The Clare Spark Blog

May 26, 2014

Triumphalism, dogma, and the Left or Right

benshapirodestroy.jpgI was distressed to see a new booklet distributed David Horowitz’s Freedom Center, penned by Ben Shapiro. Its title is “How to Debate Leftists and Destroy Them.”

Much as I have condemned the moderate men on this website with their ruling idea that all conflict can be conciliated without war (see https://clarespark.com/2009/08/09/what-is-a-corporatist-liberal-and-why-should-they-frighten-us/), I balk at any variety of triumphalism on either Left or Right, unless we are already living under a fascist (one party) dictatorship. If we want to find the truth, while mired in the many controversies that beset us, the absence of countervailing argument is lethal to fixing that which ails us, in private or public life alike.

Moreover, it is un-Jewish to be dogmatic. Despite efforts of antisemites to describe Jews as bent on conquest of the world’s economies and the elimination of all belief systems except for their own, the hard fact remains that to be Jewish is to live in a constant state of questioning, of intellectual combat, not destruction of the enemy or of competing arguments. Without pluralism and civility, that task is impossible, for the irrational parts of our makeup will overtake good sense. “Tory” (i.e., reactionary) artists and writers understand this very well, and seek to terrorize us with images of the inquiring mind and modernity as lethal and disgusting. They offer us countless variations of the Frankenstein myth, lately visible in the new Penny Dreadful series on Showtime. This is right-wing Romanticism with a vengeance directed against “the mob” supposedly empowered by literacy, numeracy, and practice in critical thought, though you would never know that from the reviews.

In order to sniff out liars and ideologues, institutions must be pluralistic, or, as the US Constitution demands, institutions must provide for checks and balances, so that no element of government or of the electorate can impose its will on others without a cautious, careful weighing of facts, many of which remain in dispute or indeterminable. To say that it is too soon to draw conclusions, is considered to be a sign of weakness or feminization. Yet this task of weighing and measuring in a humble state of mind is the very essence of modernity and of the most radical elements of the Enlightenment.

Some “traditionalists” find this imperative dangerous and unsettling, so they pin derogatory labels on their “secular progressive” opponents, projecting their own theocratic and bullying propensities upon persons who are innocent of the same dogmatism. Enter the culture wars.

To practice this demanding habit of mind and heart is very difficult for most persons, who seek group identity/“social cohesion” and “political stability” above the search for the best form of social organization to protect individuality, and one most conducive to well-being for the majority of its citizens. One could look at this “Talmudic” approach to life as either tormenting or stimulating. Obviously, I prefer the latter, which reflects my restless, buzzing brain that finds a home everywhere and nowhere.

benshapirobullies

Advertisements

January 31, 2012

The Numbers Game, sadism, and the Decline of Magic

The “real” John Murrell

One of the virtues of the progressive movement in America was the increased deployment of statistics (see http://en.wikipedia.org/wiki/Statistics). Before that, the political culture could rely on wild claims about the nature of the opposition, without deploying expert-developed “scientific” charts and graphs to prove a point. (Not that economists use the same sets of numbers or rely upon identical economic models.)

The reason I bring it up today, is the ongoing appeal of gory stories about the American past that I have found in both fiction and in the writing of history. While reading Mark Twain’s Life on the Mississippi (1883), I came across his account of the bandit and slave-stealer, “Murel,” but this turns out to be a heavily embellished “tall tale,” according to Wikipedia’s entry on “John Murrell (Bandit).” One cannot discount the public appetite for stories depicting in graphic detail dismembering, disemboweling, decapitations, defenestration, flogging, gouging, cannibalism, vampirism, and every atrocity known to our evil species. Herman Melville’s Moby-Dick and White-Jacket may appeal to the sadomasochist public more than we know.

After reading about the disgusting “Murel”, I was about to apologize for my reproach to Cormac McCarthy’s Blood Meridian, for if Murel could perpetrate his massive crimes, why not the horrid characters who murder each other on the borderlands of the Southwest, described by McCarthy?  To be clear, I doubted that records existed that would have matched McCarthy’s imagined violence with real events, especially since McCarthy, unlike the poet-historian Paul Metcalf, did not give a note on sources for the history he purported to represent. The reader may object “but he never said it was history.” That only  makes matters worse to me, for if not grounded in fact, then the author is playing to blood lust in the reader, and to be frank, so does Mark Twain. Why anyone thinks of him as primarily a jolly humorist is beyond me. His work rather suggests a violent, antimodern and misogynistic imagination, larded with a huge dollop of cultural pessimism, (not to speak of internal contradictions). I don’t know how much Life on the Mississippi was influenced by Melville’s synoptic look at industrializing America, also located on the great river, The Confidence-Man, His Masquerade (1857), but the bleakness and accounts of mercantile fraud are common to both. And the Wikipedia article that surveys the many uses of statistical reasoning quotes Mark Twain as a nea-sayer: statistics were damned lies. Here is a sample from chapter nine of Life on the Mississippi that demonstrates a mixture of pride in mastering the technique of piloting a steamboat, but then lapses into regret that the world has been disenchanted by [science]:

