in America, the director and producer Erik Charell, one of the most successful in his field in the Weimar years, liked to describe a Berlin street scene from the time shortly before Hitler’s accession to power. He was a visitor to an automobile show on Kaiserdamm and got caught up in the crowd in front of one of the halls. Along with the police, uniformed SA men were passing through the crowd with collection boxes. One of the young men was going from person to person with the advertising slogan, “Donations please, donations towards the construction of the one-way street to Jerusalem.” The narrator, who could hardly believe his ears, asked for the snappy slogan, to be repeated to him, and approached the little man in the brown shirt and waited to see if the policeman nearby would intervene in the face of this open threat against Jewish fellow citizens. But he turned away embarrassed. The small incident had finally opened his eyes. From that moment on, he knew: “It’s over.” He left the car show that very moment. Over the next few days he organized his departure from Germany. The image of the one-way street had hit him so hard that there could be no hesitation. There was no question as to the future of road construction in this country.

     

    Gray Mice

    The twentieth century was, among many other things, also the time of collective laboratory experiments. Breeding humans so that they become grey mice, mottled mice, or completely uniform mice was the research goal to which not only the new mass leaders, but also many of the scientists, felt committed. Political views only counted if they could be scientifically substantiated. Entire faculties of racial scientists, behaviorists, and armaments experts were busy whipping the nation into shape. After the apocalypse of a world war that had swept away emperors and kings, many of the liberated subjects longed for a zoological dictatorship. It was the moment for mouse-breeding. A whole nightmare world of order-obsessed mice was released onto the streets, into their future professions: police mice, kapo mice, Gestapo mice, cultural mice, youth and sports mice, stewards and jumpers in all niches of society.

    They did what highly trained and meticulously conditioned mice do: monitor their own kind, ensure that the common mouse-life runs smoothly. It did not occur to them that they could have been something else, that each individual mouse could live in its own way and be happy. No, no, and again no: it was about controlling each other, rounding up men, women, and children and keeping them under strict laboratory conditions, in the glare of the anti-aircraft searchlights, keeping them together and reminding them of the misery of their mouse existence every second of their lives. They weren’t stupid, these mice. Each one of them knew what position they could hold in this new total mouse-state, or that they could make their way for themselves by maneuvering skillfully through the labyrinth of the laboratory.

    Let no one say that freedom did not exist in this system. It was only when the experiments were halted — another world war was necessary to bring that about — that it dawned on some that the conditions under which they were bred had nothing whatsoever to do with the world as such and with the fact of their uniformity. At that moment they were ashamed, as far as grey mice can be ashamed. It appears that their descendants are ashamed to this day. In any case, most have shed their grey and now prefer garish colors and exotic patterns.

     

    German Listeners

    Lübeck looked terrible
    when it was finished, an etching
    by Churchill based on a design
    by Adolf Hitler, recognized by
    Thomas Mann as a fellow artist.
    There was St. Mary’s Basilica.
    It was still standing there
    as if emerging from the smoke
    and next to it an empty portal
    in the light of the postwar sun.
    Lübeck marzipan was what
    my father always wanted
    for Christmas, he liked
    the bitter taste of almonds
    in memory of Thomas Mann,
    whom he liked to read, aloud
    ideally, in the small circle of family.

     

    THE MEAT GRINDER

    Were I a painter, my motif of choice to represent entire phases of world history in this century of my birth which has cast its shadows and its conflicts onto the next, would be a meat grinder. The device that was clamped to the table in my grandparents’ kitchen and used to twist a lump of meat into blood-red strands of “ground” or “minced” meat, even if there was never any sign of grinding or mincing, but always only twisting, until in the end a steel perforated disc produced portions of minced beef or minced pork, depending on the animal being processed. I would have put my motif through the meat grinder.

    Just as the painter Philip Guston finally limited himself to a few recurring forms — hooded figures, shoes, cigarettes, fingers, severed feet, open books — I would have concentrated on this one ugly device, the domestic meat grinder. I would have painted its maw, in an objective or maybe fantastic manner; or, no, as primitively as possible, this mouth-like funnel of cast iron, the belly of the monster torn open and rendered visible with its innards: the screw, the sharp-edged wing-blade. The hand crank with its wooden handle I would have given an especially crude shape: the screw clamp that held the voracious wolf fixed to the kitchen shelf, the desk in the torture chamber, the altar, the butcher’s workbench. Do not misunderstand me: none of this would be done in honour of its inventor, Freiherr von Drais, that quick and keen thinker, Citizen Drais, a democrat of the first hour in Germany, who, in addition to this practical monster-machine, also invented the two-wheeled hobby horse and the speed typewriter. Nor is it part of the quest for an equation to capture the acceleration of everything; the crank-accelerated processing of the mountains of meat into each individual household. Nor the urge for a symbol — yes, that is the right word — for the perennial suffering, the cycle of all flesh, in this murderous century, in which eating and being eaten has taken on something mechanical. Why, then? Simply so as to depict a meat grinder on a pink pedestal against a sky-blue background, a thing that in the end stood only for itself — useful and abysmal in equal measure, and in the most progressive way inconceivably primitive.

     

    The Historyless

    History seldom lands on their doorstep
    with burning car tires, chanting crowds,
    tanks on the prowl, ready to be deployed,
    the turret turned down.
    An Iron Curtain falls, a regime
    bites the dust, they don’t catch on until
    the late evening news.
    Then it’s routine again for a lifetime
    and it’s business as usual
    with the end of school exams, the driver’s license,
    the beach holidays and
    the children’s first teeth.
    Tears time and again
    at every bend of existence,
    sometimes accompanied by insight, rarely
    bringing any comfort.

    In retrospect: often resentment, muffled
    by something like nostalgia.
    That’s not what they wanted, not like that,
    just fell into it by chance.

    Later the arithmetic, they like to do their sums,
    balance sheets of disappointment. The politicians —
    none of them any different from the rest, all corrupt.
    What can we hold onto, culture perchance?
    The annual Christmas party,
    a few brands of car, the success
    of the local football club,
    a few hits belted out
    on karaoke night.
    And suddenly they say: give us
    our history back.

     

    The Button

    One day Franz Kafka sewed on a button. He did it thoroughly, as with everything he did. In his little room in his parents’ Prague apartment, the one that he was afraid to call home, he sat with his legs crossed and struggled with the needle and thread, as a bachelor might. But something kept getting in the way. First, a stork jumped out of the cupboard and wandered across the room; then a large black bird crashed against the windowpane flapping its wings wildly. Then a picture fell from the wall, a view of the old Prague synagogue; then there was a knock at the door and his mother came in, bringing him a glass of milk. Despite all this, he remained focused on his needlework. Indeed, he managed this feat better than many an experienced seamstress. In the end the button was fastened so firmly that you could have lifted not only the trousers, but their owner too, by the button, and slung them over your shoulder. A sturdy removal man would have been quite strong enough.

    Translated by Karen Leeder

    The Enlightenment, Then and Now

    What is the Enlightenment, for us? Are we its heirs, its continuers, its defenders? Or should we acknowledge our distance from it, and try to imagine a different sort of connection to this now-distant past?

    At the present moment, the temptation to identify with the Enlightenment is almost overwhelming. In dark times, after all, few historical subjects exert more allure than one with such a promise of illumination. How inspiring, how reassuring, to think that there was once a moment when reason challenged superstition, when justice promised to overcome power, when the spirit of toleration seemed to prevail over dogmatism and persecution! How tempting it is to think that if only we could reawaken the spirit of the Enlightenment, and rekindle the torches of the philosophes, we might yet dissipate the shadows now gathering around us.

    If those shadows seem especially menacing, it is partly because the Enlightenment itself is currently under explicit attack, and from many different directions. On the left, progressive scholars and activists denounce it as the birthplace of modern racism and the handmaiden of “settler colonialism.” On the right, “post-liberals” and Catholic integralists call it destructive of family, community, and religion. Populists of all varieties decry the faith it promoted in education and science as elitist and evil. If these groups agree on nothing else, it is that the Western world took a disastrous wrong turn sometime in the eighteenth century. They draw a straight line from “Enlightenment” to “liberalism” to “neoliberalism,” as if thinkers who failed even to predict the Industrial Revolution somehow bear responsibility for post-industrial decay.

    But is some sort of “return” to the Enlightenment the answer? In recent years, many prominent intellectuals have made this case, albeit in contradictory ways. In Enlightenment Now, the psychologist Steven Pinker credited the Enlightenment with virtually all human progress since the eighteenth century, equated it with his own brand of technocratic neoliberalism, and argued that everyone would agree if only they overcame some regrettable cognitive biases. The philosopher Susan Neiman, by contrast, in Left Is Not Woke, eloquently identified the Enlightenment with the promise of progressive politics and warned about the hijacking of that politics by “woke” activists hostile to Enlightenment values. The historian and legal scholar Samuel Moyn took an oddly similar position in Liberalism Against Itself, except that for him the nefarious force that has dragged the left away from its optimistic Enlightenment roots is not wokeness but a fearful “Cold War liberalism.”

    Historians, too, have been pressing the case for the Enlightenment’s living relevance, at sometimes inordinate length. A 984-page survey of the Enlightenment from 1680 to 1790 by Ritchie Robertson associates it with the broad cause of “human betterment.” Anthony Pagden’s monumental book on the subject describes the Enlightenment as the birthplace of tolerant cosmopolitanism. And then there is Jonathan Israel, the Stakhanovite hero of Enlightenment scholarship, who, since 2001, has produced nine books on or closely related to the subject totaling 7,886 pages. According to Israel, all the political and social values dear to liberal modernity, including human rights, social equality, sexual equality, and racial equality, were already present in a “radical Enlightenment” that emerged in the seventeenth century in the Dutch circles around Baruch Spinoza.

    But did the Enlightenment even exist? And is this a serious question? In a provocative new book called The Enlightenment: An Idea and its History, the British conservative historian J. C. D. Clark claims that there was no such thing. The various intellectual currents that today go by that name had no real unity or coherence, he argues. Historians and philosophers only started to claim they did long after the eighteenth century, in order to invent historical legitimation for their own progressive reform programs. He notes that the very phrase “the Enlightenment,” with the definite article, did not come into common usage in English until the twentieth century, as a Google Ngram search strikingly confirms. (The German “die Aufklärung” appeared earlier, but also had limited resonance.)

    It is true that mid-twentieth century liberal scholars had strong incentives to find a long and inspiring pedigree for their own beleaguered beliefs. Clark underlines, a little too insistently, the fact that Enlightenment scholarship owes a particularly strong debt to liberal Jews born in pre-war continental Europe (Ernst Cassirer, Peter Gay, Theodore Besterman, Jacob Talmon, Robert Wokler, George Mosse, and others). It is hardly surprising that these men, many of whom fled Nazism, would turn for inspiration to this earlier moment of light, and revere it for helping to emancipate their ancestors from ghettoes. Jonathan Israel, who has continued in this tradition (despite faulting his predecessors for getting almost everything wrong) has stated the core idea clearly: “Jewish emancipation became a realistic proposition from the moment Europe’s former predominantly theological view of the world began to crumble under the impact of Enlightenment ideas.” Still, the Enlightenment was not a Jewish invention, and claims like this can too easily feed the worst sort of conspiracy theories.

    Meanwhile, the idea of the Enlightenment as a coherent movement also owes a considerable amount to two Jewish refugees of a more critical and contrarian bent: Max Horkheimer and Theodor Adorno. But in place of the Enlightenment as salvation, they gave us the Enlightenment as perdition. Their Dialectic of Enlightenment, from 1944, speculated that the horrors of the twentieth century ultimately stemmed from a deadly Western “instrumental reason” that had come to maturity in the eighteenth century. “Enlightenment,” they wrote provocatively, “is totalitarian.” Their book had enormous influence on progressive thought, and it is in part thanks to them that so many scholars today condemn the Enlightenment as a sinister-sounding “project” that bears responsibility for modern racism, imperialism, misogyny, and intolerance of all sorts. The trend has become so popular that currently the best-known adage of Immanuel Kant’s — who famously offered his own definition of Enlightenment in an essay in 1784 — is probably, “Humanity has achieved its greatest perfection in the white race,” which he later abjured, and which in any case had little connection to the main lines of his thought.

    Clark is right to a certain extent. It is absurd to cast the Enlightenment as a single “project,” whether redemptive or malevolent. The canonical writers associated with it agreed about relatively little, and liked few things more than attacking each other, often quite viciously. Their number included atheists, deists, and orthodox religious believers; radical democrats and propagandists for absolute monarchy; proto-socialists and proto-libertarians. Intellectually, their works can be best represented as a Venn diagram with many areas of intersection but no union of all the sets. The Enlightenment was also geographically dispersed, with significant differences between the French, English, Scottish, German, and other national varieties. It is hardly surprising, then, that the Enlightenment’s contemporary defenders can see it in such different ways.

    But historical labels are, by their nature, nebulous and messy. There are always exceptions. There are always contradictions. The crooked timber of humanity — another adage of Kant’s — never fits into neat geometrical boxes, and virtually every commonly accepted label used by historians would fail Clark’s overly strict coherence test. Eighteenth-century writers may not have used the label “the Enlightenment,” but they often described their century as one marked by the triumph of reason and progress. D’Alembert spoke of a revolution “not only in the history of the human mind . . . but also in the history of states and empires.” Diderot praised “philosophy” for “advanc[ing] with great strides” and forcing “authority and precedent . . . to yield to the laws of reason.” Kant declared, “this age is the age of enlightenment.” Edmund Burke, meanwhile, set himself in opposition to what he dubbed, with exquisite sarcasm, “this new conquering empire of light and reason.”

    The fact that the Enlightenment existed, however, hardly means we should place it on a pedestal and worship it idolatrously. Yes, despite the differences between Enlightenment thinkers, we can identify a set of genuinely noble and admirable beliefs to which most of them (though not all) subscribed: the need for freedom of thought and expression, especially in religious matters; the need to judge matters of general interest according to standards of reason, objectivity, and utility; the possibility of historical progress; the illegitimacy of violence in the pursuit of political objectives. But at the same time very few of them had kind words for democracy, which they tended to equate with mob rule. Freedom of speech did not imply freedom of political action. Kant even wrote that the mark of a good enlightened ruler was to say: “Argue as much as you will and about whatever you will — but obey!” And while some denounced imperialism and advocated toleration of cultural difference, in most cases “Enlightenment universalism” meant defining Western Europe as the high point of human historical evolution and judging all other cultures by that standard. Racism and anti-Semitism disfigured the thought of many Aufklärer. Liberal modernity (whatever that means) did not burst forth fully and perfectly formed from the heads of philosophers.

    Nor is it even possible to find a coherent subset of Enlightenment authors who might deserve idolization — a “happy few” who fully professed modern liberal principles. Jonathan Israel has employed this strategy, attempting to distinguish a forward-looking “radical Enlightenment” that inspired everything progressive in the modern world from a “moderate” one that cravenly kowtowed to the European ancien régime. But for all his gargantuan energy and erudition, his ultimately unconvincing thesis has met with one of the most hostile critical receptions of any major recent historical enterprise. According to his numerous and persuasive reviewers, his “radical Enlightenment” is his own invention, not a historical reality. Yes, there were intellectual radicals in the seventeenth and eighteenth centuries: materialists who denied the existence of God and denounced Moses, Jesus, and Mohammed as the “three imposters”; republicans who opposed monarchy; egalitarians who wanted to overturn the social order. But some egalitarians were fervent Christians, some materialists had no problem with monarchy or privilege, and so forth. There was no single and coherent “radical” party.

    But we do not need to worship the Enlightenment as if it were a god we have failed. Most of the philosophes, despite their often immense self-regard, would have been horrified at the idea. Condorcet, one of the last great Enlightenment writers, asserted that “it is easy to see how imperfect the analysis of men’s intellectual and moral faculties still is,” and predicted that his successors would move far beyond him. Thomas Jefferson memorably asked whether “one generation of men has a right to bind another?” The question has implications for intellectual life as well as politics. We should be free to take from the Enlightenment what we find valuable and disregard the rest — to construct our own twenty-first-century Enlightenment rather than placing ourselves in thrall to an imagined eighteenth-century one.

    As we do so, we should remember that what made the Enlightenment so extraordinary was not just a set of ideas but also a set of practices — not just what was said but also how it was said, and how it was understood in its various social contexts. Far too much of the contemporary discussion of the Enlightenment ignores this point, reducing it to a set of disembodied abstractions. The result is to distort the history and impoverish the analysis. If we wish to construct our own twenty-first-century Enlightenment, and we should, the practices are just as important.

    Start with the basic issue of audience, and how it was appealed to. Before the eighteenth century, key Western works of thought often still appeared in Latin, and even when they were published in the vernacular they tended to employ recondite and difficult language which appealed principally to fellow scholars and patrons. After the eighteenth century, meanwhile, thanks to the development of modern research universities, intellectual life increasingly retreated into the ivory towers. Enlightenment authors, by contrast, wrote principally in the vernacular for a general educated public, and strove to make their works as accessible, as engaging, even as entertaining, as possible. To be sure, they, too, could sometimes produce arcane philosophical and scientific texts; but more often they presented their ideas in the form of stories, novels, plays, dialogues, reference books, essays, and travelogues. Think of Voltaire’s Candide, Montesquieu’s Persian Letters, Lessing’s Nathan the Wise, Hume’s Essays Moral and Political. Even didactic treatises tended to employ a clear and accessible prose style. Baron d’Holbach’s provocative materialist treatise The System of Nature became one of eighteenth-century France’s biggest bestsellers, although it had to be sold illegally, “under the cloak,” because of government censorship. Enlightenment writers wanted to be widely read.

    Audiences, meanwhile, did not just read but became infatuated. They tried to model their lives according to their favorite authors’ instructions, wrote those authors worshipful letters, hunted for every scrap of information they could about them. The historian Robert Darnton gives the example of a French merchant named Jean Ranson who for years bombarded publishers with letters asking for news about Rousseau, whom he, like many others, called “friend Jean-Jacques.” When Ranson married, he wrote that everything Rousseau had set down about conjugal life “has had a profound effect on me, and . . . will serve me as a rule” (perhaps not the best idea, given that Rousseau admitted to having abandoned five children of his own to orphanages). After Rousseau died, Ranson promised to visit his grave and shed tender tears on it. Many other readers reacted in similar ways, with some claiming that after reading the heroine’s death scene in Rousseau’s melodramatic novel The New Eloise they had to take to their beds for days out of grief. One of the first modern literary celebrities, Rousseau himself felt increasingly oppressed by the insistent public attention.

    Readers found it all the easier to get drawn in because they had so much more information available than just the books themselves. In the eighteenth century, for the first time, what we would now call an entire media infrastructure had come into being around authorship and book publishing. Literary periodicals reported on new works and printed stories about writers. They published reviews summarizing and evaluating new books. Printers made cheap engravings of authors available for display in homes. Venues for literary discussion, from officially chartered learned academies to lending libraries to informal societies and café gatherings, all expanded at a furious rate.

    This same infrastructure also made it easier than ever for readers to become writers themselves. Periodicals needed contributors (they also published extensive letters to the editor). Diderot and d’Alembert enlisted hundreds of collaborators for their Encyclopedia, whose length eventually ran to seventeen million words. Darnton has highlighted the plight of the poor but ambitious young men who flocked to Paris in the hope of becoming the next Voltaire, only to end up as “poor devil” hack writers, desperately churning out crude pornography or political libel, or even spying on fellow writers for the police, to earn money. Meanwhile, learned academies throughout Europe sponsored essay competitions whose winners could leap in a moment from obscurity to glory. The most famous case involved an eccentric thirty-eight-year-old failed music teacher who had spent years fruitlessly promoting a new and unwieldy system of musical notation. After seeing an advertisement for an essay competition on whether the progress of the arts and sciences had proven beneficial to society, he boldly answered in the negative, won the prize, and gained immediate fame. This, of course, was Rousseau.

    All these developments were inseparable from rapid and ongoing social and economic change. A warming climate, the end of destructive religious warfare, and furiously expanding global trade — much of it powered by chattel slavery in the Americas — was bringing unprecedented prosperity to Western Europe. The first consumer revolution was underway. Asian spices, porcelain, and tea; American sugar, coffee, tobacco, and textiles, all flooded into European cities. Even modest artisans and shopkeepers could now purchase a wide new range of household implements and decorations, musical instruments, foodstuffs, medicines, religious paraphernalia, clothing — and books. Printed advertising developed, and a new daily practice became part of urban life: shopping. In short, a new sort of public was coming into being that could exercise a new range of choice on a daily basis: choice about what to eat and drink, what to wear, how to furnish homes, how to entertain oneself — and what to read.

