Thursday, December 3, 2020

Second Wind: a poem by Karen Chamisso

 

First wind came out of the womb
Guzzling atmosphere like champagne
Bawling the certainty of self.
Second wind came out of recess
- a whistle, the line of girls
-the pecking order had my heart in its hands.
At midcourse I saw behind me
My blundering enemy Jane, flushed
With her evil weight and ways.
‘Where the foxe is earthed blow for the terriers
After the maner.” Birth of second wind
Out of the death of the fox
The wolf, and the deer.
I was by the tenth grade mistress
Of the breathing art, took my enemies three two one.
I was Coach's girl, until I discovered pot and cigs.
My second wind, my second wind
Another ghost howls in my wrack and wreck.

Wednesday, December 2, 2020

controversial opinions: if Julius and Ethel Rosenberg were guilty, they are heroes

 


John Quiggins at Crooked Timber published a post last week about controversial opinions. He describes tweeting two of his controversial opinions, to see what response he would get. The two opinions are: there should have been more nuclear power plants built over the last 50 years, and less coal used; and two, world war 1 was a useless waste of life. 

Although I disagree with one, as Quiggins presents it, and agree with two, both of these opinions do not seem that far off the track. 

I have an opinion that is further off the track, I think. I think that if Julius and Ethel Rosenberg really did steal the "secret" of the atom bomb for the Soviets, then the world should name a holiday for them. That was one of the most humanitarian acts of the twentieth century.

I'd backup my argument by saying: the U.S. showed an incredible moral blindness, or perhaps immorality, with its turn from the thirties - when the official American position decried bombing civilians as a war crime - to the forties - when it made bombing civilians a pillar of its military strategy, up to and including the bombing of Hiroshima and Nagasaki. Further, as the Korean war shows, unlimited targeting of civilians through airpower was the standard operating procedure for the American military. 

Given that mindset, if the U.S. had the monopoly of the atom bomb for another decade, it is probable they would have used it, perhaps extensively, against the Soviets, China, and perhaps in Korea. We would be living in a pretty awful world right now. 

So, god bless Julius and Ethel Rosenberg. Or Julius - even the crank right that has howled about how Julius was guilty throws in a crumb that yeah, frying Ethel was a little overthetop, seeing as she was innocent. But you gotta break some eggs to make an omelette. And now, onto condeming moral relativism!

Sunday, November 29, 2020

Cultural relativism, mon amour

 I think of myself as a cultural relativist, but I am constantly irritated at my fellow culture relativists and the debate they wage with their antipodes, the various kinds of moral absolutists. I have a list of complaints, but I will hold back the full thesis, and content myself with merely two of them.

1.       The wrong enemy. There has been a long and, to my mind, futile hunt and peck debate between the relativists and the absolutists concerning the universality of this or that custom or norm. Relativists like to point to things like the fact that the pharaohs of Egypt married their sisters, and absolutists like to point to the universality of the incest taboo. This debate was waged to an extent in the ancient world, but in modernity, it was the discovery of America, and the difference of the Americans, that kickstarted it in the seventeenth century. Seventeenth century writers loved to list the odd beliefs and customs they found among the Americans, and from these lists sprang the science of anthropology. From these lists sprang, as well, modern historiography, as the discovery of American difference led to a re-reading of the classics, and the discovery that the ancients were not the civilization that the European humanists took them to be. Lafitau, remarking that the beliefs of the Iroquois reminded him of nothing so much as the beliefs of the ancient Greeks, was on to something. That something was: European civilization was, at its root, un-European. In fact, looking around at the vast majority of the European population (which consisted of peasants) and the folk beliefs that flourished in villages and courts, Voltaire joked that the territory of the savages began twenty five miles from Paris. He was exaggerating – savages inhabited the streets of Paris and the halls of Versailles as well. It was not just the Nahuatl who believed men could change into beasts – this was a belief solidly upheld in court in Rouen in the 1690s.
However, cultural relativism is not the thesis that there is no universal norm. It is the thesis that there is no society that upholds and follows an absolute norm. In fact, cultural relativism gets its strength from the universality of normative structures. What the relativist observes is that those structures are not coherent, but conditioned, hinged, in a double bind one with the other. Characteristically, a norm binding on individual members of a collective does not bind a collective itself, which may well demand that the individual make an exception of every norm in the service of the collective. On the blog, Crooked Timber, a few years  ago, there was a discussion of universal norms stemming from a post in which one of the Crooked Timber writers proposed that no society condones torturing to death infants for pleasure. This was a curiously conditional absolute – why was the “for pleasure” included? Because of course the ruling class in collectives routinely demand that the members of the collective go to war with other collectives, and in so doing they demand that children be tortured to death – as they were in Hamburg and Hiroshima, in Stalingrad and Falluja, for instance. The justification for bombing and warfare is, however, serious – seriousness is the real legitimating foundation of the collective’s norms. Here, of course, in modern liberal republics, we run into a little logical problem, in as much as the collective is supposedly ruled to the end of allowing people to pursue their happiness – and it seems that a roundabout case could be made that babies are then tortured to death for the pleasure of the collective. But there is no real need to make that  torturous case about torture – all the relativist claims is that the structure of excuses, of the temporary suspension of norms as a norm, is universal in all collectives. There are, then, no morally homogenous collectives. All collectives have hinged norms, structures that code other structures and, in effect, annul the absolute condemnations that run through those structures.
2.       Judge not that ye be not judged. There is, in liberal societies in which cultural relativism has flourished, a tendency to say that the moral of cultural relativism is that you cannot judge other cultures. This idea quickly leads to the idea that cultural relativists have to accept Nazis, slaveholders, etc.
Once again, this confuses the cultural relativist argument. In fact, the conflicting structures that the relativist observes are all based on judgment. A collective holds to its identity by judging, differentiating itself. The relativist does not conclude from this that we need another absolute at another level, a trans-cultural one – for there is nothing in that other level which would “solve” the problem of hinged structures. Far from claiming that the individual can’t judge other individual in other cultures, the relativist claims that the individual can’t help judging other individuals in other cultures. A collective will use the idea of absolutes to create exceptions for absolutes – this is how social logic differs from logic.
Interestingly, absolutes are socially overdetermined. The absolute can introduce a vital, unstructuring moment into the collective. From Socrates to Rousseau, from Jesus to Mohammed, there arise representatives of the popular perception that the permanent state of exception claimed by the ruling class of the collective is wrong. These figures stage their protest on behalf of the absolute, and thereby create a kind of anti-social community – a sort of expropriation of the charisma of the powerful. In this moment of protest, a dream emerges – the dream of a morally homogenous, non-hierarchical community. This is one of the great prods to the softening and humanizing of culture. As a relativist, paradoxically, I am all for these instances of unstructuring, as long as they are not completely successful. For the dream of the morally homogeneous community, when it isn’t futile, quickly turns monstrous, as it purges those who threaten that homogeneity. Most of the time, the unstructuring moment succeeds not by converting the collective, but by weakening its inhumanity. The pacifist, the civil rights advocate, the seeker after truth –  I have tremendous respect for these righteous figures, who have modified the horror of life. Relativism, by contrast, has spawned only one doubtful prophet – Nietzsche. On the other hand, the recherché de l’absolu, which has spawned thousands of prophets, has spawned no wits – save Chesterton, who is an odd case. The wits largely fall into the relativists camp.