[Mark Twain:] “…The face of the water, in time, became a wonderful book — a book that was a dead language to the uneducated passenger, but which told its mind to me without reserve, delivering its most cherished secrets as clearly as if it uttered them with a voice. And it was not a book to be read once and thrown aside, for it had a new story to tell every day. Throughout the long twelve hundred miles there was never a page that was void of interest, never one that you could leave unread without loss, never one that you would want to skip, thinking you could find higher enjoyment in some other thing. There never was so wonderful a book written by man; never one whose interest was so absorbing, so unflagging, so sparkingly renewed with every re-perusal. The passenger who could not read it was charmed with a peculiar sort of faint dimple on its surface (on the rare occasions when he did not overlook it altogether); but to the pilot that was an ITALICIZED passage; indeed, it was more than that, it was a legend of the largest capitals, with a string of shouting exclamation points at the end of it; for it meant that a wreck or a rock was buried there that could tear the life out of the strongest vessel that ever floated. It is the faintest and simplest expression the water ever makes, and the most hideous to a pilot’s eye. In truth, the passenger who could not read this book saw nothing but all manner of pretty pictures in it painted by the sun and shaded by the clouds, whereas to the trained eye these were not pictures at all, but the grimmest and most dead-earnest of reading-matter.

Now when I had mastered the language of this water and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored to me while I lived. All the grace, the beauty, the poetry had gone out of the majestic river! I still keep in mind a certain wonderful sunset which I witnessed when steamboating was new to me. A broad expanse of the river was turned to blood; in the middle distance the red hue brightened into gold, through which a solitary log came floating, black and conspicuous; in one place a long, slanting mark lay sparkling upon the water; in another the surface was broken by boiling, tumbling rings, that were as many-tinted as an opal; where the ruddy flush was faintest, was a smooth spot that was covered with graceful circles and radiating lines, ever so delicately traced; the shore on our left was densely wooded, and the somber shadow that fell from this forest was broken in one place by a long, ruffled trail that shone like silver; and high above the forest wall a clean-stemmed dead tree waved a single leafy bough that glowed like a flame in the unobstructed splendor that was flowing from the sun. There were graceful curves, reflected images, woody heights, soft distances; and over the whole scene, far and near, the dissolving lights drifted steadily, enriching it, every passing moment, with new marvels of coloring.

I stood like one bewitched. I drank it in, in a speechless rapture. The world was new to me, and I had never seen anything like this at home. But as I have said, a day came when I began to cease from noting the glories and the charms which the moon and the sun and the twilight wrought upon the river’s face; another day came when I ceased altogether to note them. Then, if that sunset scene had been repeated, I should have looked upon it without rapture, and should have commented upon it, inwardly, after this fashion: This sun means that we are going to have wind to-morrow; that floating log means that the river is rising, small thanks to it; that slanting mark on the water refers to a bluff reef which is going to kill somebody’s steamboat one of these nights, if it keeps on stretching out like that; those tumbling ‘boils’ show a dissolving bar and a changing channel there; the lines and circles in the slick water over yonder are a warning that that troublesome place is shoaling up dangerously; that silver streak in the shadow of the forest is the ‘break’ from a new snag, and he has located himself in the very best place he could have found to fish for steamboats; that tall dead tree, with a single living branch, is not going to last long, and then how is a body ever going to get through this blind place at night without the friendly old landmark.

No, the romance and the beauty were all gone from the river. All the value any feature of it had for me now was the amount of usefulness it could furnish toward compassing the safe piloting of a steamboat. Since those days, I have pitied doctors from my heart. What does the lovely flush in a beauty’s cheek mean to a doctor but a ‘break’ that ripples above some deadly disease. Are not all her visible charms sown thick with what are to him the signs and symbols of hidden decay? Does he ever see her beauty at all, or doesn’t he simply view her professionally, and comment upon her unwholesome condition all to himself? And doesn’t he sometimes wonder whether he has gained most or lost most by learning his trade?” [End, Twain excerpt]

[Clare:] Many a romantic author (e.g. Wordsworth) has enunciated the same sentiments: “Science”  has disenchanted the world.  Melville made the same complaint in his journal (1857-58), this time blaming the loss of poetic imagination on the higher Biblical criticism. During my graduate school training in history, I remember one tendency among the cultural historians to deplore “fact fetishism.” Such a nosy search for hard evidence was held to be a symptom of feminization, hence the decline of masculinity. The “feminist” demand for “no secrets” was outrageous (again, see Melville’s fear of being caught by the probing female gaze). Similarly, many conservatives rail against “the nanny state.” Are the real men all “lighting out for the territories?”

Create a free website or blog at WordPress.com.