    This new range of choice seems so familiar today that it is easy to forget how novel it was at the time, and what it meant to ordinary people to exercise such banal but important forms of personal autonomy. Consumerism, in what the historian William Sewell has called (without irony) “capitalism’s rosy dawn,” was not yet an insidious and exploitative system manipulated by large corporations, but — at least in part — an opportunity for unprecedented forms of self-expression and self-cultivation. Yes, the opportunity was available only to a limited population: urban and relatively well-off. But it was still a much larger population than had previously enjoyed anything similar, and it included women as well as men.

    This was the world into which the Enlightenment was born, and its practices shaped the way writers appealed to their expanding new audiences. These audiences wanted help navigating the brave new world of consumer choice, and they found it in the criticism, advice, and information offered by the new periodicals and reference works. Beyond this, they also wanted entertainment and edification, and the Enlightenment provided it. They did not, however, want preaching or indoctrination, and despite what is often thought, very few of the great works of the Enlightenment offered anything of the sort. Indeed, especially in France, many authors deliberately refrained from advancing any sort of clear didactic thesis at all, opting instead for playful ambiguity. In Candide, Voltaire offers a savage satire of intolerance but concludes with the deliberately elliptical line “we must cultivate our garden.” Montesquieu’s Spirit of the Laws pivots between endorsing the English constitution and taking the relativist position that countries should choose the government that best fits their climate. Diderot adored the dialogue form, which prompted his readers to evaluate apparently opposing viewpoints. The Encyclopedia allowed readers to follow a trail from volume to volume through the editors’ provocative series of cross-references (most famously in the article “Cannibals”: “See also Eucharist, Holy Communion, Altar”). Voltaire perfectly summed up the spirit of this Enlightenment in the preface to his Philosophical Dictionary: “The most useful books are the ones that are half written by their readers.”

    Even in places such as Scotland, where eighteenth-century intellectual life was less playful (because it was more centered on universities), Enlightenment thinkers mostly took care to write in an accessible manner. Adam Smith, famously, did not simply expound his theory of the division of labor in abstract terms, but led readers to follow his reasoning by offering the example of a pin factory. His fellow Scotsman, David Hume, an admirer of the French salons, wrote that “learning has been . . . a loser by being shut up in colleges and cells, and secluded from the world and good company. . . . Even philosophy went to wrack by this moping recluse method of study, and became as chimerical in her conclusions as she was unintelligible in her style and manner of delivery.” Hume’s own philosophical works, while intellectually demanding, remained clear and engaging.

    Hume insisted that liberating serious intellectual life from “colleges and cells” would have beneficial effects on the public as well. “Must our whole discourse be a continuing series of gossiping stories and idle remarks?” he wrote. “Must the mind never rise higher . . . ?” But for people to benefit, they would have to put in their own intellectual labor, using what they read for the purposes of self-cultivation, and drawing their own conclusions — writing half of the books themselves. In this sense, the Enlightenment was part and parcel of the enterprise of self-cultivation that social and economic change was making possible in the eighteenth century. Kant would describe it as humanity’s emancipation from its “self-imposed tutelage.”

    Not all Enlightenment writing fit this pattern, and as time passed less and less of it did. The idea of letting readers make up their own minds, especially on questions of religion and political authority, did not sit well with established eighteenth-century authorities, especially in Catholic Europe, in parts of which the Inquisition remained a going proposition. (It was not abolished until 1834.) As Enlightenment writing gained popularity, these authorities increasingly perceived it as a threat — indeed, as a unified conspiracy against throne and altar — and moved to repress it. In response, Enlightenment writers themselves turned increasingly rigid and militant and intolerant. “O my philosophes!” wrote Voltaire to his followers in the 1760s. “You need to march in close order like a Macedonian phalanx.” And he scolded them for a lack of zeal: “You bury your talents and are content with despising a monster you should be struggling to abhor and destroy.” When the cranky French cleric Augustin Barruel tried to prove that the philosophes had deliberately plotted to overthrow France’s Old Regime, he found much to quote from in Voltaire’s published correspondence. Later works of the French Enlightenment, such as d’Holbach’s popular but turgid treatises, increasingly told readers what to think rather than prompting them to think for themselves.

    Moreover, absolutist rulers found that they could make use of Enlightenment works that insisted on applying standards of reason and utility to matters of general interest. Frederick II of Prussia, Joseph II of Austria, and Catherine II of Russia all invited philosophes to their courts, flattered them, debated with them, and sought their cooperation. They did so above all because Enlightenment ideas justified their campaigns to exert greater control over established churches and social elites, and not for the purposes of promoting toleration and equality. The point was to weaken domestic opposition, and to make autocratic regimes more powerful and efficient. In the end, these sovereigns mostly treated their visiting philosophes as hired help. “I shall have need of him for another year at most, no longer,” Frederick wrote about Voltaire. “One squeezes the orange and throws away the peel.”

    And we should remember that even when the Enlightenment did prompt readers to reflection and self-cultivation, the results still could be pernicious. One infamous French academic essay competition invited participants to explain why Africans had dark skin. Some of the entries veered off into the far extremes of racist speculation. Enlightenment natural science emphasized that humans did not represent a separate creation, but in many respects belonged to the animal kingdom. Although the idea represented a fierce challenge to Christian beliefs, it also encouraged speculation about the differences between human races, which slaveowners in the Americas jumped upon to justify holding people of African descent in bondage or civic subordination. One of the French revolutionaries most influenced by Enlightenment writing, Emmanuel Sieyès, speculated about breeding humans with monkeys to create a race of natural slaves.

    In sum, putting the Enlightenment back in its social and cultural contexts, looking at practices as well as ideas, makes it much harder to celebrate it simply as the birthplace of an admirable liberal modernity. The Enlightenment contained multiple tendencies, both laudable and deplorable, both constructive and pernicious. As already noted, it was not a single thing. Horkheimer and Adorno’s intellectual heirs are not wrong to see some danger in the Enlightenment, although they mistakenly conflate this danger with the Enlightenment as a whole. The abuse of reason, instrumentally and otherwise, should not be mistaken with reason itself.

    If we decide to draw as we please from the eighteenth-century Enlightenment to construct our own Enlightenment, we should not neglect what we can learn from these contexts — what we can learn from its practices. In our own world, increasingly dominated by social media and video and podcasts, it is as important as ever not to keep serious learning “shut up in colleges and cells” — cordoned off in university echo chambers where the faculty only hear each other talk. It is all the more important to find ways of engaging a larger public in a serious manner, and using every available genre and medium to do so. And all the more important to do so in a way that encourages people to seek the answers for themselves and to undertake the work of their own cultivation. This is not asking too much, even now. A liberal society cannot flourish without the confidence that its members can do the work of Enlightenment themselves, as best they can.

    On Skin Color and the Individual

    In memory of Albert Murray

    I am what might be called an integrated black man. Many of my friends are white, and I live in a mostly white neighborhood; my long marriage is an interracial one, my grown children are biracial. I offer these facts neither as a lament nor as a boast. They are simply facts. Born in the 1960s, I am a member of a generation who grew up in the wake of Martin Luther King, Jr.’s assassination and, more importantly for me, in the light of his message of openness, his call to judge one another, if we must judge one another, as individuals. That is how I have tried to live my life. In an era of the greatest divisiveness of my lifetime, what I am saying may sound hopelessly naïve, and, indeed, a few of the public responses to my work have included that word among other critical ones — one reader declared that I was merely “singing kumbaya,” another that I was speaking “nonsense.” I am not complaining. To write about so-called race is to invite an especially vehement and personal kind of criticism. The criticism has done nothing to change my view, which is that for black people to judge white people on the basis of their whiteness, however understandable that judgment may be, is to fail to grasp the most important lesson of slavery and its continuing aftermath: that the way we treat others must not depend on skin color. I will hold this view as long as I have a head to hold it in.

    Yet I am vividly aware that this belief in the importance of the individual is not, by itself, an adequate response to the racial challenges that we face, for two reasons. One is that this belief may seem not to take into account the sheer enormity of what was done to people of color in this country in the past, as well as its implications and ramifications for the present. The other is that this belief may have the effect of entrenching people in comfortable indifference to ongoing problems. But my purpose here is to point to two ways in which this belief in treating people as individuals can serve as a radical tool for understanding history and for addressing the challenges we face today.

    Thankfully, when it comes to American slavery, no equivalent of the Holocaust-denier movement appears to have gathered steam (which is not to say that it never will). So far no one is claiming that slavery did not happen — only that its effects on black people were not entirely bad, that the enslaved learned useful skills, to cite one argument of the Ron DeSantis crowd. I want to sidestep that argument, which is ridiculous on its face — roughly comparable to a man’s saying that, yes, he beat his wife, thereby teaching her self-defense — and widen the lens to include not just slavery and discrimination themselves but what was done to justify them, which is the true source of the trouble that plagues us to this day. A visitor from outer space, told about American slavery and left to observe the current reality, might ask why so many white people have contempt for black people rather than the reverse (not that the reverse isn’t also true — I will come to that in a bit); and the answer to the space alien, ironically enough, is white people’s egregious violation of their own sense of morality.

    The impetus for slavery was economic. In order to square America’s slavery with the Christian beliefs of most of America’s citizens, it became necessary for religious figures, scientists, politicians, educators, newspaper editors, editorial cartoonists, and others, like men coming together to push a stalled car, to put all of their energy into advancing the notion that whites were superior to blacks intellectually and (more irony) morally, and that whites were the rightful beneficiaries of the condition that Americans never tire of celebrating, that is, freedom. A measure of the resounding and tragic success of this campaign was that so many white people’s sense of identity came to rest on that belief in their superiority.

    Whatever disrupted the white sense of supremacy was considered a threat, an attack. That was true during slavery and for a century afterward, and among some whites it is true today. Hence the Tulsa massacre in 1921, in which whites decimated a thriving black business community; hence the white woman depicted in Bliss Broyard’s memoir of her father, One Drop, who researched her lineage and was reduced to tears by the discovery of her black ancestors (Broyard’s father, Anatole Broyard, was a distinguished book critic at The New York Times who passed for white); hence, as well, the way some reacted to Barack Obama’s election with the feeling of betrayal that a man might have if his wife ran off with his brother. This sense of superiority was enshrined in law, encoded in every detail and nuance of cross-racial interaction. Underneath it all, no doubt, like the pea under twenty mattresses in the fairy tale, was a feeling of guilt, remote but still felt — but one of the paradoxes of human nature is how guilt midwifes the vilest of acts.

    The black victims of these acts can easily be thought of as one undifferentiated, and thus not quite human, mass. Focusing on such people as individuals, however, helps us to think about the actual experiences of these victims, each one a real human being with hopes, emotions, and people who loved them, and to consider, at the human level, what these experiences meant. Pain is supremely an individual feeling. No essay, no book, no series of books could capture every instance of blacks’ suffering due to racism, so I will cite only one. Think of a woman who was owned by others and forced to breed human beings; think of a woman in your life — your mother, wife, sister, daughter, favorite aunt, friend, lover, yourself — and imagine her having no say in who had sex with her, or how, or when, or whose children she carried and gave birth to. Such a woman was my great-great-great grandmother.

    Speaking of individuals, let us consider one individual in the present. As a boy, I was raised in the bosom of a loving family and never once got into trouble with the law. I had the benefit of a college education, and today I live in an area that is as safe as a city neighborhood can be, one that does not provoke an aggressive police presence. I have a driver’s license but drive very rarely and thus have never been stopped for Driving While Black. I am polite — to a fault, some would say — and do not make a habit of arousing people’s ire, whatever those people look like. While I love my whiskey, I have imbibed no illegal substances to speak of, and I have certainly never sold any, not least because I have never had to do so; I have never had a lot of money, and at some points in my life I have had very little indeed, but even in those moments I was spared the bleak choices facing those for whom the legal economy simply has no place, so that I have not once run afoul of the law for drug-related reasons and been subject to the inequities of the criminal justice system.

    Consider, in short, that I am probably as protected against racism as it is possible for a black man in America to be. Now consider that over the course of my life I have been followed out of stores, chased by a police car, told by an officer with his hand on his pistol to put my hands in the air, addressed with a nasty slur on the street, in a bar, and via email, told that I could not rent an apartment, greeted by police who were called after I was spotted at the door of my own residence, prevented from completing a job application, stopped by a cop who told me to quit following a group of women I had not noticed before then, told on the morning a job ad appeared that the job had been “filled,” stopped by a security guard on a college campus where I was a visiting writer, and I’ve forgotten what else — all for one reason, and perhaps I do not have to tell you what it is. My point here is that if these things have happened to me, we should consider what has happened to other black people in contemporary times. Better yet, read about the individual stories of flesh-and-blood individuals such as Trayvon Martin, Eric Garner, Sandra Bland, and the others whose skin color became their lethal fate.

    Now here comes the tricky part. It is difficult for black people to go from being immersed in thoughts of anti-black racism to considering the ethics of their attitudes toward whites. For many, the thought would simply never arise, and many others would not see the need or the benefit. It is a lot to ask of a historically oppressed group, one that continues to face discrimination and its attendant psychological burdens in the present, to bring objectivity and fair-mindedness to their encounters with representatives of the group that oppresses them. To be honest, I sometimes wonder why I care about this issue as much as I do, whether it means that I am just a strange person or have suspect motives, and I cannot say with perfect certainty that neither of these factors plays a part. I can say, with equal honesty, that I am not a self-hating black man who is prejudiced against other black people, as I have been accused of being. Do I, though, simply want to justify the life path on which my interests have taken me, in others’ eyes if not my own?

    That path led from the all-black neighborhood in Washington, D.C., where I grew up, to a mostly white college in the Midwest, the very first college to contact me, one that had what I wanted: a writing program. Certain that so-called race would be unimportant on a college campus in the post–civil rights world of 1981 (yes, I know), I thought nothing of being surrounded by so many whites. I held onto my high school friends, and I made new black friends, but I also made a slew of white friends, and that extended, eventually, to my dating life. I sigh, thinking of those friendships. One of my favorite memories from those years — really, from any years — is of staying up all night with a black friend, my roommate during our semester in London, drinking wine and gin and laughing our damn heads off in an upstairs room in the home of our host family, who were out of town. A white female friend still recalls the time I ran to her dorm room after she phoned me upset over a young man she was dating. Those friends and I still think of one another lovingly, even if, in some cases, we talk only sporadically. Our bond is eternal: we were young together.

    One of my black friends from that time, who is gone now, had the experience in high school that I had in college, of having a mostly white group of friends. If I discovered white people in college, he discovered black people — the tightly knit and frankly separatist group who lived for the most part in a dorm called African Heritage House (and who were deeply skeptical of me). “These black people here got their shit together,” I heard him say once, and for a time — which did not last for the rest of our college years — he put distance between himself and whites. For better or worse, probably some of both, I never went through that kind of rebellion, maybe in part because I grew up around black people who had “their shit together.” No, my rebellion, if it can be called that, was of a different sort and, unlike my friend’s, seems to be permanent. While I happily celebrate my black heritage, I also rebel, if only in my mind, against the importance that everyone attaches to skin color, and I rebel against those — and they are white as well as black — who feel there is something odd about me because of the way I have lived my life. I am not insensitive to those judgments, and perhaps I have internalized them to some degree, but something deep in me also shouts back, Am I crazy, or are all of you?

    The question may or may not be rhetorical.

    Perhaps a black person would have to be a little crazy, or at best hopelessly naïve, not to be wary of certain situations. I have a desire to tour large swaths of the country by car, but I am very leery of some of the people I might encounter on such an adventure. Most black people I know, including me, will look through the window before entering an unfamiliar bar or restaurant, scanning for brown faces, just to make sure we are not unwelcome. This kind of wariness is a tradition for us, a part of survival. These are not examples of what I mean by judging whites on the basis of their whiteness — and, by extension, judging blacks who associate with them. Here, rather, are examples. Another black college friend of mine told me that a black man visited his apartment, saw a picture of my wife and me on the wall, and wanted to know, “What’s up with the brother and the white chick?” To my friend’s lifelong credit, he replied, “That’s my brother and sister-in-law.” Then there was the flak that Darius Rucker of Hootie & the Blowfish got for making music with white guys. Such examples, and they are numberless, may be trivial and harmless in themselves, but I am troubled by the narrowness and provincial nature of the attitude they suggest — an orientation that defines blackness not by what it is but by what it must not become, as if blackness were mortally threatened by mere contact with the infamous “Other,” like the Wicked Witch of the West doused with water. Are we that fragile?

    I have digressed. Perhaps, as I was saying, some part of me simply wants to justify my life. But I also believe, deep in my heart, that the bulk of what I feel is something else.

    It is natural, even commendable, to want to protect and support one’s own, whether that means one’s immediate family or the people who look like oneself and thus have many of the same life experiences. No reasonable person would dispute that. We would think amiss of a father who did not care what happened to his children. Black people, including me, have great respect for a black person who stands up for them. And yet there is a sense in which to stand up for one’s own is to stand up for oneself, and while I admire this, there is something else I admire, too.

    If we are not careful, society can become one interminable game of Us and Them, and if Team Us is perpetually outnumbered and on the losing end, life for its members can be a never-ending effort to correct this imbalance. But this game is not all there is, because there is, or should be, more to life than self-defense and survival. I have in mind such things as pleasure, love, friendship, a sense of purpose, and another item I would sneak onto the list, which is the desire to be the best versions of ourselves. Many turn to religion for this; others of us do not see the need to enlist God in the effort. For me, being my best self has a very particular meaning. It means not placing my skin color over my own humanity, especially since others, some of whom wear badges, seem only too happy to do that for me. It means not judging others on the basis of superficial characteristics. Does this not sound like something we were all taught early in our lives? And is not skin the most superficial of all our traits, as in the phrase “skin deep?” It also means treating others, all others, as I would like to be treated. How I would like to be treated is with forgiveness, with the understanding that I intend well even when I don’t do so well.

    This brings us back to white people. I have known many in my life, some casually, some well. To be sure, those I have known might be called — if I am using this term correctly — a skewed sample, since I move in liberal circles. It has been my experience that most of the white people in those circles — by no means all — have good hearts and mean well, even if their experiences do not necessarily give them the insights that others of us gain just by walking around with brown skin and kinky hair. I have reached this conclusion, which is based on decades of personal experience, by being open to people as individuals. Can appearances of good-heartedness be deceiving? Of course. Is the most open-hearted progressive white person capable, in a bad moment, of saying something most black people would find objectionable, something that may reveal a questionable attitude? Yes, and I have experienced that, too.

    I have seen the horror on a white person’s face when they realize what they have just said. It is the same horror I feel when I have unthinkingly misgendered a student, the same horror I felt many years ago when I made a joke about the SS to a co-worker who was, as I remembered two seconds too late, Jewish. The horror is often followed by a heartfelt apology. But not always; sometimes there is not even horror. Would I want to keep company with someone who tells racist jokes and can’t be convinced that they are not funny? Or with someone who otherwise will not be made to see his own cluelessness? As some black folks say, Aww, hell naw. (Or as some whites say, Hard pass.) But others respond well to being told that they have crossed a line. I have done this with people whose friendship I value. To the initial unease of one friend, I did it with her father, who responded very graciously. (I had told him I would have a story in an anthology of African-American fiction. He joked, “I didn’t know black people wrote.” I sent him a lengthy list of black writers.)

    Some will say that life is too short to spend trying to teach white folks how to behave. But I want to stress two points here. The first is that life is not only short but also thrillingly unpredictable, and you never know where your words will end up or the impact that they may have. Thanks to a conversation I overheard in a Starbucks, I went the next night to a screening of a film by Bertrand Blier, whose work I now want to explore further — and now you have heard of him too, if you hadn’t before. For a brief time as a young man, I, the son of two postal clerks, had the ear of a former First Lady of the United States, and the most famous and glamorous one at that; she was an editor at the publishing company where I worked as an editorial assistant in the years rights after college, and at one point her office was about ten feet from my desk. I remember talking to this woman about my mother, who was still living then, and I like to think, though I cannot recall, that I passed on some of Ma’s folksy Virginia-bred wisdom.

    The second point is that I would not have been in a position to share my point of view with my friends, to speak words to them that could — you never know — someday end up far from my mouth, had I not been open to those friends as individuals. I lay much of the blame for the divisiveness of our era on our forty-fifth president, whose election (and now re-election) was, to my mind, the worst thing to happen to this country in my lifetime, largely because he has made so many people feel that it’s fine not to give a damn about others. I do not know to what extent the treatment of others as individuals, as a tool for both conveying an understanding of the past and emphasizing what needs to happen in the future, can help put an end to this divisiveness. Nor do I know to what extent individual encounters and personal relationships can have an impact on institutional racism. I applaud the efforts of Black Lives Matter and earlier civil rights organizations to address institutional racism through group-based direct action, but I do know that institutions are made up, in the end, of individuals. And I know that while individuals do not necessarily care about groups to which they do not belong and which, for that reason, may live in their minds only as abstract notions, they care about other individuals, who can serve as their entry points for thinking about the concerns of those groups. This is where my hope lies.

    It was this hope that led me to a small experiment.

    Through social media and email, I asked volunteers to write to me if they had had the following experience: “meeting and talking with someone whose skin color, ethnicity, or sexuality was different from yours led you to consider, in a way you had not before, the experiences of the group to which that person belongs.” Sixteen people responded, thoughtfully and at some length, in ways that underscore, for me, the importance of cross-groups encounters; many of these encounters and exchanges would not have been possible without the willingness, on both sides, to treat others as individuals. In the following paragraphs I paraphrase some of the respondents’ stories and quote a few lines directly.

    A white woman, when she was much younger, asked her late brother-in-law, who was black, if black people use sunscreen. He responded, “Some do, some don’t, just like white people.” That response, spoken without anger or a lecture, was “a brilliant way of getting me to consider that ‘Some do, some don’t, just like other people’ is the answer to most questions about how any group behaves or any group’s preference.” The same woman worked, in the pre–George Floyd era, on publications for a college where a black colleague and friend capitalized the word “Black”; the woman told her colleague that the organization did not cap the word, but when the colleague explained her reasons, the woman agreed and relayed the explanation to higher-ups, who did not change their minds. This revealed to the woman “the kneejerk response of all of us gatekeepers to just do the same old thing unthinkingly; and then how quickly it all changed, as if there had never been a rule to begin with and all the old reasons we relied on went out the window.”

    A man of mixed black and Hispanic heritage noted that he has friends who are Chinese and gay, and that “their world and experience is so different from that of the Hispanic, white, or black gay men whom I know. Based on what they have told me, they have it tougher with little to no support.” Another black man came to a similar conclusion, thanks to interactions with Asian friends. A Chinese-American friend, he said, “blew my mind for thirty minutes straight with tales of micro and macro aggressions.” The friend told of riding his bike while carrying takeout food and hearing a white man, in the course of “explaining the world” to his toddler, saying, “That’s the delivery guy who brings us food ” — words that left the friend “literally dizzy with rage.” The black man learned that Asians “are on the receiving end of a particular kind of dehumanizing that I’ve never experienced in white liberal spaces.”

    Whites who responded also told of realizing from individual encounters what other groups — blacks in particular — experience. One white woman wrote that a friend of hers, a black woman, confided that she is leery of being friends with white women because she doesn’t know if those women simply want to have a black friend. Another white woman, accompanying her daughter’s fifth-grade class on a trip to Ellis Island, watched the white kids “happily looking up their ancestors on computers” while the black kids “just sat on the steps with their faces in their hands. All they had to look at was a lone and unimpressive map of the slave trade.” The kids who got in trouble with the teacher that day were mostly black, and when the woman told the teacher that “maybe the field trip triggered some resentment,” the teacher refused to hear it. A third white woman wrote, “A black friend ended up in handcuffs when she went to check her mail because the police didn’t expect a black woman to be living in a white neighborhood. I’ve never had that problem.” Still another white woman, who had not been around many blacks while growing up but made black friends as an adult, wrote that “it took some intimacy to progress from the intellectual conviction that human beings are human beings, that racism is a foundational American evil, etc., to losing in my bones a sense of the otherness of Black people. . . . Now that I’ve written this I’m kind of embarrassed about it.” One white man recalled that in high school, he joined a previously all-black music group. His experience of becoming close to the band members “helped me see how being black meant you were less likely to be seen by whites (like me) for who you were. You were simply ‘black.’” A couple of other white people wrote of their surprise on hearing black people celebrate the European parts of their heritage — and of what their own surprise revealed to them about their previous assumptions, which one called “totally stupid and narrow-minded.”

    Several people had their eyes opened by the experiences of spouses or close relatives. A white man wrote of talking to his transgender son and other young trans people and becoming “very conscious that the feeling of being trans is deep-going and genuine, not some fad.” A white man observed that seeing his child’s transgender male friend appear “so much happier and lighter than throughout the years before” made him realize “how right this seemed.” A white immigrant woman who married a biracial/black man in the 1970s was exposed to many instances of racism, such as hearing that the apartments the couple went to see together had already been rented — even though those apartments “had been available when I called 30 minutes earlier.” One white woman respondent was raised Catholic, married a Jewish man, and raised their sons as Jews; the woman wrote of “being able to witness [Jews’] collective identity and faith and then . . . witness their collective fear as well. I’m not sure I had connected those before.”

    All well and good, as Ma used to say. But in one of my books I identified indifference as being at the heart of our troubles surrounding so-called race. The obstacle to equality is not that white people are racist — though of course many are — but that many, perhaps most, simply do not care enough to want to make a change. Indifference is a chillingly powerful force. The testimonies that I have cited above, which come from exposure to the experiences of individuals, are heartfelt, and all of them are stories of personal enlightenment that may lead in some cases to the waning of indifference. But are the feelings that they express of the kind that ever translate into change at the institutional level?

    Here are two more testimonies, which I present to suggest the value of cross-racial exchanges and the potential power of a focus on individual experience. One story is from a white man who directed a creative writing program. He was in charge of hiring guest faculty, mostly through his network of personal acquaintances. “I don’t remember,” he writes, “if I even thought about the fact that most of them were white. At some point a few MFA students talked to me about their frustration with the lack of diversity among the teachers in the program. One Hispanic student told me that in both of the workshops she’d taken so far, her teachers and peers compared her writing to that of Sandra Cisneros, a writer with whom she said she actually had nothing in common — it was just that they seemed to lack a better frame of reference. These conversations really stayed with me and in their wake I completely rethought my hiring practices. This took place before the modern era of DEI bureaucracies, which, whatever their problems, do much to ensure that white ‘gatekeepers’ no longer rely unthinkingly on their personal networks, as I did at first.”

    The second story is also from a white man, who in this case was moved by the death of an individual: George Floyd. What happened to Floyd “made me wake up and recognize,” he writes, “that I couldn’t just let myself rest in my accomplishments and privilege.” He went on to build a startup company called Homesy, which “is designed to lower the barriers to home ownership by creating a data-driven, no-commission network of homesellers, buyers, and real estate–curious people who have faced a history of ‘real estate racism’” — racism that was “supported by the US government in concert with the National Association of Realtors.”

    I want to end with the most important thing I have to say, which is that what I am suggesting is not for the benefit of white people. No, I have others in mind.

    I am at my desk, writing this by hand, using the pen that Ma gave me, in the room where my children used to sleep. My wife now calls this room my office. I suppose it is. Taped to the wall in front of me are handwritten lists of names, including Jackie Ormes, Sam Milai, Mansa Musa, and Ali Ber; there is a sketched likeness of E. Ethelbert Miller, and to the left of that, a postcard reproduction of a work by William H. Johnson. If some or all of these names are unfamiliar to you, I encourage you to investigate them, should you feel so inspired. They all have one thing in common, and they have it in common with the group of people for whom I am writing.

    Near my desk, beneath my hat rack, is my stereo. On days when I am in my office preparing to teach, jazz plays. I hear the mostly wordless eloquence of Louis and Lil Armstrong, Charles Mingus, Eric Dolphy, Booker Little, Joe Pass, Bill Evans, Esperanza Spalding, or Lafayette Harris, and even when I am too absorbed in reading student work to take in every note, I feel sustained by this music, this black creation (whoever is playing it now), this testament to our resourcefulness, grit, imagination, intelligence, and adaptability. I was reared in the black world that created this gift to world culture. I care profoundly about our heritage and our well-being. I want us to be as fine as we can be.

    It Takes So Little

    Thousands of minutes and hours,
    deeds and words,
    specifications,
    delusions,
    mistakes
    without end,
    longing,
    flesh —
    it takes so much
    to create
    a single person —
    that he be,
    that he survives,
    that he feels a hand on his shoulder,
    that others say to him “It is you.”

    And it is so easy for him
    not to be,
    not to be this person,
    to be done,
    to be gone.
    Or for a place that was a home
    to no longer be the home
    that it was.
    It takes so little
    for a home to cease,
    to crumble,
    to return to dust,
    and for a land that was a place
    no longer to be the place
    that it was,
    for a home to fail in it
    and for a person to return
    to its dust.

    So little is required for a place
    once again to not be a home.
    So little is required
    to not be.

    The desire must be so strong,
    so strong the desire to live,
    so as to come back,
    so as to come back to being.

    December 12, 2024

    Translated by Leon Wieseltier

    Haydn: Order and Contradiction

    It is well known that over the years the evaluation of Haydn underwent a number of changes. Towards the end of the eighteenth century, no one would have hesitated to call him the greatest of all composers. According to the Allgemeine musikalische Zeitung in 1802, “The inexhaustible spirit of his masterpieces is admired from Lisbon to St. Petersburg and Moscow, as well as behind the ocean and at the Polar Sea.” In the London press he was even called “the Shakespeare of music.”

    This international fame was triggered by the six string quartets Op. 33, owing to the recent proliferation of newspapers and musical publishing houses. As soon as his works ceased to be the property of Count Esterházy, Haydn offered them to a multitude of publishers at once, even inviting subscriptions to handwritten copies. Ten years earlier, the incredible novelty of the string quartets Op. 20 had created a stir among musicians: Mozart and Beethoven copied them out, and later Brahms ended up being the happy owner of the autograph. Has there been another composer who bestowed us with a musical cosmos comparable to Haydn’s quartets? Schubert’s lieder may qualify.

    In the nineteenth century, a counter-reaction occurred. Schumann, Liszt, Wagner and their spokesmen Adolf Bernhard Marx and Franz Brendel (no relation) voiced criticisms, while Mendelssohn, Weber, and Brahms seemed to have remained faithful admirers. Opinion-makers such as Eduard Hanslick and Theodor Adorno saw in Haydn mainly the precursor of greater masters. A different kind of sympathy and insight came from musical thinkers such as Heinrich Schenker and the composer, pianist, and brilliant writer Donald Francis Tovey, who dared to express the view that “in the history of music, no chapter is more important than that filled by the life-work of Joseph Haydn.” Haydn scholars such as H. C. Robbins Landon, Jens Peter Larsen, Anthony van Hoboken (who created the standard catalogue of Haydn’s compositions), James Webster, and Georg Feder — to mention only a few — then discovered missing works, eliminated inauthentic ones, and helped to correct mistakes. By 1935, not even one tenth of Haydn’s works had been printed. We cannot be grateful enough to the publisher Henle, whose complete Haydn edition is now available.

    In comparison to most of the other great composers, it is anything but easy to acquire an overview of Haydn’s work. Let us try to assess his life’s achievement. His compositions include sixty-seven string quartets, a hundred and four symphonies, fifty-five piano sonatas, forty-five piano trios, fourteen masses, three oratorios, one Stabat Mater, and one Te Deum — not forgetting his seventy-three operas and other music for the stage. We should also mention the approximately two hundred baryton trios that he composed for the pleasure of Esterházy, whose hobby was playing the baryton, a now-defunct string instrument with some added strings to be plucked. There were also approximately four hundred canzonettas and settings of Scottish and English folk songs, and more than forty canons. Haydn liked to sit down at the piano after dinner and sing some of his canzonettas for the pleasure of the English nobility. (As a boy he had been trained as a singer, and he remained particularly fond of cantabile even as an instrumental composer.) In addition, Haydn mounted twelve hundred opera performances for his employers the Esterházys, and was responsible for running their marionette theater. Conducting some of the performances of his oratorio The Creation, he seems to have used a baton, which did not become standard practice until a few decades later.

    Let us also not forget his numerous piano, voice, and composition students who, in his later years, he taught in the early morning before breakfast. Unlike Mozart or Beethoven, Haydn’s constitution seems to have been unshakeable, enabling him to live productively into old age. Only after the composition of his oratorio The Seasons did his vitality decline. In this weakened state, he carried visiting cards pronouncing “I am old and frail,” and enjoyed playing his “Kaiserlied” three times a day on the clavichord, happy if one of the performances turned out to be particularly emotional. With all these activities, Haydn was no quill-driver. Please note the spectacular increase of achievement in his late symphonies and quartets. Haydn himself resisted being labelled a hasty composer. How all this can be reconciled in a single human life is hard to comprehend.

    The Esterházys belonged to the wealthiest of noble families. To spend a large part of his life in their service was, for Haydn, a stroke of luck. No one has expressed this more clearly than Haydn himself: “My sovereign was pleased with all my work, I was able to earn his approval, I could, as the director of an orchestra, experiment, observe what makes an impression and what would diminish it. I could improve, add, subtract, dare; I was separated from the world. No one in my vicinity was able to lead me astray or distress me. Thus, I had to become original.” This last sentence gave rise to controversy: is it possible to become original, or is a genius, in Kant’s sense, born an original, endowed with an ability that surpasses what can be acquired? To the last question I would cautiously reply in the affirmative — after all, Haydn himself seemed to have been sufficiently aware of it.

    Today we see in Haydn not only the foundation of later music but also a phenomenon of originality and inexhaustible vigor. The fact that during his lifetime vocal music ceased to dominate while instrumental composition gradually gained the foreground was in no small measure due to Haydn’s activity. It was Haydn who led the string quartet from its rudimentary beginnings into the most concentrated, treasured, and “democratic” way of music-making, the democratic element becoming even more pronounced when a growing public gathered in larger halls to listen to Haydn’s “overtures,” as the symphonies were called in England.

    In the more recent Haydn literature, the image of Haydn has become many-faceted, with some old notions still cropping up. According to these views, Haydn was rustic, and devoid of melancholy (Stendhal’s opinion). This is incorrect, but the bright side does dominate. Haydn was a formalist, the composer who put the house of music into order, and at the same time an audacious adventurer, as well as the musical humorist par excellence. He was popular and “simple,” but he was also complex. He was naively religious but also an exponent of the Enlightenment. He was ironic and sophisticated, but at the same time a revolutionary. He was “the friend of the house who is always welcome without having anything new to offer,” but also the master of surprise and amazement. He incorporated both harmony and contradiction, risk and inner confidence.

    The formula derived from Friedrich Schlegel that was spelled out by Goethe and Zelter in the journal Athenaeum as signifying genius — namely, a fusion of naivete and irony — seems to aptly sum up Haydn’s musical persona. Let me quote more extensively from Goethe’s and Zelter’s text:

    Our Haydn is a son of our region and brings about things without heat: Who would enjoy being hot anyway? Temperament, sense, spirit, humour, flow, sweetness, power, and finally the true ingredients of genius, naivety and irony, should be assigned to him. As the elementary particles that we cannot imagine without warmth and substance can be recognized as Haydnesque peculiarities, we welcome his art as antique in the best sense. On the other hand, no one known to us has disagreed in finding him modern, which would be a difficult task as all modern music rests on him.

    Here we have a remarkable early insight, but it should not mislead us into underestimating Haydn as a mere forerunner, only a precursor of greater things to come. Haydn constantly invented music anew. A typical feature of many of his quartets and symphonies is the fast burlesque finale, likened by an English writer to a clown suddenly appearing onstage. Haydn toys with the listener who should be pleased and thrilled as long as he or she enjoys the comical, and relishes the superior appeal of nonsense. Already in his lifetime Haydn was compared to the great humorists among contemporary writers, Laurence Sterne and Jean Paul. With the author of Tristram Shandy he shares the sudden stops, the jerkiness, the countering of expectations.

    Haydn bestows on his music its formal order but at the same time provides us with its contradiction, the relentless detail that seems to place this order into question. For some of the Romantics, the words humor and irony were interchangeable. When the word “irony” entered the German language, Lessing translated it as Laune — mood, frame of mind. In this sense, it has remained a keyword for Haydn’s music. Many of his contemporaries — his early biographers Georg August Griesinger and Albert Christoph Dies as well as the music aesthetician Christian Friedrich Michaelis — were well aware of it. Ignatz Ernst Ferdinand Arnold made this acute comment on Haydn’s comic style:

    Being in command of all artistic means, this play of easy imagination endows even the smallest flight of genius with a boldness and audacity [Keckheit und Dreistigkeit] that expands the area of aesthetic achievement into the infinite without causing damage or anxiety . . . the last allegros or rondos consist frequently of short, nimble movements that reach the highest degree of comicality by often being worked out most seriously, diligently and learnedly . . . any pretence at seriousness only serves the purpose of making the playful wantonness of the music appear as unexpected as possible, and of teasing us from every side until we succumb and give up all attempts to predict what will happen next, to ask for what we wish for, or to demand what is reasonable.

    I cite this because, on the occasion of the two-hundredth anniversary of Haydn’s death in 2009, I came across a number of obituaries that not even in passing mentioned the comic aspect of Haydn’s music. In Columbia University’s massive Encyclopedia of the last century, the only explanation for the word “humor” was that of bodily fluids, while the Haydn Encyclopedia of Oxford University Press does not mention humor, irony or wit at all. It appears there are still people who are not prepared to take humor seriously.

    Next to the confounding diversity of his production, the other main reason for underestimating Haydn’s greatness seems to me an absence of humor. As we know, many thinkers have suffered from it. Among the exceptions were Spinoza and Darwin, who believed in the cheerful and blissful roots of laughter. I am happy to join them. Over long spans of time, religions did their best to stifle laughter. Adversaries of laughter were called agelasts. I side with the anti-agelasts, the advocates of laughter. It depends, however, when you are laughing, and how. In his novel A Raw Youth, Dostoyevsky tells us: “Show me how you laugh and I’ll tell you who you are.”

    What happens while we laugh? We shake, emanate strange noises, “lose control.” The body seems to be in charge and not the mind. Some philosophers seem to think that this abandonment of self-control represents the worst that could possibly happen. Others, however, may see laughter as a welcome liberation from the constraints of reason. Not for nothing is laughter at the center of Dadaism. One can laugh softly as well; Haydn is said never to have laughed out loud. And even music can laugh. Listen to the beginnings of Haydn’s late C Major Sonata or to some of Beethoven’s Diabelli Variations! At the end of this C Major Sonata, Haydn seems to be making fun of his listeners.

    The means of expression that Haydn applies in order to achieve comic results have been thoroughly scrutinized. For my part, I would mention: seeming absentmindedness, sudden interruptions, repetitions of motifs, marking time, sudden manifestations of power, feigned naivete next to the genuine kind, musical twinkle, the idea to start a piece with its end, unfounded insistences, the relish of the unforeseen. And of course the surprises of instrumentation. Not all that is unexpected is necessarily comical: in the magnificent Military Symphony No. 100, we may prefer to experience the incursion of pandemonium as a frightening memento mori. And not every finale is a big joke: the whispered fugues in some of his early quartets convey a different, partly cryptic, partly intellectual message.

    Among the surprises that Haydn springs on us is his string quartet Op. 42. It stands all on its own, a wallflower between those larger quartets in series of six or three. It is terse and avoids virtuosity, a work of touching modesty, a starting point for a new mode of expression that Haydn decided not to pursue. On the interaction between Haydn and Mozart, Tovey writes that Haydn’s effect on Mozart resulted in an increased concentration of symmetry, while Mozart aided Haydn in liberating himself, making it possible to be no less capricious in his larger pieces than in his minuets and anti-minuets. In his quartet Op. 42, it seems the reverse: Haydn simplifies. Only the finale makes use of counterpoint.

    The diversity of Haydn’s composing becomes most readily evident in his string quartets. According to Mary Hunter in The Cambridge Companion to Haydn, it reaches from the gallant to the learned, from the supremely original and progressive to the universally accessible, and from the popular to the sublime. Let me add: from the capriccio to the fugue, from opera singing to the virtuosity of his violinists Tomasini, Tost, and Salomon, from the idiosyncratic to the refined simplicity of Op. 42.

    Haydn was not handsome. Of less than medium height, short-legged but always scrupulously dressed, his features were notable for a prominent nose and a protuberant lower lip. He continued to wear a wig even after it had ceased being fashionable. His marriage was a mistake, but there seemed to have been no dearth of feminine company. For Luigia Polzelli, a singing member of the Esterházy Ensemble, he transcribed, transposed, and facilitated operatic arias. His later piano sonatas and most of the piano trios are dedicated to lady pianists. For good measure, string quartets and orchestras remained in male hands.

    Three of his sonatas are particularly forward-looking. The C minor Sonata Hob. XVI: 20, from 1771, as well as the last of his E flat Sonatas, XVI: 52, open up new vistas: important sonatas by Mozart, Beethoven, and Schubert would take up the key and character of C minor, while the big Sonata in E flat was the first one to turn the fortepiano into an orchestra. But not even Schubert, with his predilection for chromatic neighboring keys, would have dared to follow up a first movement in E flat immediately with an E major adagio; in his Wandererfantasie, it needed an extensive transition to get from C major to C sharp minor. In Haydn’s Sonata XVI: 50, the display of grotesquery ranges from the shortest staccato to mists of pedal. 

    I shall mention the magnificent achievement of the late symphonies only in passing. A number of recordings of the twelve London Symphonies are available, but in the concert hall we encounter them all too rarely. Let me point to Frans Brüggen’s performances of the 1980s, and among contemporary conductors, Simon Rattle, as a most sensitive Haydn exponent who, both in concert and on records, has realized in some of Haydn’s most perplexing movements documents of this composer’s inclination to surprise.

    The fact that Haydn was able to conclude his career with his two great oratorios brought him supreme international fame and the most ardent admiration of his fellow composers. What he didn’t achieve with his operas he clearly accomplished with the universal success of The Creation and The Seasons. I wish there were a sufficient number of listeners to bring about concert performances of his Stabat Mater or the late masses. In his religious music, naivete is more than capable of foregoing irony and standing on his own.

    The Missing Shade of White

    Would you rather see the world in black and white or live without music? This is one of my favorite questions. Most people tell me that they would give up color before giving up Bach and the Beatles and so on — except kids, who usually make the opposite choice. I’m with the kids, and I always have been.

    In the third grade, we were asked to name our favorite book. Mine was The Wizard of Oz, because it was colorful. I remember how disappointed my teacher was to learn that I was referring to the brightly colored watercolor drawings in my edition of the book. The right way to use the word “colorful” to praise a book, she explained, is to describe distinctive or memorable characters, such as the Tin Man and the Cowardly Lion, or surprising and whimsical events, such as a house falling on a witch, as being, in a metaphorical sense, “colorful.” The Wizard of Oz was good because it was colorful, but not in the superficial way I meant it. This was the same teacher who got annoyed when, having told the class to draw a picture of spring, she observed I had drawn a metal coil. (The possibility of drawing trees and birds and sunshine did occur to me, but that seemed harder, and I am not good at drawing.) There is a flat literalism to the way I think, and there is a flat literalism to color as well: somehow, color flattens the world. The puzzle is that it also, at the same time, enlivens it.

    The movie version of The Wizard of Oz builds a bridge between literalists like me, and sophisticates like my third-grade teacher. Dorothy starts out in the sepia-toned plains of Kansas, a world of dirt roads and open sky and old scattered farm equipment, and when the color gets turned on she is in a place chock-full of amazing, impossible wonders. The advent of color means the exit of the dull, the flat, the ordinary; with literal color comes metaphorical color. You can experience a version of the opposite when you switch the display of your phone or computer into black and white mode. Suddenly it is a much less appealing world to spend time in; you have drained it of life, even though it was never alive in the first place.

    Color means liveliness, despite the absence of any correlation between how alive something is and how colorful it is: some colorful things are alive, some are not; some drab things are alive, some are not. When a given instance of color is very colorful, it is often described as vibrant, a word related to the word “vibrate,” as though the color were in the business of moving rapidly, even though it is not moving at all. Arguably, color is one of the things that never moves. Things that are colored can move, and your eye can move across a field of colors, but colors are no more capable of motion than numbers are capable of emitting smells. So here we have two features of color: it is flat and it is lively. This is not exactly a contradiction, but there is some kind of tension between the reality of color as literal, as flat, as shallow, as a property of the outermost surface of things, and our sense that color is a mark of liveliness, of vibrancy, of energy, pointing us to the life that teems deep within. I want to explain why I choose color over music; to do that, I am going to have to make sense of how color vibrates without moving.

    Let’s start with a different question: which comes first, color or shape? You might think that this is a bad question, but Plato, a top questioner if there ever was one, disagreed. There are no fights about the chicken and the egg in the Platonic corpus, but there is one about the relative priority of color and shape. It starts when Socrates defines shape in terms of color: “Let us say that shape is that which alone of all existing things always follows color.” Socrates is saying that shapes precipitate out of colors, in the sense that we identify shapes by tracking color boundaries. Socrates’ interlocutor, Meno, calls this definition “foolish”: what if a person came along who claimed “that he did not know what color is, but that he had the same difficulty as he had about shape?” Meno is complaining: what if I were blind? So Socrates offers Meno a second definition: “shape is the limit of a solid.” But Meno is not satisfied and pushes Socrates to define color. Socrates complies: “color is an effluvium from shapes which fits the sight and is perceived,” by which he means that objects emit streams of tiny shapes, which we perceive as color when they enter our eyes. At this point, Meno is satisfied. He loves this definition, “This seems to me to be an excellent answer, Socrates.” And Socrates rebukes him for loving it: “it is a theatrical answer so it pleases you, Meno . . . it is not better . . . but I am convinced that the other is.”

    The dispute between Meno and Socrates is this: Meno prefers to define color in terms of shape, whereas Socrates prefers to define shape in terms of color. Consider trying to actually use Socrates’ second definition of shape — “the limit of a solid” — in order to identify a shape. If Meno were blind, he would find the limits of solids by attending to tactile changes, but as it is, given that he is sighted, he relies on color differences. Socrates’ first definition stands behind his second one. Color is what helps us find limits. You are using color that way right now, to read these words. Maybe that will be easier to see with words you (probably) can’t read:

    ἔστω γὰρ δὴ ἡμῖν τοῦτο σχῆμα, ὃ μόνον τῶν ὄντων τυγχάνει χρώματι ἀεὶ ἑπόμενον.

    Look closely at those marks, and pay attention to where each shape comes to an end. Notice something? You keep running into color boundaries! The limit of each shape is the place where the color changes. Color lets us see shape. And notice that it doesn’t go the other way. If you look closely at the unprinted margins of this page, you’ll find you can attend to an indeterminately bounded patch of white within the larger, unprinted margin. You see the color of that patch — white — but not by seeing any particular shape. Color does not follow shape, shape follows color.

    If you know ancient Greek, you may have struggled to overcome your inclination to read the sentence — which gives Socrates’ first definition of shape — instead of seeing its shapes. Even if you aren’t able to translate the sentence, you still had to fight against your recognition of many of the letters. That struggle is good practice for our next exercise, as we move into the third dimension. You are going to lift your eyes from this page, but before you do, instruct yourself to adopt an infant mindset. I mean: try to remember that once upon a time you didn’t know there were such things as books and carpets and windowpanes. Before you learned to parse the visual language of the spaces you are in, it was all Greek to you. Keeping that in mind, look up.

    Welcome back. It’s time to reflect on your experience. How did your eye decide where one thing stops and another starts? It looked for color changes. Once again, shape boundaries track color boundaries. That’s the only way you get keyed into a new shape, at least if you are using vision. To see shape, you are forced to rely exclusively on color.

    Shape is that alone of all existing things which always follows color. Every time I say this sentence to myself, it literally changes the way I see everything: instead of recognizing familiar groupings of familiar things, I find myself gazing at a sea of patterned color. If the definition favored by Socrates immerses me in the act of seeing, the one favored by Meno has the opposite effect. The shapes of which color is an “effluvium” must be so tiny as to be invisible, and when they enter my eye, they do so, in a sense, unseen. Meno is trying to get behind or underneath color experience; he is eager to move away from the vocabulary of the first person into terms that are abstract and alien, or, as Socrates puts it, “theatrical.” Socrates is encouraging us to dive into our experience, to allow it to make itself intelligible on its own terms. I could tell Meno’s story about color to a blind person, whereas in order to tell Socrates’ story about color, I had to get you to use your eyes.

    A variant of the dispute between Meno and Socrates would recur, a few thousand years later, when Goethe resisted Newton’s conception of color. Newton understood color as a property of light, whereas Goethe insisted that color is a kind of subjective experience: the numerical wavelength of light might be a property of the light, but redness is a property of how things appear to the seeing subject. Wavelength is quantitative whereas red is a quality. Wittgenstein takes the side of Goethe and Socrates when he writes: “I don’t see that the colors of bodies reflect light into my eye.” Let us separate the question of what I see from the question of what happens — with light, and retinas, and tiny invisible shapes — when I see. Those inquiring into the second question will come upon all sorts of surprises, such as the surprising fact that white light can be split into the other colors of light, and surprises about whether light is a wave or a particle, about the structure of the eye, and of the brain, and so on. But these surprises are themselves unsurprising. When the journey is meant to end in a full understanding of the apparatus of seeing — the eye–brain interface, the surface, the light, and so on — we know in advance that it will be a long journey, full of alien and “theatrical” twists and turns. But if we turn our attention to the first question, the Socratic one, we don’t expect the unexpected. What do I see? The answer is color, and that is the end of the story, right?

    Wrong.

     

    In 1950, a year before he died, Wittgenstein was thinking about color, and his reflections were collected into a little book called Remarks on Color. The question that runs like a guiding thread through his remarks is: why isn’t there transparent white?

    At first I took this question as proof that even great philosophers can ask bad questions, because there definitely is such a thing as transparent white. You can look down through the clouds from an airplane and see the world below through a whitish tint. And there is also frosted glass, and wax paper, and ice when it is filled with tiny air bubbles. And then I realized: those objects are not transparent, they are translucent. You can have milky white glass, cloudy glass, but the analog to that is milky or cloudy green glass, which is not the same as transparent green glass. Translucency blurs the boundaries of things, transparency does not. So I posed Wittgenstein’s question to a friend, and he said, “Of course there is transparent white!” I demanded he show me some and he promised to do so. He returned, hours later, defeated. He couldn’t find any, either.

    Why isn’t there transparent white? This question became an obsession for me, as it was for Wittgenstein, who poses it over and over again, in many different ways. For example:

    Why is it that something can be transparent green but not transparent white?

    “White water is inconceivable, etc.” That means we cannot describe, (e.g. paint) how something white and clear would look, and that means: we don’t know what description, portrayal, these words demand of us.

    Why can’t we imagine transparent-white glass — even if there isn’t any in actuality? Where does the analogy with transparent colored glass go wrong?

    And it does not suffice to say, the word ‘white’ is used only for the appearance of surfaces. It could be that we had two words for “green”: one for green surfaces, the other for green transparent objects. The question would remain why there existed no color word corresponding to the word “white” for something transparent.

    “Why then is transparent white impossible? Paint a transparent red body, and then substitute white for red!”

    You might be inclined to say that it is obvious why there isn’t transparent white glass: a transparent medium filters out the relevant color and only lets that kind of light through, but white is all the colors, so “transparent white” glass can’t do any filtering. But then perhaps a clear transparent glass should count as “transparent white”? Yet it doesn’t. As Wittgenstein would say, look at it! Does it look white? (“We don’t say of something which looks transparent that it looks white.”)

    Wittgenstein considers a potential rule for transparency: maybe transparent X glass, for any color X, has to change the colors of what is behind it so as to make white things X-colored, and it must make everything else appear in some shade between X and black. This rule does indeed work for “transparent red” and “transparent blue.” But then he has us imagine that there were a glass that drained the world of color, rendering everything black and white — I suppose it is the glass you would have to look through, for the rest of your life, if you opted for music. Viewed through this “decoloring” glass, as we might call it, whites are white, and everything else is in a shade from white to black. This glass should, by the rule proposed above, qualify as “transparent white.” And yet, notes Wittgenstein, we are not inclined to call it that, because whether or not something is white is not a matter of whether it satisfies some rule but, again, whether it looks white. Whiteness is not stipulative. But if it is not stipulative, then why would we assume that there would be a white version of everything? That is the real question.

    Why should there be transparent white? Wittgenstein also notes that there are no luminous greys: “the fact that we cannot conceive of something ‘glowing grey’ belongs neither to the physics nor to the psychology of color.” Moreover, “a shine, a ‘high-light’ cannot be black.” And yet, he goes on to observe, “a flag may be yellow and black, another yellow and white.” White and grey and black are interchangeable on flags, but not when it comes to flames, or transparency, or shadows. When it comes to flags, anything goes, but when it comes to shines and shadows, only some things go. We should, I propose, be less surprised by the flames and shadows, and much more surprised by the flags: how marvelously unstuck their colors are! Transparent white is the rare exception to the rule that if you pick out almost any object in your visual field you can easily imagine it being a very different color from the color that it is. Pink squirrels? Sure. Lavender grass? No problem. Color is layered very thinly on reality, which gives it a life of its own. 

    Contrast sound. There is no single, unified way to refer to the sonic analog to “lavender” or “maroon.” We must mention both the pitch of a note — how high or low it is — and its timbre. Timbre picks out the difference between the same note played on a piano, or a flute, or sung by a human voice — each gives the note a different “coloring.” Notice that in order to refer to those different timbres, I have to refer to their causal underpinnings: the most natural way for me to describe the distinctive sonic quality of a trumpet’s blast is to mention the brass thing that produced the sound, namely the trumpet. The same goes for the other senses. I do not think that just anything can taste sweet — salt, for instance, cannot taste sweet. The fact that salt cannot be sweet, or granite cannot be squishy, does not induce in me the feeling of perplexity that I feel when I learn that what is transparent cannot be white. If I try to imagine a book that tastes salty or sour, I find that my mind has deposited a fine layer of salt or lemon juice on the surface of the book. The smell of a rose or the ocean is associated with a very specific thing, namely, a rose or an ocean. Against the backdrop of the causal embeddedness of our other senses, it is remarkable that we have such a concept as “red,” which requires no mention of tomatoes or fire or lobsters or Coca-Cola cans or carpets used for celebrities. I conceive of red as something in its own right, detachable from any of the objects that cause me to experience it. And this is, in general, how I think of color, as something that can be peeled off of reality, as something that inhabits a strange realm called “my visual field,” a mental arena to which there is no analog in any of the other senses. Is a color “patch” a piece of the world or a piece of my mind?

    Had he not died a decade before it was published, I believe that Wittgenstein would have loved Josef Albers’ The Interaction of Color. Albers was a Bauhaus painter, printmaker, graphic designer, photographer, art educator, and color theorist — in sum, a practitioner of color. The Interaction of Color is not a treatise about color but a workbook filled with exercises designed to teach the reader to do something she thinks she already knows how to do, namely, see colors. The thesis of the book is in its title: colors interact. The interaction of color can cause two colors that are the same to look different, or several colors that are different to look the same — it causes “the Weber–Fechner Law,” which says that transparent colors must be layered upon one another geometrically in order to produce what looks like an arithmetic progression, and it causes “the Bezold effect,” by which proximate colors can lighten or darken one another. But the “most exciting of all color phenomena,” according to Albers, is an interaction effect that causes the vanishing of boundaries at the border between two different colors of equal light intensity. When Wittgenstein asks, “Why is green drowned in the black, but white isn’t?”, he is gesturing at Albers’ favorite interaction effect. As an artist, Albers is most famous for his series of paintings of nested squares called Homage to the Square, which makes frequent use of this same effect. Albers wrote, of his series paintings, “I’m not paying ‘homage to a square.’ It’s only the dish I serve my craziness about color in.”

    Early in the book Albers makes clear that he is taking the Socratic path:

    Our study of color differs fundamentally from a study which anatomically dissects colorants (pigments) and physical qualities (wave length).

    Our concern is the interaction of color; that is, seeing what happens between colors.

    We are able to hear a single tone.

    But we almost never (that is, without special devices) see a single color unconnected and unrelated to other colors.

    Colors present themselves in continuous flux, constantly related to changing neighbors and changing conditions.

    In an early chapter called “a color has many faces,” Albers writes that “color is the most relative medium in art,” but it is not until the end of the book that he dares to explain what he means by this: “The purpose of most of our color studies is to prove that color is the most relative medium in art, that we almost never perceive what color is physically.” Albers is saying: we don’t see the colors that are there. What we see, instead, is the interaction between colors.

    If this seems like a crazy claim, the book is filled with proof. The wonderful images in his book are sadly copyrighted, so I can’t reproduce them here, but here is an (inferior) example of my own construction. Take a look at this set of shapes:

    Ask yourself how hard it is to determine the relative color values of the shapes that I have marked 1, 2, 3, 4? Is 1 darker or lighter than 3? Is 2 darker or lighter than 1? Now look at Figure 2, where I have rearranged the same set of shapes. I have not adjusted their color values or even rotated them; I have simply changed their relative positions. Notice, first, that it is now easy to determine which is darker, and second, that in their new arrangement the shapes composing (what now appear as a) triangle and rectangle are transparent. Albers would chalk both of these differences up to the interaction of color. The colors in Figure 2 interact in such a way as to produce transparent color, and in such a way as to make it easy for you to tell that 1, 3 and 4 have the same value, whereas 2 is lighter.

    My images echo a thought experiment described by Wittgenstein:

    Imagine a painting cut up into small, almost monochromatic bits which are then used as pieces in a jig-saw puzzle. Even when such a piece is not monochromatic it should not indicate any three-dimensional shape, but should appear as a flat color-patch. Only together with the other pieces does it become a bit of blue sky, a shadow, a highlight, transparent or opaque, etc. Do the individual pieces show us the real colors of the parts of the picture?

    Given that our color assessments are more accurate for Figure 2, why might we think that it is Figure 1 that shows us “the real colors”? The answer must be that “real colors” means “colors in the absence of interaction effects.” I believe that this is also what Albers means by “physically,” when he tells us that “we almost never perceive what color is physically.” Of course we cannot remove all interaction effects, because a color patch is always seen against some background. Figure 1 frames each grey shape in white, and in Wittgenstein’s example we must imagine that we are examining the painting fragments strewn on a rug or held up against a wall.

    Still, we can remove many interaction effects by “deconstructing” an image: we can bring it about that we can no longer identify the blue as the blue of the sky, and no longer pick out items such as shadows or highlights, no longer distinguish between what is transparent and what is opaque. Wittgenstein points out that in a painting, a transparent object, such as a glass vase, will be painted using the same sort of paints as an opaque one, such as the table on which the vase rests. The “building blocks” of a transparent image will not be transparent. Figures 1 and 2 illustrate this as well: transparency is an interaction effect. We can chop an image up to the point where many such interaction effects are removed, even if not all of them, and we have the sense that this brings us closer to the “real” color. Oddly enough, the “real color” is not what we tend to see.

    Once again it is worth noting that our atomism about color is unparalleled in our other forms of sense experience. We don’t instinctually decompose music or food into its component parts and claim that those components are what we are “really” hearing or seeing. That is why you didn’t notice that my initial framing — comparing losing color to losing music — was guilty of a lack of parallelism. Strictly speaking, the parallel to losing color is losing pitch and timbre, whereas losing paintings and stained glass windows should be on par with losing classical and pop and so on. But when I frame it in the first way, people translate pitch plus timbre into music — they care about being able to distinguish a voice from a trumpet exactly insofar as they care about being able to hear Bach. And framed in the second way the choice is too obvious, even for me: I would pick music over paintings, because so much of my aesthetic experience of color can be salvaged. It comes naturally to balance red against Bach, turquoise against the Beatles; somehow colors are on par with much more organized experiences of sound or taste. I own a book called The Secret Lives of Color, which contains hundreds of pages of detailed discussions of many colors, including sixteen shades of yellow and orange (amber, saffron, minimum ginger, orpiment, gamboge) — and yet it is missing my favorite yellow-orange, ochre. I could not imagine a book called The Secret Lives of Notes that discusses middle C as played on a piano versus A sharp on a flute. Who cares about notes? We care about flavors mostly insofar as they are clustered into foods, and likewise for textures, but ochre shows up for me as an important citizen of reality, it stands on its own two feet. We are blasé about the existence of notes we cannot hear (a dog whistle) but we feel very differently about the prospect of colors we cannot see. (Wittgenstein: “There is, after all, no commonly accepted criterion for what is a color, unless it is one of our colors.”)

    In 2015, a picture of a dress worn to a wedding went viral because people could not agree whether it was blue and black or white and gold. A few years later, there was an analogous acoustic disagreement: in a brief audio recording, some heard “yanny” where others heard “laurel,” shortly followed by a variant with “green needle” and “brainstorm.” Notice: in the visual realm, we are torn between colors, in the auditory realm, between words.

    A color is in many ways less like a sound, or a taste, or a smell, and more like a word. A word presents itself as separate from the causal structure that gave rise to it; it floats in the air, Homer observed, as though on wings. A word is also a unit — standing apart from other words — even though, as with color, we only ever encounter words in the context of other words, and the “interaction effects” are, to put it mildly, significant. When the person I am talking to is angry with me, or boring me, or I am in some way averse to the interaction I am in, the words they are saying sometimes materialize in the air in front of me. I see the words more than I hear them, and their presence comforts me, as though they were saying: you can interact with us instead.

    Color both flattens and enlivens the world, and words do the same. On the one hand, it is a truism that there is much that cannot be expressed in words, that a word only conveys a whisper of the thing itself; on the other hand, when we do succeed in describing something that we previously found difficult to describe, or even just inventing a name for it, the phenomenon is thereby, in some sense, brought to life. Suddenly being able to speak something you couldn’t speak before is a lot like having it jump out at you, visually, in the form of a bright gash of pink, or a garish polka-dot pattern.

    Your eyes show you a world of things, immediately, and in the same glance they show you color and shape and transparency and shine. Unless I am instructing you to perform strange Socratic exercises, you see everything together all at once. In a similar way, when you read this text, you access my thoughts, what I am trying to communicate, and you access my words and sentences and linguistic style, all together. Color is packaged with things as words are packaged with thoughts, but unpacking is a task one can take up, if one is so inclined. I am, in both cases, all the time: to be literal-minded is to be attuned to the superficial liveliness that buzzes all around you, because you have accepted the standing invitation to detach the surface from what is bundled with it.

    Even when I am listening to it in public, music is private. By the time I hear it, it has already been granted direct access to my core, the place where my secret thoughts and hidden feelings lie; I locate it in my interior. But my visual field and the color patches that populate it are not private — at least not in that way. They are private in the way a private conversation or a private club are private: by invitation only. Music reminds me that I am alive, that I carry life within me, but a colored world presents itself to me as alive, as though it were talking to me. I want both, but if I have to choose, I would rather feel less life in me and more life around me.

    Young Lady in 1886

    after Manet

    Smudge of ivory
    cameo (another lady’s
    face, but anonymous) lists
    from black ribbon.
    To her, she offers
    a petite bundle
    of lilac. The African
    grey contemplates a beyond
    beyond its empty dish,
    no droplet or
    seed to hold its attention.
    This is discipline.
    The blue velvet
    hair bow and red (parted,
    kempt) complement
    each other. At the rack’s
    wooden feet sits
    a half-peeled orange, sug-
    gesting, yes, undress.
    Muse in pink
    sheen, buttoned up
    nearly completely, folds
    fallen all to the floor
    to peekaboo slip of slipper.
    Listen, what music
    rode the room is secret. O
    but that milky pink
    the freckled ones will get,
    mottled with shyness.
    A man’s monocle,
    spontaneous, over her navel
    dip, cannot conceal
    the memory of it
    from him. In that coy
    cave, what was said remains
    between, a privacy.

    Peaches

    Born from pastel clouds and blushed as health,
    each a painted infant, gessoed and reaching. Kin to Monet’s
    faraway “Jar of Peaches,” seeded into the clay spectacular
    to commune and dream and flower, achieving
    at the center the divided brain of human nature:
    split between the orchard’s timetabled logic
    and the sumptuous urge toward art, to make of any surface
    a canvas and on it a peach folk-pretty and big
    as a dinner plate beside a tiny pig and silo.
    Held, it’s sunset, almost utterance,
    grave, airbrushed velveteen.
    A rapture of peaches, hummed into balsa
    and wire, delved from the original ochre pleasure, redden
    round in the potter’s terra cotta: a porch gift, a June reunion
    of fruit and earth, mother flesh and child relentless.

    A Photograph

    How long had it languished, erotic in the stalls
    of oil paintings and furs cryptic as the decrepit hutch
    where rabbits are generations gone?
    How well hid in the warrens of the flea market, then deeper
    as if back into the camera’s aperture,
    suddenly abloom as a daisy in the cemetery dirt
    that nurtured it. Some wan, anonymous beach, no signal
    if Cap Coz or Côte des Basque, it was all her:
    cuffs rolled (she must’ve been wearing his trousers),
    grayish hair a wing, fisherman’s sweater,
    glimpse of cheek, a privacy signed Leo Brisbois
    in grade school loops, deep pencil. He’d hung back, amber
    in its black barrel rolling one frame into
    the future. Waited as it bathed, gave it ivory mat.
    Valium to see it, like that Janis Joplin interview, her shy
    responses, her embarrassment in explaining how she sang
    from “the bottom of the music.” Her little girl teeth,
    how softly remarkable they seem, these sincerities.

    Pretty

    Sculptural swan, left behind
    earring sworn to the garden, as after
    an encounter on a carpet, risen
    then into a different person.
    When a thing alights, its missingness
    elevates prettiness into art.
    All of life in the sunset-fired contours.
    Your life poured into looking.

    Munich 1919: A Precedent, A Parable

    1

    Sometimes the great moments of history are the small moments of history. Such is the case with the short-lived Munich Revolution. Compared to the world wars or the Russian Revolution, it seems like a footnote about a failed adventure. But its significance is far greater: it was a social earthquake whose aftershocks marked the twentieth century, and whose ideas and reasons remain pertinent to our own volatile and unjust century. It unfolded from November 1918 to May 1919 in three stages of increasing radicalism —social-democratic, anarchist, communist — until it led to a military, nationalist, and anti-Semitic reaction that gave rise to the Nazi Party. Perhaps no other European episode of its time contains a similar historical density.

    It began the day after the German defeat in the Great War. Over four savage and disillusioning years, the initial exaltation, the patriotic intoxication, the promise of glory, with which the conflict began all ended in a hell of rationing, hunger, plague, and one million seven hundred thousand dead soldiers, four million wounded, and one million prisoners. While the fate of Germany depended on France, England, and the United States (Bolshevik Russia had made peace with Germany in the Treaty of Brest-Litovsk), the old order collapsed forever. In Weimar, a republic was declared on November 9, to be led by the Social Democratic Party, the SPD. But parliamentary democracy was an inadmissible outcome for the German revolutionaries who sought to emulate — and correct, and surpass — Lenin’s recent feat. Several pockets of rebellion were ignited in ports and cities. In Berlin, two legendary leaders, Karl Liebknecht and Rosa Luxemburg, founded the Spartacus League aimed at creating a free socialist republic. On January 15, 1919, they were murdered by soldiers of General Gustav Noske, whose army, notable for its discipline and ferocity, included four thousand paramilitary Freikorps, composed of the Sturmtruppen, elite troops hardened in war. But by then a peaceful revolution had triumphed in Munich, capital of the independent kingdom of Bavaria.

    Two months earlier, the ancient Bavarian monarchy had fallen in five days under the impetus of a peaceful mobilization of tens of thousands of workers and soldiers, led by the least likely of political leaders, a fifty-one-year-old Jewish intellectual named Kurt Eisner. Imprisoned in early 1918 for his militant pacifism and released in October, Eisner became the hero of the hour. In the squares, auditoriums, assemblies, and beer halls of Munich, his speech electrified “the masses,” a key term in the vision and the vocabulary of the revolution. (It should be noted that, at the height of the revolution, those mobilized masses numbered perhaps ten percent of the population). On November 8, pending elections in the Bavarian parliament, the Provisional National Council declared Kurt Eisner the first minister-president of the Free State of Bavaria.

    Suddenly that peaceful, cultivated, and dynamic city became the stage on which the twentieth century was being rehearsed. The novelty of a revolutionary government took everyone by surprise. And the effects were immediate. Eisner espoused women’s suffrage and an eight-hour workday. Elated, the workers’ councils, headed by intellectuals, won allies among the soldiers recently returned from the front. But the main parties from the center to the right, the bureaucracy, the middle classes, the majority press, the Catholic clergy and other religious groups (including the Jewish community), the ultra-nationalist secret brotherhoods, a significant portion of the university teachers and students, the diplomatic legations of the countries allied to Germany, and most of the farmers (predominant in Bavaria) — all saw the revolutionary government as an intolerable anomaly.

    An almost unbelievable cast gathered in that Babel of ideas and ideologies. Alongside Eisner, a major presence was the great anarchist thinker and editor Gustav Landauer. (If he is remembered at all today, it is as the unlikely grandfather of Mike Nichols.) Several other prominent intellectuals, literati, and bohemians, but also economists of renown such as Edgar Jaffe, Lujo Brentano, and Otto Neurath, and pedagogues such as F. W. Foerster, would join the government, believing that the revolution was nothing less than a new dawn in history. The most fierce critic of the revolution and its leaders was Max Weber, who dissected their political romanticism in a legendary lecture delivered to the Munich Liberal Students Union, entitled “Politics as a Vocation”. Among the students in his audience were the young philosopher Karl Löwith and Max Horkheimer, who would be one of the founders of the Frankfurt School. Also attending was Carl Schmitt, who would become one of the main political theoreticians of Nazism. The hotbed of Munich included Spartacist revolutionaries and Lenin’s agents, as well as several future Nazis, such as Rudolf Hess and Ernst Röhm. Nuncio Eugenio Pacelli, the future Pope Pius XII, sent back reports to the Vatican. The first-hand witnesses of the turbulence included Thomas and Heinrich Mann, Rainer Maria Rilke, Victor Klemperer, Martin Buber, and Lion Feuchtwanger. And an obscure twenty-nine-year-old veteran soldier of the war named Adolf Hitler, a failed painter, was wandering confusedly around the rallies and barracks looking for where and how to pour out his hatred. In Munich he found the answers he was looking for.

    The Munich revolution was a dizzying theater of ideas — not pure ideas but armed ideas. Yet the violence was slow to break out. When Weber delivered his lecture on January 28, 1919, barely ten weeks had passed since Eisner’s accession to power. The revolution was seeking its course and the republican order was being maintained with difficulty. Weber considered Eisner’s government disastrous. Before addressing his audience, he remarked, “This does not deserve the honorable name of revolution: it is a bloody carnival.” In fact, his rejection of the present was the measure of his anguish for the future. He was persuaded that the history of his country, and that of Europe, would be decided there and then. In 1919 in Munich, Weber saw the Aleph of the century, and was horrified. A historical drama and a personal drama came together to imbue his words with the gravity of a prophetic revelation. His lecture, designed to have an effect on political circumstances, was an enduring lesson, and one of the sacred texts of modern liberalism. It has come down to us as a warning against the converging influences of demagoguery, unchecked charismatic leadership, and ideological fanaticism.

    “What is the ethical home for politics?” Weber asked. The key, as is well known, lay in the contrast that he drew between an “ethics of conviction” and an “ethics of responsibility.” For Weber — who, while recognizing the gravity of the former, favored the latter — a genuine “political vocation” meant a passionate embrace of a cause, but without vanity or overflowing, with restraint and distance, and above all with a high sense of responsibility. Only a politician with such mettle deserved to “put his hand on the wheel of history.”

    He hastened to point out that this was not the case with the demagogues of his time, who “acting under an absolute ethic, feel responsible only for the flame of conviction, the flame, for example, of protest against the injustices of the social order.” If their action does not achieve the desired end, “they will hold the world responsible, the stupidity of men or the will of God who made them so.” Weber drew an analogy between the German revolutionaries and the ancient prophets of the seventeenth century confident in the imminent coming of Christ: the same sense of “orgiastic chiliasm,” the same certainty in an “eschatological opening of History.” Demagogues, revolutionaries, and prophets announced a radiant future that was yet to come, and in order to hasten it any means seemed legitimate. But even the most intense subjective conviction about the absolute value of the ends did not justify, much less sanctify, irresponsible disregard for the objective consequences of the means.

    Nor were the pacifists — those perennial votaries of inaction — spared by the indictment. Given that the inescapable and specific means of power is force, Weber lamented “the naiveté of believing that from good comes only good and from evil only evil.” Often, he said, “the opposite is true, and anyone who did not see this was a child, politically speaking.” This paradox led him to emphasize the existence of “a tragic warp in the human condition,” and in no activity was this distortion more evident than in politics. That is why he defined politics as “a slow drilling of hard boards.” Weber did not preach quietism, conservatism, or reaction. Nor did he offer paths of salvation or recipes for happiness. He opened a passionate but realistic way to act with prudence and inner strength in defense of the highest human values. That is what the “ethics of responsibility” consisted of. The unnamed demagogues, revolutionaries, and pacifists of his lecture, emblems of the “ethics of conviction,” were Karl Liebknecht, Rosa Luxemburg, and most of all Kurt Eisner. People recalled him mentioning them in his lecture, but days later, in the printed version, he omitted their names. But there was another less obvious and unnamed character in his lecture: the “pure type” of the politician who embodied the “ethics of responsibility.” That character was Weber himself.

    Max Weber was then fifty-four years old. Highly respected as a sociologist and social philosopher, he had a monumental, though mostly unpublished, body of work behind him. He came to Munich in November 1918 to take up academic work, which he had been forced to suspend many years earlier owing to a protracted and painful depression. His political position was difficult to pigeonhole. He had been, like so many, an enthusiastic supporter of the war. “No matter what the outcome, this war is great and wonderful,” he wrote in August 1914. He was not driven by pan-German romanticism, but by a realism that revealed for him an inevitable geopolitical destiny: whereas Switzerland could be the guardian not only of “freedom and democracy but of much more intimate and eternal cultural values,” Germany had no choice but to assert its power against Tsarist Russia and Anglo-American hegemony. According to Ernst Bloch, Weber used to dress as a soldier every Sunday. He would have liked to serve at the front. His consolation was to direct, with the same disciplined passion that he put into his research, the military hospitals in Heidelberg.

    Very soon, though, the political, diplomatic, and military decisions seemed to him not only wrong but spectacularly stupid. He deplored the conversion of a war that he considered defensive (especially because of Russian imperialism) into a senseless expansionist enterprise spearheaded by military “madmen” and their industrial allies. He criticized annexationist measures in Belgium, and warned that submarine attacks on civilian ships would draw — as in fact they did — the United States into the war. No protagonist was up to the task, neither the Kaiser, whom he despised, nor the successive chancellors who bowed down before military stubbornness and arrogance: “There is not a single statesman, just one, to manage the situation! And to think that this man who does not exist is indispensable,” he wrote in November 1915 to his old friend, the pastor and liberal politician Friedrich Naumann. For a long time, Weber thought that that statesman could be him.

    In 1916 he spent time in Berlin in an attempt to put his “hand on the wheel of history,” but his wishes were frustrated. Neither his diagnoses of the economic outcome of the war, nor his plans to informally represent Germany in Poland (granting that occupied country the necessary autonomy), received the slightest attention. “It is highly unlikely that there is anything in it for me,” he complained. His most devoted friends, such as Karl Jaspers, complained about the time that he wasted on such pursuits, diverting him from his work. But he regretted more his life as a vicarious politician. And although he confessed to being “fed up with bursting into people’s offices to ‘do something’,” he did not lose hope: “Everyone knows that, if they need me, I will always be at hand.”

    For Weber, politics at that time had only one purpose: to secure peace in order to build the future. But not peace at any price, let alone the undignified peace that, in his view, the pacifists were proposing. The viability of the German parliamentary republic depended on the possibility of a dignified peace. This republican and constitutional option was as opposed to pan-Germanic and militaristic hegemony as it was to social revolution in any of its facets, from the “general strike” to anarchist, Spartacist, and Bolshevik insurgencies. Since the revolution of 1905 in Russia, and with greater urgency after Lenin’s triumph in October 1917, Weber wrote abundantly about socialism, criticizing it in terms of practical possibility: he saw no way in which the prophecies of the the Communist Manifesto could be fulfilled.

    Politics, he would have said, was his secret love, and would remain so until the end. But politics evaded him. If he could not advise, influence, act, or command, he could at least teach outside the professoriate, while taking up his great Sociology of Religion. Fortunately, there were the young people: could he bring them clarity and objectivity about the historical moment? Two years before dictating “Politics as a Vocation,” Weber presided over two seminars at Lauenstein Castle attended by several well-known writers of various political positions and a group of students of liberal, socialist, and pacifist tendencies. What happened there — vividly recorded by his wife, Marianne Weber, in her admirable biography, which is rich in personal testimonies and letters — was the rehearsal of the generational clash that would take place two years later in the streets of Munich.

    One of these young men was an intense and tortured poet named Ernst Toller. (There is a moving photograph of the young Toller looking up at a hatted Weber in a group of attendees.) A veteran of the war, seriously wounded in battle, he had gone from psychiatric hospitals to prisons because of his active pacifist militancy. His concern, Toller wrote in his memoirs, went “beyond the sins of the Kaiser or electoral reform”, subjects of which Weber spoke. He and his comrades wanted to “create a new world, to change the existing order, to change the hearts of men.” They respected — Marianne recalls — Weber’s “controlled ethos” and his “sober incorruptibility,” but they hated “that scientific mind which was incapable of offering a simple way to solve problems and which asked itself about every ‘social ideal’ by what means and at what price it could be achieved.” Weber did not despair. He was willing to be their teacher, as long as they were prepared to “crack the hard nuts” of scientific work, to seek knowledge of themselves and the world through objective data, configurations, and connections, and emphatically not through “revelations.”

    Weber disbelieved in social prophecies and yet — according to Marianne’s testimony — his deepest identification was not with the misunderstood fathers of science but with the prophet Jeremiah, a “titan of invective” who cried out against his king and against his people without waiting for or getting an answer, without a retinue of apostles to follow him, sure of the truth of his criticism. “He was enveloped,” Marianne recalls, “by the pathos of inner solitude.” What was the ultimate origin of this attitude? We would have to call it tragic realism. From a young age he knew that he was not susceptible to the spell and the comfort of religion or its ideological substitutes. He understood that spell and made it into the subject of some of his greatest work, but he was spurred by the world to its opposite — to the scientific vocation to demystify the world. In Weber’s universe there was no room for fantasies or reductions: through the comprehensive sieve of his “pure types”, economic forms, juridical institutions, religious ethics, the sources of political domination in the entire history of East and West, all acquired meaning. But if anything characterized the human fabric, it was the inevitability of conflict. In the face of this harsh and irreducible condition, the highest vocation of which Weber could conceive was that of the politician, because no other activity touched the tragic core of life as it did. And exercised at the highest level, it could touch people, the moral quality, even the nobility, of their existence.

    This was the man who had arrived in Munich in November 1918 only to discover that the young people to whom he preached the “ethics of responsibility” were following a leader animated by the “ethics of conviction,” a demagogue from out of Weber’s own pages: Kurt Eisner.

    Eisner was the villain of Weber’s conference at Laustein Castle. Gustav Landauer, his friend and close collaborator, described Eisner thus: “this modest, pure, honorable man, who has earned his living as a precarious writer, is suddenly the spiritual leader of Germany by the mere fact that this courageous Jew is a man of spirit.” A militant worker shared this opinion: “He is the sword of the revolution, he has overthrown the twenty-two kingdoms of Germany, he is our brilliant leader, I will defend him to the death.” The person who recorded that worker’s words was the retired sergeant Victor Klemperer, professor of ancient languages, a Jewish convert to Protestantism, and the author of one of the most extraordinary diaries of the German cataclysm. In those early days of exaltation, however, he himself drew in his diary a less flattering portrait of the leader:

    Eisner is a delicate, diminutive, fragile, corseted, small man. From his head, bald and not at all imposing, his hair hangs down to his neck, as dirty and gray as his reddish, graying beard. His gray, misty eyes look through his glasses. There is nothing brilliant, venerable or heroic in his appearance. He is a mediocre, worn-out man who looks sixty-five although he is barely over fifty. His look is not particularly Jewish, let alone Germanic. But the way he jokes around the stage (he doesn’t stand behind the podium) reminds me of typical caricatures of Jewish journalists.

    Eisner had even implied — anticipating Groucho Marx’s joke — that he would not vote for a party that had him as a candidate. How was it possible, Klemperer wondered, that such a character could provoke such ecstasy when speaking of “the renewal of the spirit”? 

    Max Weber had the answer. It could be summed up in a single word: charisma. Eisner possessed that rare and non-transferable gift that the sociologist had studied in his work as one of the three legitimate sources of political authority. Charismatic leaders, he observed, flourished above all in times of exception:

    Charismatic leadership is always born out of unusual situations — especially political and economic ones — or out of extraordinary psychological states, especially religious ones; or out of both at the same time. It arises from the collective excitement produced by extraordinary events and from prostration before heroism of any kind.

    Eisner, the “pure type” of the charismatic leader, alarmed Weber because he sharply represented the “ethics of conviction” which, enamored of its principles, was capable of proclaiming: “The world seems torn to pieces, lost in the abyss. Suddenly, in the midst of darkness and despair, trumpets sound announcing a new world, a new humanity, a new freedom.”

    Who was Eisner? He had studied in Magdeburg under Hermann Cohen, a Jewish neo-Kantian philosopher who postulated the convergence between the moral categories of Kant and the message of the biblical prophets. An inspiration for liberal and Reform Judaism in Germany, and the author of perhaps the greatest modern book on the philosophical meanings of Judaism, Cohen elaborated the doctrine of an “ethical socialism” as a possible stage of universal concord. Eisner revered Cohen and made this doctrine his own, but his vocation was far less speculative or contemplative. Long before leaping into the political arena, Eisner had been the editor-in-chief of Vörwarts, the influential newspaper founded by Karl Liebnecht’s father and a voice of the Social Democratic Party. There he also served as a political commentator, storyteller, theater critic, and superb satirist. His hilarious articles on the sexual “peccadilloes” of the royal family brought him national fame, but led to his dismissal. During the war he earned his living as a freelance writer. He was a convinced pacifist.

    Such a transition from journalism to politics did not surprise Weber, who in his political sociology anticipated a growing affinity between the two professions, while warning of the risks of moving from one to the other. Only after his investiture did Eisner come to understand that criticizing power was different from exercising it. As minister-president he became Hamlet in Munich. Politically, he would live torn between the revolutionary Workers’ Councils and the Bavarian parliament. “The masses” demanded to overcome parliamentarianism (a “bourgeois relic”) as a minimum step to establish a socialist regime. The parliamentarians were the representatives of the parties, ranging from the nationalist right to the left of the USDP (an independent offshoot of the SPD, chaired by Eisner), with the moderate nationalist and liberal-democratic tendency between them. The parliament, with a social democratic majority, favored social and economic reformism.

    Although he was overwhelmed by his verbal hyperbole, the truth is that Eisner never departed from the convictions and the responsibilities of a social democrat: he criticized but did not nationalize the press, and he did not lay a hand on private property (which he distrusted). Still, he managed to introduce some substantial reforms aside from women’s suffrage and Sunday rest, such as the ordered transport of prisoners and the end of conscription. Inspired by the anarchist philosophy of Gustav Landauer, he proposed an ambitious program of cultural and educational “spiritual renewal,” which included secular education outside the powerful Church (Bavaria was mostly Catholic). But he ended up pleasing no one. His left wing pushed him toward a communitarian or communist revolution, which he considered premature. The bourgeoisie rejected his social reforms en bloc. The Church opposed his educational reforms. The Bavarian regionalists denounced his Prussian origins. And the nationalists deplored his Jewishness.

    One of Eisner’s boldest steps was to publish confidential documents that proved the German culpability for the outbreak of the recent war. His hope was to soften the severity of the Allies’ demands for reparations, especially with Bavaria. Broad sectors of German and Bavarian society repudiated this policy. That it was a Jew who propounded such allegedly abject arguments fed the myth of the “stab in the back” that “the Jews” would perpetrate against the German fatherland, by handing it over simultaneously to the imperial powers of the West and the Russian Bolsheviks. Weber, of course, did not share in such humbug, but Eisner’s program of atonement, of German repentance, seemed to him counterproductive, dishonorable, and unbecoming of a statesman. A classic example of the “ethics of conviction.” Weber held Eisner responsible “for bringing peace, not war, into disrepute.”

    By the time Weber delivered his lecture in late January 1919, Eisner’s popularity had been waning rapidly and with it his already limited power. What was most salient in German daily life was unemployment, inflation, the scarcity of basic commodities, transportation paralysis, and the like. He finally had to admit the fragility of his situation and opted to call elections. They were held on January 19, 1919, with disastrous results for his party, the USPD. Eisner promised to leave office. Nine days after, Weber spoke to the students.

     

    2

    A nation in turmoil, a polarized and feverish city, a charismatic demagogue in decline, a fragile parliament, a revolution that sought immediately to reach its ultimate apotheosis, a military and nationalist reaction that steadily gathered undetected forces: This historical and biographical situation accounted for Weber’s vehemence before his young listeners, romantics of the revolution. He was a prophet-scholar crying out in the wilderness: “Whoever seeks the salvation of his soul and that of others should not do so by the path of politics, whose tasks are very different and can only be accomplished by force.”

    Weber’s criticism of the practitioners of the “ethics of conviction” was based on recent paroxysms of violence:

    Are we not seeing that the Bolshevik ideologues and the Spartacists produce the same results as those of any military dictator precisely because they use this means of politics? How does the government of the councils of workers and soldiers differ from that of any ruler of the old regime if not in the person of the one who holds power and in his amateurism? How do the attacks of most representatives of (supposedly new) ethics on their adversaries differ from the attacks made by any other demagogue?

    In Moscow, the Bolsheviks had triumphed. In Berlin, the Spartacists had failed in their assault on power. In Munich, however, the “amateur” Eisner ruled. The “attacks” to which Weber referred had been suffered by himself, when on November 4, 1918, he was interrupted at a rally by two furious representatives of “the new ethics,” the literati (Weber’s sardonic word) Erich Müsham and the Russian Leninist Max Levien:

    Will it be said that they are distinguished by their noble intention! Well, but what we are talking about here is the means used, and the adversaries being fought also claim for themselves, with total subjective honesty, the nobility of their ultimate intentions.

    Although he planned to write a “Sociology of Revolution,” which he did not carry out, in his lecture he traced the arc of degradation that he saw unfolding before his eyes. Once the leader — that is, Eisner — unleashes the passions, it is difficult to tame them. They are no longer within his control. Even if he is inspired by a pristine ideal, his action rests on the apparatus that he has formed, and that apparatus is not composed solely and mostly of pure beings, but of “the red guards, the rogues, and the agitators” who would demand internal and external rewards:

    In the conditions of the modern class struggle, the leader has to offer as an internal reward the satisfaction of hatred and the desire for revenge . . . the need to defame the adversary and accuse him of heresy.

    The external rewards for the apparatchiki were “power, spoils, perks”: “let us not deceive ourselves,” he pointed out, applying Marxism to the Marxists, “the materialist interpretation of history is not a chariot that is taken and left at whim, and does not stop at the authors of the revolution.”

    In closing his lecture, knowing perhaps that the young listeners would be carried away by their conviction at the expense of their responsibility, he quoted from Goethe’s Faust: “The devil is old; become old to understand him.” His repeated invocation of “demonic forces” in politics had a vatic tone. He envisioned that, for various reasons, “an Age of Reaction would be enthroned in less than ten years.” And then all the noble goods to which they aspired (and which Weber confessed to longing for) would be no longer attainable. He was issuing a warning. What Germany awaited was not “the dawn of summer, but a polar night of icy harshness and darkness.” His young listeners were as dismayed by his message as Toller had been in Lawenstein. Karl Löwith remembered: “Weber tore away all the veils of illusory thinking, and yet no one could fail to feel that at the heart of that clear mind beat a deep human earnestness.” But they did not want to surrender the illusion. Max Horkheimer recalled: “Everything was so precise, so scientifically austere, so free of values, that we returned home completely desolate.”

    The illusion continued, but it was Weber who got it right. Three weeks later, on February 21, 1919, Eisner made his way to parliament to tender his resignation. He never made it. A young aristocrat named Anton Graf von Arco auf Valley assassinated him. The assassin acted to legitimize his German identity in front of the Thule Society, an extreme right-wing nationalist group that had rejected his incorporation because he had a Jewish mother. The “carnival” was just beginning to deserve the adjective “bloody.” Although he did not live permanently in Munich until June 1919, Weber witnessed the beginning of the tragedy. The “polar night” was looming on the horizon. 

    The main eulogy at Eisner’s tumultuous funeral was delivered by Gustav Landauer. He compared his friend to Jesus and Jan Huss, who were “executed for stupidity and ambition,” and added: “Kurt Eisner, the Jew, was a prophet because he sympathized with the poor and downtrodden, and saw the opportunity and the need to end poverty and prostration.” In the days following, Bavaria seemed to enter a state of contrition. Crowds filled the streets. People laid wreaths at the site of the assassination. Even the churches rang their bells in mourning. Eisner became a symbol — charisma frozen in time. The revolutionaries harbored a new hope. Eisner had not shed his blood in vain.

    Landauer had spent months of intense activity with Eisner, trying unsuccessfully to encourage him to deepen the “revolutionary intervention”, to break definitively with parliamentarianism, representative democracy, the secret ballot, all mechanisms “of the oppressive condition of the past”. It was also necessary to break with the Weimar Republic in order to give way to “a union of independent republics based on direct democracy”. Yet nothing was to be accomplished by violence. Bavaria could become the cradle of a “new spirit,” of a “new humanity,” aimed at “salvation” and “redemption.” What kind of revolutionary was this forty-eight-year-old who spoke openly in evangelical tones and eschatological concepts? Among his letters from Munich, one stands out that reveals the meaning of his words and his project:

    . . . if I was able to endure the horrors of war, it was because I always hoped to have what we have now . . . If we have learned anything from this war, it is this: Men only do what is right and necessary when the misery has become unbearable and when it is no longer possible to do wrong. Taking this into account, they will probably not seize this opportunity to save themselves, no matter how much we push them. Rather, they are likely to rush toward disaster. But, sooner or later, the revolution will give the people impetus and fire, a blazing and intense life, the culmination of the moment and of the centuries, as well as a historical existence . . . The process that has now begun will take us much further. It will lead us to what Buddha and Jesus have already taught us: the unity of humanity.

    Landauer was an anarchist thinker touched by a messianic mysticism. Like some kabbalists of yore, and like many Christian traditions ancient and modern, he believed that salvation would be preceded by the apocalypse. The apocalypse of the recent war was not enough. One had to suffer more, to die better. But always in the distance there was a flickering light, the end of history, and if it offered “openings” it was necessary to penetrate through that crack, to take advantage of it. The Munich revolution was one of those openings. 

    Although he spoke and wrote in biblical images, Landauer had little to do with the Judaism of his parents. His training was secular and his readings were eclectic: Meister Eckhart (of whom he wrote profusely), Hölderlin (he theorized about his poems and edited his humanist letters of 1793), Whitman (the individualistic poet of the collective American self), Shakespeare (whom he translated), and the late Tolstoy, the Christian anarchist. Later he would recognize as a mentor Martin Buber, who published his writings in his journal Der Jude. Buber’s writings and compilations on Hasidism restored Landauer to the Jewish tradition. This heterogeneous mixture of influences and authorities somehow fused in his mind. He saw them as heralds of a possible humanity — foreshadowed in Paris in 1789, 1848, and 1871 — in which the individual and the community are united and realized on a higher, indivisible plane of love and harmony. In that future map of the universal soul there was no room for races or nations, there was room only for cultures. Two concepts abound in his writings: spirit and people, geist and volk. In his mystical interpretation (and entirely blind to the long career of anti-Semitism in Germany) Landauer saw geist and volk dialectically incarnated in two spiritual peoples, the Jewish and the German: 

    My German quality and my Jewish quality do not get in the way of each other, but do each other a lot of good. Just as two brothers, the firstborn and the youngest, loved by a mother — not in the same way, but with the same intensity — and just as those two brothers live in harmony with each other, whether they have a common path or advances along his own, I experience this strange and intimate duality in unity as something precious.

    He defined himself as an anarchist. Above all, an anarchist opposed to communists: “they are pure centralists, like Robespierre,” he wrote, referring to the Spartacus League. “Their aspiration has no content, they only know power.” The military regime for which they advocate would be the most frightful ever seen in the world. “The dictatorship of the proletariat in arms? I prefer Napoleon!” 

    His anarchism was essentially pacifist. As much as he was repulsed by Bakunin’s violence, he agreed with the constructive models of Kropotkin (whom he knew well in London) on the convergence between the countryside and the city, between farms and factories. He envisioned the mass but voluntary exodus of workers from the city to the countryside. His utopia — an exact reversal of the Weberian state, that “legitimate holder of violence” — was a state without a state, a society of pure fraternal cooperation. The precondition to achieve it was revolution, conceived not as an act of bloodshed but as an educational process, a change in the spirit of the people so that it would recover its purity. In these ideas there was a mysticism of history that aspired to integrate the “I” into a primeval “we.”

    Like Proudhon, Landauer lived in the world of print: books, magazines, manuscripts, and translations. Separated from the family, from business, from the universities in which he fleetingly studied or from which he was expelled, he worked for a “theater oriented to the people” and above all for Der Sozialist, a magazine he edited in various periods over almost twenty years. His anarchist militancy was intense but intermittent. His natural disposition was to philosophical seclusion. Through Separation to Community, he titled one of his books. He was a loner who saw the realization of the individual in loving memberships, from the family and the local community to the universal community. His solitude was not that of the ascetic but that of the mystic who seeks the inner voice to announce it to the world and transform it.

    In November, 1918, his wife Hedwig Lachmann died of pneumonia, leaving Landauer with their two daughters in a state of desolation that could only be alleviated by revolutionary hope. Landauer heard Eisner’s call to join the Munich revolution as the herald of a new era. His charisma was different from Eisner’s, more religious and ethereal. The photographer Heinrich Hoffmann, who had captured Eisner’s melancholic idealism in a famous image, would do the same with the mystic Landauer. Klemperer could have written the caption when he described him in his diary: “tall, slender, with beautiful, fine features, bearded like Christ, with an energetic forehead and visionary eyes looking into the utopian distance.” Before the tragic death of his friend, he had fluctuated several times between extreme exaltation and the greatest despondency. He regretted nothing more than Eisner’s defeat in the January 1919 election. He was puzzled by the “overvaluation of the vote.” To him, the SPD was simply a counterrevolutionary and militaristic party. Even his mystical faith in the German people collapsed: “What an exultant acclamation of the authoritarian government: in these years it has been a very dubious honor to be German, now it is even more so.” Nevertheless, at the first workers’ demonstration, hope was reborn.

    Eisner, for all his idealism, recognized the limits and admitted the reality: they were a minority. Landauer did not. And yet they did not quarrel. Their bond went beyond politics, an activity that was basically alien to them. Two writers, two editors possessed by the “ethics of conviction”: the socialist and the anarchist, the journalist and the thinker, the humorist and the mystic, the idealist and the messianic. At bottom, they were two heterodox Jews pursuing, by different paths, the utopia of universal brotherhood.

    After Eisner’s death, Munich was in turmoil and Landauer was at the center of events. Weeks later, the Bavarian Parliament elected a new Social Democratic government under Johannes Hoffmann, Eisner’s minister of education, who had to face the same tensions, which have been exacerbated by the recent triumph of the Hungarian revolution led by Bela Kun. The deceptive tide of history seemed to favor the revolution once again. In the workers’ councils of Munich — which, significantly, were no longer frequented by soldiers, students, or peasants — the voice of the Bakuninian militants was increasingly heard closing ranks with the Communist Party of Germany, the KPD, which, headed by the poet Eugen Leviné, sought to replicate the Bolshevik example. The demand of both in the general assemblies was the establishment of the Räterepublik (a Republic of Councils) equivalent to the original plan of the Soviet Republic, with all that it implied: nationalization of factories, expropriation of land, suppression of “bourgeois parliamentarianism,” the judiciary, and the free press, and immediate collaboration with “the glorious pioneers of world liberation in Russia.” Landauer, for whom the Communists were “tragic fools” possessed of “Marxist madness,” opposed the motion, which was then postponed by “the masses.”

    The Hoffmann government, for its part, took its social democratic vocation seriously. The Austrian economist Otto Neurath, its prestigious minister of economics, wanted to centralize the economy, concentrate it on the generation of commodities, and — as a gesture of genuine openness towards the anarchists — to finance communes in the Bavarian countryside. The purpose was to demonstrate to the majorities that the collectivist experiment could work. Landauer, a disciple of Kropotkin and therefore a supporter of rural anarcho-socialism, favored it. The radicals did not want to depend on government handouts. They demanded political autonomy for these communes. This project was also rejected by the “masses.” Finally, the tension between the government and the workers’ councils reached the streets. The shadow of repression (and his own revolutionary mysticism) led Landauer to utter a memorable sentence: “In the whole of natural history, I have not encountered a creature that I find more repugnant than the Social Democratic Party.”

    Hoffmann opted to leave Munich and settle in Bamberg. Munich remained a revolutionary stronghold. Against Landauer’s opinion, and without the participation of the Communists (who were waiting their turn), the “masses” finally, on April 6, 1919, decreed the establishment of the First Republic of Bavarian Councils, an anarchist idyll that would not shed a drop of blood and wanted to create a new world, like God, in seven days. At the head of the government would be none other than Ernst Toller. Although some members of the cabinet had a more professional profile, the highest authority was held by the dreamy Landauer, who lived the anarchist paradox of exercising power from the repudiation of power:

    I am now the people’s delegate for propaganda, education, science, arts and other things. If I have a few weeks, I hope to accomplish something. However, most likely I will only have a few days and then all this will have been like a dream.

    In those days, Klemperer interviewed him: “A modest man in a black overcoat, with black hair and the tone of a prophet,” Landauer defined himself as a “non-political politician.” He justified the Räterepublik as “the only way of ‘salvation’ to honor the memory of Karl Liebknecht, his murdered friend, and to put an end to the Weimar lie . . .” The comparison with Eisner was inevitable, as was his Weberian conclusion about the inexorable presence of force:

    An idealist, like him; bohemian, like him; poet like him; and like him, miles away from all real political needs . . . His hands as clean of blood and money as those of Einser. He will surely be forced, like Eisner, to engage in acts of violence himself or to resign by force, violently, by the action of others.

    Toller called this anarchist dream “the amorous republic.” Although there was no shortage of utopian measures (issuing money with an expiration date) or delusional ideas (declaring war on Switzerland for refusing to sell arms), the government concentrated on socializing education and the theater rather than the economy, and the person in charge of this spiritual transformation was Landauer. His priority was to reform the university, so he suspended classes until the summer. He established a Revolutionary University Council, a libertarian community of students, parents, and teachers. The cornerstone of the curriculum would be Walt Whitman: “Every ten-year-old Bavarian child will recite it by heart.” He planned to promote a communal cultural life instead of the traditional isolation of artists. He planned to abolish the law faculty (which would be dedicated instead only to training public servants) and to legislate socialist teaching, “so long muzzled in the universities.” The professors of economics were to be all socialists. Naturally, Landauer wanted to close the doors to the “arch-reactionary Max Weber”.

    His coercive measures were neither light nor democratic nor liberal, but compared to those of the Bakuninian anarchists they were merely pious, almost cosmetic. A mystic to the end, Landauer had no thought of destroying capital or church by the violence of the state, which he considered inherently illegitimate, inhuman, and immoral. His utopia was to be reached by the cultural evangelization of “the people,” who would find in the spirit of communal life its true and full realization. On April 12 he wrote to a colleague:

    Although it is possible that our lives will be short, the wish I have, and it is a wish you share with me, is that we leave lasting effects in Bavaria . . . so that we can hope that, when authoritarianism returns, among discerning circles it will be said that we did not have a bad start during the Räterepublik and that it would not have been bad if we had been allowed to continue our work. This is in case we collapse.

    They collapsed two days later.

    On Palm Sunday, April 14, the Second Räterepublik was declared in Munich. The third period of the “bloody carnival” had arrived, the time of “the Russians,” as they were known from their country of origin: Comrades Eugene Leviné, Tobias Axelrod, and Max Levien. (Leviné and Axelrod were Jews, Levien was not.) The first had participated in the revolution of 1905 in Russia and in the founding of the Spartacus League. The latter, an expert in information and intelligence work, was such a close collaborator of Lenin that he had traveled with him on the famous sealed train to the Finland Station. Dr. Levien, an intellectual and military man, an early Spartacist and also close to Lenin, was the toughest of the three. When Klemperer complained about the shortage of milk in Munich, he heard him remark that “he was indifferent” because “it nourished above all the bourgeois children, and their survival was of no interest to us.” At another point Levien bluntly stated: “The middle class and the capitalist bourgeoisie in Germany does not number more than one hundred thousand people. Their representatives in the National Assembly keep the people in ignorance and stupidity. To spill a little more of their blood makes no difference.”

    None had any doubts about the justification of the means to achieve the end. After what they called the “impostor republic” of the anarchists, the dictatorship of the proletariat was at last opening the way. Their plans were radical: “in every house where there are twelve bourgeois, we will immediately install twenty proletarians”. The expectations were even greater: “There will be no more prostitution because only the bourgeoisie is guilty of its existence.” The measures were categorical: property was confiscated; cars, jewelry, bank accounts were seized; the free press was shut down so that there was no news from abroad, only the newsletter of the Central Committees. As a consequence, Klemperer noted in his diary, “postal services and trains, industry and trade were almost completely stopped.” Munich was under siege.

    Although he never changed his opinion of the communists — “their aspiration is power” — Landauer offered them cooperation in confronting the counterrevolution. After two days he would exchange a letter of “mutual repudiation” with them and withdraw, but Klemperer managed to visit him in his office. They did not talk about French literature (their shared passion) but about the aborted educational redemption. He was struck by Landauer’s fastidious disdain for the practical affairs of his office: “he had thrown all the day’s correspondence into a laundry basket next to his desk: a high school was asking permission to devote a day to sports; the gymnasium of a girls’ school needed repairs; a preparatory school needed to replace its recently deceased prefect.” The liberal Klemperer — a perceptive psychologist — concluded that Landauer was less equipped for politics than Eisner himself, and judged him in Weberian terms: 

    He is an entertainer, a journalist, gifted with great talent but a childish talent. But even the most talented child can inflict harm when he plays irresponsibly with adult objects. He is a child, and I hope for his sake (and for all of ours) that no one ends up turning him into a martyr. 

    By then civil war had broken out. The Leviné government appointed his predecessor Toller as Minister of War, who marched to confront, with temporary success, Hoffman’s troops. (Toller refused to execute the defeated.) But Hoffman would eventually win the support of Berlin. The army of General Noske and the Freikorps, which included several future Nazi officers such as Rudolf Hess and Ernest Röhm, intervened in an offensive against Munich.

    The final battle began on April 27 and was resolved in a few days. Everybody revealed their true character. The “Russians” Levien and Axelrod fled, leaving their troops without courage or defense. Leviné went underground. Toller, the brave pacifist-turned-general, learned with horror of the imminent execution of ten prisoners, several of them belonging to the ultranationalist Thule Society. He was unable to stop it. “Once the crime had been committed,” Klemperer noted, “they could not expect forgiveness.” The revenge would be atrocious. More than a thousand people were executed, most of them innocent or alien to the government.

    Among them was Gustav Landauer. His friends implored him to leave Munich. He had the chance to go to Switzerland and join his two daughters, Charlotte, twenty-four, and Brigitte, thirteen, who lived in a nearby town. Revolutionary hope never left him, but evidently it did not include his own survival. After the assassination of Karl Liebknecht and Rosa Luxemburg, he sent his daughters a remarkable letter:

    It is because of you, my daughters, that I remain alive. I will not yield. It is for my Ethos and my hopes for humanity that I oppose the methods of violence and revenge, and that I work instead for the passionate but peaceful creation of socialism. Do not fear at all! I will continue on my path, as I have done up to now.

    When the civil war broke out, Landauer urged his family to take refuge with an uncle, who “would gladly receive them.” On May 1, shock troops raided the house and seized him. The next day some soldiers executed him, after insulting him (“dirty Bolshevik”), humiliating him, and torturing him mercilessly. Some testimonies report that he said: “I have not betrayed you. You do not know the terrible degree to which you have been betrayed.” Others affirmed that his final words were: “So kill me. And to think that you are human . . .” In 1925 the anarcho-syndicalists in Munich erected a monument to Landauer, with an epitaph taken from his own work: “It is time to create a different martyr, not heroic but discreet, an unpretentious martyr, who offers an example of life.” The Nazis destroyed the monument in 1933.

    All the revolutionary leaders in Munich died in a similar way. Leviné was executed in June 1919, shouting, “Hail to the Revolution” in front of the firing squad. The poet Erich Müsham, who founded the anarchist magazine Kain, was jailed for fifteen years and then brutally murdered in a concentration camp in 1934. Axelrod and Levien died in Stalin’s purges. Toller, jailed until 1925, became a successful exponent of Expressionist theater, but was exiled after Hitler’s seizure of power in 1933, and in 1939 committed suicide at the Mayflower Hotel in New York. Only one of the main protagonists would survive: Ret Marut, the editor of the anarchist magazine Der Ziegelbrenner (The Brick Burner). Under different identities, he would end up living a secret life in Mexico, writing novels of high social and revolutionary content, many of them about the indigenous people of Chiapas, that were widely read in Mexico; we remember him now as B. Traven, who wrote the screenplay for The Treasure of the Sierra Madre based on his own novel. The paradox of the Bavarian Revolution was to conclude in the country of a revolutionary peasant who was an enemy of power and communism, a Mexican figure so close to anarchism that Landauer, years before, had written about him: Emiliano Zapata.

    Weber also was to die before his time. Back in Munich since June 1919, after very brief and unsuccessful incursions into politics, he witnessed the virtual takeover of the university and the city by xenophobic, nationalist, militaristic, and anti-Semitic authorities, all driven by the passions that he detested. Setting himself up as an example of the Protestant ethic that he was then researching, he tirelessly returned to writing, lecturing, issuing liberal and unpopular opinions that earned him the (unfair) label of “godfather of the Soviet Republic.” (And all this in the context of family dramas unbearable even for a man of his stoic temper: the suicide of his widowed sister, who left four children, and his tortured love affair with Else Jaffe, a former disciple, wife of his colleague Edgar Jaffe, with whom he edited the legendary journal Archiv für Sozialwisenschaft und Sozialpolitik.) Weber was particularly offended by what he described as “the mad anti-Semitism” that poisoned even his colleagues. And to show his moral independence, he acted nobly towards his former adversaries. “The great philo-semite” — as Leo Löwenthal, a future founder of the Frankfurt School, described him — successfully defended Otto Neurath in the courts. He did the same with Toller, arguing that “in an act of rage, God made him a politician.” (Thomas Mann also testified on Toller’s behalf.) Moreover, he publicly recognized Eisner’s good faith and decisively defended several other imprisoned leaders, explaining before the judges the meaning of the “ethics of conviction.” It was for that reason that he had not included his name in the printed version of “Politics as a Vocation.”

    Weber’s prophecy was more than fulfilled. The Munich revolution, with all its generosity and idealism, proved that, indeed, “good does not follow good, but often the opposite.” Demagogues, socialists, pacifists, anarchists, communists, many in good faith, had committed the greatest political sin: the sin of unreality. No, “the masses,” i.e. the working masses, were not even remotely in the majority in Bavaria, nor in Germany. No, the political vocation did not consist in devising plans of salvation by neglecting the annoying practical problems. No, the factories did not conform to the socialist order but to capitalist continuity, under other bosses: bureaucratic and military. No, not all the followers of Eisner and Landauer were idealists like them: many quickly changed sides and sought their “internal and external rewards” at the side of the new winners on the ultra-right. No, the real enemy of the dreamers of the revolution was not the Social Democratic Party — which they condemned as lukewarm and reformist — but the pan-Germanic militarism whose reaction Weber foresaw but the revolutionaries did not. As for the young students who would create the Frankfurt School, they announced the definitive decline of the West, but to save themselves they migrated to the United States, where they freely consolidated their school of thought, in many ways contrary to the economic order of the country that hosted them. The revolutionaries preferred to believe that the liberal, constitutional, and parliamentary order proposed by Weber (along lines similar to his friend, the Austrian-Jewish political and legal philosopher Hans Kelsen) had been forever liquidated. But by attacking and banning the “arch-reactionary Weber,” they opened the door to the real reactionary: Carl Schmitt.

    And yet, granting the political unreality that blinded those Romantic revolutionaries, was Weber entirely right in his condemnation? I think so, but with nuances. There were gradations among them that Weber failed to recognize. Eisner, the socialist, was a German Kerensky, never a German Trotsky. Neither was the anarchist Landauer, a utopian mystic who detested the will to power of the Marxists. In political terms, one might ask: was Eisner’s pacifist stance so irresponsible? If it persisted, wouldn’t it have softened the punitive clauses of the Treaty of Versailles? On the other hand, were Landauer’s communal living projects unrealizable, at least on a small scale? (Consider the young kibbutzim in Israel.) In his lecture “Science as a Vocation,” delivered in 1917, Weber had assumed the impossibility of restoring “enchantment” to the secular post-Enlightenment world. Eisner and Landauer, on the other hand, stuck with enchantment, in the form of their utopian hope. Eisner and Landauer practiced the “ethics of conviction” to the limit. They sacrificed their lives for it.

    Weber died in June 1920, a victim of pneumonia. Fury against the Treaty of Versailles (where he was present) and political exhaustion were not unrelated to his end; though he never lost his inner strength, the loneliness of the battle surely weakened him. He did his part in defending a constitutional and parliamentary path for Germany from the forces of unbound revolutionary passion and crude dictatorship. But even he could not foresee the diabolical extremes to which both forces would converge in the totalitarianisms of the twentieth century. Was this the “polar night” he foretold?

     

    3

    There was something else that those radical leaders did not see: the centuries-old monster of the German hatred of the Jews. Weber did see it, since the beginning of the revolution: “separatism is raising its head,” he wrote to Else Jaffe, “and it is going to embellish itself with anti-Semitism.” In Munich, especially in the wake of the failed revolution, that hatred reached insane proportions. That is the subject of Hitler’s Munich, the admirably researched and deeply saddening book by the historian Michael Brenner. His subject is not so much the Munich Revolution as the tragedy of its leaders, almost all of them Jews, and the turning of that revolutionary dawn into the human pyre of Nazism. Brenner seeks to answer three questions: What was the relationship of these leaders with Judaism? How did Bavarian society react to their rise? How did Munich develop from a liberal and “healthy and lively” place into a city that Thomas Mann — by then the famous author of Buddenbrooks, who was gradually awakening from his Apollonian apoliticism — described as “blood poisoned by anti-Semitic nationalism”?

    Given the pervasiveness of the old anti-Semitism in that city and that time, Eisner’s attitude is puzzling. As he experienced the revolution as the awakening of humanity, his office received an avalanche of vexatious letters. The predominance of Jewish leaders in the movement unleashed an ominous propaganda that grew after the crushing of the revolution: graffiti in synagogues and cemeteries, cruel caricatures, editorial commentaries, all riddled with the old commonplaces of anti-Semitism — the Bolshevik Jew, capitalist, exploiter, usurer, stateless. The Jew was the “enemy within” who had stabbed Germany in the back, bringing about its defeat in the War. Eisner and his comrades despised all this; but as Brenner shows, they awakened the beast. The tragic fact is that their movement changed the historical place of the “Jewish Question”: although Jews constituted only around one percent of the population, the anti-Semitic waves that had broken out in 1819 and 1848 came to occupy the center of the Bavarian stage in 1919, never to leave it again — until, that is, the defeat of the Third Reich in 1945.

    As Brenner documents, blaming Eisner and his collaborators for the bloody outcome of the revolution was the predictable reaction of various sectors: the victims, not the victimizers, became responsible for their own deaths. Max Weber did not concur in this widespread judgment. A student of ancient Judaism, he found inspiration in the Prophets, the Psalms, and the Book of Job. He lived surrounded by Jewish colleagues, disciples, and friends. Sociologically, Weber attributed the revolutionary proclivity of some Jews to the ancestral condition of belonging to a “pariah people” yearning for redemption. There is a grain of truth in this, but only a grain. The Jewish revolutionaries of Munich were not acting as Jews but as people with a universal vocation. They represented a minority, a marginal and heterodox fringe, what Isaac Deutscher later called the “non-Jewish Jew.”

    In Brenner’s vivid and moving portraits of the revolutionaries, this heterodox factor is decisive. Despite their ideological differences, what characterizes the two main figures, Eisner and Landauer, as well as Mühsam, Levien, and Toller, is the secular eschatological aspiration that was typical of many Jews on the margins of Judaism, all of them heirs of Spinoza, Heine and Marx. “The Jewish Messiah is the moral humanity of the historical future,” Eisner had written to his teacher Hermann Cohen. In November 1918, Landauer had asked Martin Buber to study Jewish participation in the revolution. He was convinced of its significance: “The prophets are more relevant today for understanding the Jews than the momentary experiences of their brittle lives.” Speaking of the revolutionaries he was speaking also of himself. For all these reasons, when, days before Eisner’s murder, Buber met him and Landauer in Munich, his presentiment on leaving them was one of theological desolation:

    As for Eisner, to be with him was to peer into the tormented passion of his divided Jewish soul; nemesis shone from his glittering surface; he was a marked man. Landauer, by dint of the greatest spiritual effort, was keeping up his faith in him and protected him, a shield-bearer terribly moving in his selflessness. The whole thing, an unspeakable Jewish tragedy.

    The secularization of messianism, however glamorous it now seems, was by no means the prevailing temper in German Jewish life. Brenner provides irrefutable evidence for this. The Jewish community of Munich — a very small minority, eleven thousand out of a total of six hundred thousand inhabitants in Bavaria — felt as German as the Germans, and created companies such as the Löwenbrau Brewery and soccer teams such as Bayern Munich. It was they who were most concerned about the effects of the revolution. “The Trotskys make the revolution and the Bronsteins pay the price,” they used to say. Consequently, the communal authorities and their publications publicly distanced themselves from the Räterepublik; the rabbis supported the conservative party; and in the extreme, there appeared cases of anti-Jewish Jewish intellectuals possessed by what Theodor Lessing called in 1930 Judische Selbsthaas, or Jewish self-hatred, whose twisted and influential trajectory Brenner records in painful detail. Eisner’s murderer, a half-Jewish far-right nationalist, was not alone in being ashamed of his roots and acting accordingly. Brenner cites the case of Rahel Lydia Rabinowitz, a famous Jewish doctor who published a repudiation of Eisner in which she pointed out that Jews should have no more political representation in Bavaria than that corresponding to their minuscule demographic weight. This text was so influential that in 1942 Hitler remembered it: “In 1919 a Jewess wrote ‘what Eisner is doing now will be passed on to us Jews’.” With clear reference to the systematic murder of the Jews then in progress, Hitler added: “This is a rare case of clear-sighted foresight.”

    Several decisive figures of the twentieth century crystallized their ideas, convictions, and prejudices in the stormy days of Munich. For Heinrich Mann, “the hundred days of the Eisner government brought forth more ideas, more joys for reason, more animation of the spirits, than that of fifty years before.” His brother Thomas disagreed — in those years he was a political work-in-progress that he later documented in Confessions of an Unpolitical German — but the events shook him enough to dust off the manuscript of The Magic Mountain and begin to rework it. Brenner records the case of the Vatican nuncio Eugenio Pacceli, who sent regular reports of the changes in Germany that ominously foreshadow his indulgence of the Nazis decades later as Pope Pius XII: Eisner he described as “a Galician Jew who was repeatedly sentenced to prison for political crimes,” and the revolution as part of the “Jewish-Bolshevik global conspiracy” based on “the idea of a Jewish world government.” And just one year after the events Carl Schmitt published Dictatorship, his vindication of an executive power capable of suspending the constitutional order at will to deal with exceptional circumstances, such as revolutionary threats. It is difficult to imagine his rabid and permanent anti-Semitism, his hatred of “Jewish debaters” (beginning with “Spinoza, the first liberal”), without the Munich experience.

    But perhaps the greatest disaster of the Bavarian revolution was the appearance of Hitler. He had arrived in Munich in November 1918. Several biographers have dated the origins of his anti-Semitism to his youthful years in Vienna; others, such as Ian Kershaw, locate its beginnings in Munich. Hitler electrified the crowds in the very same locations where Eisner had electrified “the masses” months before. Was the fascist demagogue emulating the socialist demagogue? Weber’s theory of charisma was now vindicated by both extremes. Is that Hitler in the blurry photographs of Eisner’s funeral? Between September 1919 and November 1923, Hitler gave one hundred and eighty-eight speeches, one hundred and thirty-two of them in Munich. In July 1923, in the run-up to Hitler’s ill-fated putsch, Thomas Mann remarked that Munich is “Hitler’s city.” One of those bewitched was Heinrich Hoffmann, the author of the Eisner and Landauer images. He became Hitler’s official photographer and in 1925 captured his delirious gesticulations in front of the mirror. The pathetic photographer of charisma.

    Just as the assassination of Eisner foreshadowed that of Walter Rathenau in 1922, the experience of 1919 heralded the collapse of the Weimar Republic and reverberated in various times and countries, when the contempt of the various left-wing currents for parliamentary politics outweighed their sense of alertness to the advance of militarist and ultranationalist reaction. History repeated itself in Spain, where ideological hatreds and disdain for liberal democracy — identical to the anti-democratic contempt of Landauer and the Communists — weakened the republic and strengthened the nationalist right, leading to the triumph of Franco, who reigned for four decades. In Latin America the pattern was replicated several times, notably in Chile in the 1970s and in Venezuela in the 1990s.

    And the cycle is not yet spent. Who would have believed that our liberal societies would now be faced with dangers of which Munich 1919 is a cautionary example? But here we are, drowning in what is politely called populism. The Weberian category of the charismatic authoritarian leader is ubiquitous. (I suppose I should exempt Putin, who represents the uncharismatic authoritarian leader.) Regardless of their ideological sign, tinged to different degrees with charisma, convinced of the purity of their convictions or secretly cynical about them, Chavez and Lopez Obrador, Trump and Orban and Modi, do not correspond to the strong democratic president bounded by parliament (Weber’s conception) but to the dictator of the Schmittian friend-enemy thesis. Some countries that have not yet entirely forgotten the lessons of World War II (France, England, Italy, Germany) have so far resisted the autocratic temptation, but not by much, and the United States, shockingly, is in real danger of succumbing to it. 1919, 2025: Who would have imagined that the postwar warnings of Adorno and Horkheimer, German students in Munich during the convulsion, in The Authoritarian Personality would become valid in the run-up to the two-hundred-and fiftieth anniversary of American independence?

    Populist leaders are not the only ones who now regard politics through the flattening and darkening and polarizing Schmittian lens. It is shared by many university students in the United States and Europe, imbued with a new and more inarticulate version of the “ethics of conviction.” But which convictions? Unlike the revolutionaries of 1919, who impatiently dismissed Weber’s message because they sought to build a world of social and economic justice, today’s students seem to confuse altruism with narcissism. Those young people joined the revolution and, like Eisner and Landauer, many of them died for it. What risks do the insurrectionists of the Ivy League run? (They demonstrate for their own amnesty!) Other students of 1919 turned away from active politics, not to escape their responsibility as intellectuals but to elaborate a theoretical construction of social utopia. What is the utopia of today’s youth? They display nothing more than the ecstasy of their own sensibility: what is good for what I feel is good for humanity. As David Rieff has written, “the political emergency merges with the psychological emergency.”

    But there is one cause that obsesses them the most. It is the Palestinian cause, a perfectly legitimate cause were it not for the fact that it drifts too easily into support for Hamas and anti-Semitism. The tents and the banners in the quads can seem merely like an expression of sensibility, except that there is nothing merely symbolic about the global eruption of contemporary anti-Semitism: if contemporary anti-Semitism does not justify looking away from the carnage in Gaza, neither does the carnage in Gaza justify looking away from anti-Semitism, not to speak of the Hamas pogrom itself. All this is yet another serious echo of 1919. If the idealists of Munich believed that the triumph of their revolution would open an era of universal concord that by itself would dissolve the ancient hatred of the Jews, we, the postwar Jewish generations, believed with a similar naiveté that the Holocaust — the reality of it and the memory of it — would overcome the millenarian prejudice or at least open an indefinite truce. It did not happen for many reasons, because of the hostile and murderous response to the establishment of the State of Israel. The Nazi inspiration of many Palestinian leaders, religious and secular, has been abundantly documented. In the decades since, there has been progress toward peace, with the conclusion of peace treaties with Arab states and the current work toward a grand bargain with Saudi Arabia — but the Israeli-Palestinian conflict remains trapped in atavisms and hatreds. In that conflict the Schmittian perspective grows larger, not least for the addition of theological animosities.

    A long time has passed since 1919, but not long enough. Weber’s “Politics as a Vocation” is now a twenty-first-century document, as valid now as when he spoke the words in the castle. It is a call to keep reason and a clear head in volatile times like these, in times of confusion and despair. It helps us to recognize that the apocalypse is not a historical inevitability but a choice. Only heroic spirits, said Weber, filled with a conviction guided by responsibility, could overcome the polar night that he foresaw. Fortunately for our recent ancestors, there was no shortage of heroes in the democracies of the West, who dared to look “the tragic warp of history” in the face and brought the dawn with them. Who are the heroes now? Must Volodymyr Zelensky lead us all? As I strolled the streets of Munich recently, I noted occasions for hope: its memorials to Eisner and Landauer, for example, and the Munich Documentation Center for the History of National Socialism, with its exhibits about the Munich Revolution, its hopes and its horrors, which now stands near the place where the headquarters of the Nazi Party once stood. And in the immediate aftermath of October 7, in the midst of the war in Ukraine, I saw people in its main square listen to a troupe of Jewish singers intoning melodies in Yiddish while in the Old Town Hall of Marienplatz the flags of Germany, Ukraine, and Israel fly together. All is far from lost. But the struggle against a new polar night is far from over.

    Is There Any Excuse for Honesty?

    As part of the research for a book that I am writing on civic education, I recently interviewed Dr. Matthew Spalding, the dean of the Van Andel School of Government of Hillsdale College, the conservative Christian institution that has supplied much of the intellectual heft for the war against “woke” education. I wanted to talk to Spalding about The 1776 Report, a highly patriotic account of America’s founding principles which the Trump administration had commissioned as a counter-blow to The 1619 Project, which places slavery and racism at the heart of the American story. (I find both insupportable and tendentious.) Spalding was the document’s chief author. I had been pursuing Hillsdale officials for the six months since I had written to Larry Arnn, the university’s president. I had done so in my own peculiar way, which often involves the hope that I can disarm with candor. “I will say, not to be coy,” I wrote, “that I do not share Hillsdale’s politics, but I do share a good deal of your pedagogical principles.” That was true: Hillsdale also runs a network of “classical” charter schools, which use an old-fashioned Great Books curriculum to which I am very much drawn. I share Hillsdale’s view of how to teach, though not of what to teach. And since even the most cursory Google search would have revealed my politics, I felt that it was in my interest to admit the obvious and then use whatever credit I would gain for honesty to demonstrate my bona fides. In the ensuing months I sought to persuade Hillsdale’s chief of communications, sincerely, that I was the liberal most likely to give Hillsdale a fair shake. Apparently I succeeded. As I prepared to interview Dr. Spalding, I was feeling rather proud of myself for having trolled the waters so laboriously and finally hauled in a prize fish. More would come; this was to be the first of a series of interviews.

    Dr. Spalding and I spoke by Zoom for slightly over an hour; the head of communications hovered silently and invisibly in the background. We found much to agree on: that the great defect of progressive schooling was not its ideological content but its lack of content; that most teachers want to teach, not to indoctrinate. Dr. Spalding told me about his graduate U.S. History class, in which, he said, he “tried to understand history as it was understood by those who were there,” rather than by imposing contemporary understandings on the past. We seemed to be getting along swimmingly.

    Now, going back over my notes, I can see, at approximately the forty-minute mark, where our conversation began to go off the rails. Spalding was talking about the natural law tradition upon which the Founders had drawn — the view that truths inhere in “nature” and are thus permanent and universal. Cultural conservatives argue that America lost its way when twentieth-century progressives abandoned natural law for “relativism.” One of the contributions that The 1776 Report makes to this debate is the bizarre and almost mischievous claim that John Calhoun, the theoretician of racial superiority, was the polluted fountain from which modern identity politics springs — because he thought rights inhered not in nature but “in groups or races according to historical evolution.” I said to Dr. Spalding, “Do you really think all this goes back to Calhoun?” My notes show: “Yes, defends Calhoun.” Then I asked Spalding if he believed, as the report implies, that the ubiquity of slavery in the eighteenth century should govern our judgment of our slaveholding Founders. My notes report, “Yes, palliating that slavery widespread” — that is, we should not judge these men harshly for doing what so many others did at the time.

    In short, I argued with my subject. I mistook the strategic candor that had enabled me to overcome skepticism or suspicion for the kind of unguarded exchange that is fraught with danger. I knew that. I had told myself beforehand that I must not do what I so often do in this kind of situation. I should instead show curiosity, pose open-ended questions, murmur ambiguously. If I argued adversarially, as I knew from painful past experience, I might snap the thread I had so laboriously tied with Hillsdale’s publicist. And that is exactly what happened. After the interview, she went silent. No more interviews with Spalding or any of his colleagues. I had done it again. Why? Why would I give a sharp yank on the pole when I knew it might let my fish off the hook?

    In The Journalist and The Murderer, which appeared in 1989, Janet Malcolm famously described misrepresentation, including lying, as a dark trade secret of her profession, too perilous to admit in public but too precious to abandon. She described the journalist as “a kind of confidence man, preying on people’s vanity, ignorance or loneliness, gaining their trust and betraying them without remorse.” I still remember how I recoiled when I read that. Betrayal, I thought, was a choice, not an imperative. Everyone has a justifying ideology to excuse self-serving behavior. Ours — the pursuit of truth — may have been the best of them, but we were still giving ourselves license to behave in a way that, as Malcolm readily conceded, would be regarded as inexcusable in almost any other context. And yet . . .

    In almost half a century as a journalist, I have let so many fish off so many hooks. In the days that followed my interview with Dr. Spalding, I began to ask myself the opposite of the question I had asked before: what, for a journalist, at least one in my line of work, can justify not lying, or at least not temporizing in a way that achieves the same effect? Malcolm had offered a worldly pragmatism that I could neither fully accept nor convincingly refute. As I thought back over my own work, I realized that I had migrated across the borderlands of honesty in a way that I could not make sense of morally and could only dimly grasp as a matter of personal choice. I was, in fact, a much better liar than I let on to myself. But in other settings I seemed to choose — no, not choose but adopt — an almost suicidal candor. Different settings seemed to provoke different intuitive reactions.

    I have not consulted with other writers about this strange, semi-conscious question. But I cannot believe that I am alone in my perplexity. What Malcolm presented as a matter of perverse moral courage must surely be a perpetual negotiation for most of us, a bargain with ourselves about what is permissible in the name of truth-telling. Or maybe it is a negotiation between ambition and fear, or between a truth-telling impulse and guile. It is certainly an equation without a solution — including, I think, Malcolm’s. Perhaps the best I can do is to open up my own life to inspection.

    In 2005, Condoleezza Rice, then George W. Bush’s Secretary of State, agreed to talk to me about UN Secretary General Kofi Annan, about whom I was then writing a book. We had never met before; perhaps she did so as a favor to Annan, then reviled on the right for his opposition to the war in Iraq. We met in a lovely yellow parlor adjacent to her office. The Secretary, a product of the extremely rectitudinous black middle class of Jim Crow-era Birmingham, sat perfectly erect, her hands folded in her lap. She rapidly disposed of most of the questions that I had planned in advance. The upshot was, no, there was no tension between the United Nations and the Bush Administration. Finally I raised the delicate issue of UN Ambassador John Bolton, a professed UN-hater widely rumored to have been appointed over Rice’s objection. I knew that Bolton had been doing everything in his power to wreck efforts at UN reform. Did he, I asked, have “his own agenda?” Rice stiffened — or, more precisely, stiffened further. “This is silly,” she said. She was Secretary of State.

    It would have been a dereliction of professional duty not to have asked Rice about Bolton, even though it would have been equally unprofessional for her to have given me an honest answer. That is why so much high-level political reporting feels ritualistic. But now I had the bit in my teeth — or perhaps I had run out of questions with time left in the interview. What’s more, I had been living inside the UN, where everyone hated Bolton. And more, I am an argumentative person. I pelted Rice with questions about Bolton’s role. Was it true that Bolton had been holding back-channel conversations with other opponents of reform? “These are not conversations that I am party to, have time to be party to, or have any desire to be party to,” Rice said — the equivalent, for her, of a tirade, though she had not raised her voice by a decibel. The interview didn’t so much end as die out. I was dismissed and sent to a vestibule to be escorted downstairs. There — for the first time and only time in my life — I literally banged my head against a wall.

    When I ask myself why I have conducted so many fruitless and self-defeating arguments where circumspection and suavity would be in my interest, I come up with a number of different answers, some more embarrassing than others. I consider the one that I think applies to Rice relatively excusable: I appear to hold the belief that arguing shows that you take the other person seriously. People who operate in the realm of ideas should look forward to a vigorous truth-seeking discussion. Wasn’t that Socrates’ implicit premise? Isn’t that how we advance the truth? In a profile of Larry Summers, I once wrote that the then-president of Harvard “says he has always believed that the best way to show your respect for your fellow man is to argue with him, generally until one or the other of you is forced to admit the error of your ways.”

    Of course the abrasive Summers makes a poor role model for someone in my line of work — or possibly his own, since the Harvard Corporation finally tired of the fights he picked with his own faculty, among many others, and forced him out of office. Many people, like Condoleezza Rice, regard arguing as a breach of politesse. Perhaps, if I can indulge in an ethnocentric generalization, journalists need to be especially on their guard with Gentiles. I cannot call to mind any instance in which I got in trouble arguing with a Jewish subject — Summers, Richard Holbrooke, even Abe Foxman, the volcanic former head of the Anti-Defamation League. The whole arguing-with-God thing does seem to have some basis in sociological fact, and it is certainly conducive to valuable journalistic interviews. I thought that Dr. Spalding and I were doing just fine. But leaving aside the somewhat dubious matters of ethnic predisposition, Dr. Spalding would have had every reason to be on his guard as he fenced with a certified liberal. As he sat at his desk in his suit and tie with his PR person lurking offscreen, I had the distinct impression that he had not expected to be put to the test, did not very much enjoy it, and possibly resented the effort he was having to expend when he had a graduate school to run. Or, to be perfectly honest, that thought occurred to me later; perhaps I would have sheared off if I had noticed it in real time.

    It is also true that every so often candor proves more effective than seduction. Malcolm describes this approach as “the higher ingratiation,” but I am thinking of actual artlessness, which has a seductive power of its own. For my very first book, about a ludicrous Reagan-era scandal involving a company called Wedtech, I went to San Francisco to interview the company’s lawyer, a very odd character who spelled his name in lowercase — e. robert wallach. We met in the North End cafe where wallach hung out. Suspicious, for good reason, wallach interviewed me. Where had I grown up, where had I gone to school, what had been my life path? Characteristically, I didn’t think to adjust my life story to whatever expectations he might have. That night wallach called to say that my pedigree implied elite scorn for his hardscrabble background. He would not cooperate. I was nonplussed, and I said, “I don’t think you have any obligation to talk to me, and I’m not going to hold it against you that you won’t.” Was that the higher ingratiation at work? Maybe, though I wouldn’t have said so then. The next day wallach called me back and said that he had changed his mind. We spoke for hours. By contrast, Wedtech’s CEO and the chief perpetrator of the scandal proved to be such a mooncalf that he spoke to me without conditions — the journalist’s unearned gift. I’m guessing that neither was very happy with the outcome.

    I do think that wallach was reacting to something real. It is very hard to say whether the reason that I am not comfortable misrepresenting myself is that I am a literal-minded person who lacks the talent for it or whether I lack the talent because I have an inner compunction against lying. Although the first is plainly true, the second is my most effective counter to Malcolm’s accusation. I was born in 1954; my political consciousness began to dawn at the age of fifteen. I was just young enough to escape the draft, but old enough to go to Washington to attend the Moratorium to End The War in Vietnam in November, 1969. I was a political person; we were all political persons. Very few of the aspiring writers my age became novelists; we became journalists because we wanted to right wrongs. It wasn’t only that we wanted to tell the truth — many of us, most of us, really did — but that we wanted to tell the truth about politics and policy rather than the far more ambiguous truths about human nature which were the domain of an older generation. Malcolm had a novelist’s awareness of the elusive nature of truth, a Balzacian sensitivity to the ways that each of us is deluded by vanity or ambition or desperate need. I read novels at night, but for my day job I used to write about schools and race and welfare policy; later, the UN and foreign affairs; today, civic education. Perhaps I am both more literal-minded as a person and less ambivalent about my pursuit of what I regard as the truth.

    Of course these questions do not always arise. I have spent much of my life plunged into situations that I barely understand, dependent on my subjects to enlighten me. The questions that I asked the soldiers with whom I was embedded in Afghanistan while writing about “counterinsurgency theory” in 2010 — or for that matter the ones I posted to the great Mariano Rivera of the New York Yankees when I wrote about him that same year — were neither artful nor pointed; they were efforts to learn. But unless you are a newspaper reporter, which I was not, you write with, or towards, a set of beliefs. And those beliefs often conflict with those of your subject.

    For my book on the United Nations I spent a year essentially living inside the institution, attending high-level meetings, traveling with Kofi Annan, wandering untrammeled around the floors of the Secretariat Building where he and his staff worked. This “insider” status offers the most insidious temptation to the writer, who over time gains the confidence of his subjects, hears their confessions, and knows that he must not compromise his precious access by awakening suspicions about his actual views. Yet Annan had good reason to grant me this exalted status. I had already written extensively about both him and his institution and was regarded as what is known around Turtle Bay as a “critical friend.” A kind of implicit compact of high seriousness obtained: since I was a liberal internationalist who faulted the UN for failing to live up to its own professed values, I could be trusted to write honestly about those values and those failures. Showing my own hand was part of the compact. Every month or so I would do battle with Sir Kieran Prendergast, Annan’s rather grandiose head of political affairs, a devout institutionalist who considered NATO’s war in Kosovo immoral because it had not been authorized by the Security Council. Many of his colleagues felt safe confessing their fears and frustrations to me because they understood that I shared their principles. I would say, even with hindsight, that I was able to enjoy the almost illicit thrill of insiderdom without either betrayal or surrender.

    But what happens when the writer changes his mind? At the core of Malcolm’s essay is a libel trial that pits a convicted murderer, Jeffrey McDonald, against the journalist Joe McGinniss. During his trial McDonald had allowed McGinniss to report from inside the defense camp, certain that the journalist would recognize that he had been unjustly accused. McGinniss would be a kind of critical friend. By the time Macdonald was convicted, however, McGinniss had concluded that he was, in fact, guilty, and described him in his book, Fatal Attraction, as a heartless monster. McGinniss had changed his mind and then lied about it to maintain his access. Malcolm’s McGinniss is a boldly, even recklessly, transgressive figure — a type of Promethean writer prepared to steal the sacred fire of the gods in the name of truth, or at least of narrative. I am a tamer guy, and I wonder what I would have done in a comparable situation. I doubt that I would have blown my cover. Would I nevertheless have had the courage — or is it shamelessness? — to betray people who had trusted me with their deepest beliefs? And if I had balked at doing so, wouldn’t I have been betraying something else even more precious — my implicit contract with the reader to tell the truth as I understand it?

    This raises a larger and even more troubling question. Was the real reason why I had not squarely faced the issue of betrayal in the past not, as I told myself, because I had argued myself out of stories rather than artfully finessed my way in, but rather because I had been all too willing to accept — or to dispute or satirize within acceptable limits — the narrative to which the diplomats, politicians, and institutional leaders I had written about were committed? Had I been too reluctant to pierce the self-constructed world of Joe Biden (then vice president) or John Kerry (then senator) out of a timorous respect for position? Or, more likely, had I simply taken for granted the rules whereby high politics are conducted — a failure of imagination rather than a failure of nerve? I would like to think that, as with Kofi Annan, I had shared their basic framework of ideas and chose to engage them within the confines of those shared values.

    Insiderdom is typically corrupting not because it engenders duplicity, as with McGinniss, but because it encourages deference, both because the journalist wants to keep his access and because he grows habituated to his surroundings. The journalist gradually deludes himself into surrendering his own narrative and becoming the instrument of his subject. I wrote regularly about Rudolph Giuliani during his tenure as mayor of New York, and I see now that while I constantly challenged him, my tone was often needling rather than actually provocative. Isn’t it true, I asked, when he was considering running for the Senate, that you are less fitted for the U.S. Senate than almost anyone else on earth? Nah, he said. Don’t you regret any of the terrible things that you have said, including about fellow Republicans? Nope. So I satirized Giuliani, but within acceptable limits. Was that a failure of nerve on my part? I would say in my defense that the Giuliani of 1995, unlike the pitiful lying flunky of today, deployed his brutality for a good purpose. As I wrote at the time, he convinced many of us of something that we hoped was false: that bullying works.

    Yet I did once have a version of the Joe McGinniss experience. I changed my mind in the middle of a book. When I began researching a book on the City College of New York in 1990, I felt that its tumultuous experiment with “open admissions” twenty years earlier had been a qualified success. I began spending time at City during the summer, when remedial classes met. I saw that many of the entry-level students lacked the reading skills to understand even fairly simple texts. Their teachers, though dedicated to their students, knew that very few of them ever made it into City’s regular curriculum, much less graduated. City simply could not do for them what it claimed that it could. I didn’t think that anyone could, and I said as much to the teachers and the administrators who shared this view — but not to the very dedicated entry-level English teacher whose class I sat in on almost every day, and certainly not to her students. If I had, I would have been branded an enemy. I no longer would have been welcome and would not have been able to write in a fully human and fully persuasive way about the inherent limits of this noble enterprise. I did not mock, or insult, or even blame the people I had come to know. The book was written in sadness rather than in vindictive ideological triumph. Yet it enraged many of City’s teachers and students; some must have felt betrayed by me. Can I justify my “betrayal” by virtue of the seriousness of my goal, or the empathy of my treatment?

    That’s not all — far from it. While I may have argued with Dr. Spalding, I did no such thing last fall when I visited an elementary school in Illinois whose principal had helped to develop the state’s “culturally relevant teaching” standard. I was sufficiently familiar with this practice to know that I considered it a bad idea; there was no way that I could say “I share your pedagogical views.” The principal turned out to be a thoroughly admirable figure, intelligent and thoughtful, a big man with a gentle voice and a warm demeanor. When he raised his commitment to “CRT,” I asked him, in all innocence, to tell me what the doctrine entailed. And when he explained that children of color have been shaped by a culture that prizes “orality” rather than the abstract acts of reading and writing, and thus need to be taught through talk, song, and chant, I made noncommittal murmuring sounds as I bent over my notebook. I respectfully took down the title of the inane book on the subject that had inspired him. The reward for my strategic tact was permission to attend a fifth-grade science class in which the teacher labored mightily to persuade a group of Hispanic children that they would never have a place in the scientific community until society became “anti-racist” — the kind of drivel that gives progressive education a bad name. As if that weren’t enough, one innocent little striver, who had completely failed to get the message, told me that he was sure that he could become a doctor because “my parents always say that we should follow our dreams.” That was the cherry on top. I felt almost giddy with triumph. Also guilty? Not very, so far as I can recall.

    Despite all my fine protestations about hapless candor, under certain circumstances I resort to strategic misrepresentation with barely a second thought. Should I at the very least have felt more guilty about the deception that made my triumph possible? I had not told a lie, of course; I simply made the kind of noncommittal noises that a reasonable if unwary person would have construed as signs of agreement, the way we all do when trapped with a bore at a cocktail party. I cannot speak for my colleagues, but I assume that most journalists behave in this manner when confronted with a potentially refractory subject. That is quite different, of course, from the cascade of lies with which Joe McGinniss stayed in Jeffrey Macdonald’s good graces. Janet Malcolm would proclaim that we are deceiving ourselves: McGinniss’ gross duplicity, she contended, was only a “grotesque” version of the standard journalistic transaction. That may be logically, and even morally, correct, but I am guessing that most people feel differently. I do not believe that five out of six members of a jury would find me guilty of libeling City College, as they did McGinniss for libeling Macdonald. In the realm of betrayal, as in all bad acts, there are felonies and there are misdemeanors. 

    Yet that still leaves a very large perplexity behind. What rule, characterological if not moral, determines whether I resort to duplicity or plunge into the icy waters of candor? Is it a rule that deserves to be generalized? I think I can illustrate the triggering mechanism with another story. In 1991, I spent a few weeks with the hundred or so folk who gathered daily at the Apollo Theater in Harlem to watch the taping of “The Gary Byrd Show,” a kind of neonatal ward for the birth and nurturing of conspiracy theories about racial mistreatment in New York. Despite the politics, it was a pretty polite crowd, and I could have challenged some of the crazier details about, say, the Tawana Brawley case with no danger to myself. But since my goal was to explain how these legends were born out of a very real sense of grievance, I kept mum and gathered the material for a piece titled, “A Counter-Reality Grows in Harlem.” That was news in those days; today counter-realities have almost crowded out reality.

    With this experience in mind, I launched on a profile of C. Vernon Mason, a black lawyer who specialized in fanning the flames of real or imagined racial incidents, including that of Brawley, a young black woman who had briefly riveted the country with a lurid and completely fabricated tale of rape and abuse. He agreed to meet in his office in Harlem. I needed to be very much on my guard: given how supremely suspicious he would have been of any mainstream white journalist, almost anything I said could have convinced him that I meant harm — which, of course, I did. (Several years later Mason would be disbarred for gross failure to provide adequate representation.) While I had no hard feelings towards the crowd at the Apollo, I did towards Mason. I no longer have my notes and I cannot recall what I said — maybe, “Do you still think Tawana Brawley was raped by a white cop?” — but whatever it was, we had no second interview.

    I cannot possibly claim that I was giving Mason the-respect-that-comes-with-argument, since I regarded him as a rank propagandist. Yet plainly at some level, which I wish had been more conscious than it was, I felt called upon to challenge him in a way that I did not with the ordinary civilians who acquired their worldview from people like him. I could not, or would not, or in any case I did not, fully mask my feelings. Mason had power, or at least a platform; they did not. The combination of wrong-headedness and power seems to cue my imp of disputation. I would like to defend this as a moral proposition, but I don’t need Janet Malcolm to tell me that as a journalistic posture it is simply inexcusable. What I should have said to C. Vernon Mason was, “Tell me what it was like growing up as a black man in Georgia in the 1950s.” After all, Mason had agreed to talk to me; apparently he wanted a mainstream auditor. Oh well.

    I recognize, then, that while I feel absolutely no regret for whatever modest impostures I have committed in order to make people believe that I was on their side, I do feel regret for letting fish wriggle off hooks instead of reeling them in with craft and guile. I seem to have come around to the side of Malcolm, who advises writers to shed no tears over a practice they cannot do without: “Hypocrisy is the grease that keeps society functioning in an agreeable way,” she writes. “You do it and shut up about it.” Well, no. I cannot swallow that Rochefoucauldian cynicism, though I have no better rule to apply. I would only say that some deceptions really are worse than others; some truths seem more worthy than others of the betrayals committed in their name. Surely if doctors and lawyers and accountants have an obligation to scrutinize their justifying ideologies, the responsibility for writers, with their professed commitment to truth, goes much deeper.

    A fine moral distinction — but possibly irrelevant. My subject is not really justice, after all, but character, choice, instinct. I draw my lines after the fact, not before. Of course I am angry at myself about Dr. Spalding, and losing the other interviews at Hillsdale; but really, how could anyone stand that sophistry about John Calhoun and identity politics?