Friday, November 27, 2020

Child of the Century

 I cannot prove this or weave too large a theme out of it, but I think there is a Mediterranean modernism, one that takes up the challenge of Nietzsche’s Gay Science.

“Man has gradually become a phantasmal beast, which has to satisfy a need more than any other beast: man must from time to time believe, know, why he exists, his species cannot thrive without a personal trust in life. Without the belief in reason in life! And time and time again the human race decrees that there “is something about which it is absolutely forbidden to laugh.” And the most foresighted philanthropist would add, not just laughing and the gay science, but even the tragic with all its sublime irrationality belongs to the means the necessities of species preservation! And thus! Thus! Thus!”

Nietzsche’s gay science entitles a minor tradition that I’d call Mediterranean modernism. I’m thinking about figures like Pirandello, Unamuno, even Borges. In the post-war period, I’d include in the cut Sciascia and Pasolini. As the list shows, there is something very masculinist about this modernism, although it is also one in which the macho ethic is definitely mocked. When the late De Chirico forged the paintings of his earlier self, he did it not only for the money but because it was funny. That’s the classic Mediterranean modern gesture.
In the forward to Mist, Unamuno’s novella, the protagonist of the novella, Augusto, comments on his author:

“Don Miguel is fascinated by the buffo-tragic… …a tragic farce or a farcical tragedy, not one in which farcical or grotesque elements are mixed with tragic, but one in which the elements are fused – and confused – into one.”

If we are living in some post-something era – that is, one that has broken with the past and at the same time has the past in its craw, unable to swallow it – then I’d nominate that something as “seriousness”. In other words, we are in the era of the Freak. Of course, one could say we have been here, some of us, for a very long time, and that seriousness and its other, Rameau’s nephew, have been having a ‘discussion’ for 275 years now, long before the defining event of the 20th century, the global collapse of peasant societies. History is the history of false beginnings and bogus endings – it proceeds through the limbo of trends to the next catastrophe with the rictus of laughter painted on its face, our It, our Pennywise. As such it is the very image of the insufficiency of the serious. Myself I have a special affection for the buffo-tragic. I feel it in my bones.

This is what I get for having grown up a sarcastic boy. I’ve internalized that joker, but I still feel the tickle in my ribs in every one of my thoughts. Which makes me a typical specimen, a child of the century.
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Wednesday, November 25, 2020

For E.D.

 

 

I’d as soon lay hold of Emily’s dash

and trifle

as I would lift my uncle Jeff Cash’s

favorite rifle

 

from out of the case where he keeps it

in his den

- under where the head of an 8 point buck sits

and scares men

 

and little girls who enter – I should know

who used to stare

back at the monster until I’d go

Beyond my fear.

 

From this I culled my fiercest dreams

- the dash from Emily

would be heavier and scarier than it seems

similarly.

Saturday, November 21, 2020

Marginalia, a poem by Karen Chamisso


Like everybody else, I live among my marginalia.
The orange peels, the leftover lentil stew, goes in the trash,
I presume. I let the maid take care of it.
There are drawers full of photos, although I
Am a blur in them all, as though some thumb came down
and pressed and turned viciously in the emulsion.
There’s no end of it, until there’s the it, which must be tossed
Into the furnace or the coffin
And the marginalia is cleared away, testimonials all.
I will let the undertakers take care of it.
I presume they know how to do that kind of thing.
-Karen Chamisso

Wednesday, November 18, 2020

Against Craft

 Tennyson, famously, was averse to the word "scissors". Something about the s-es. I don't know if Tennyson had a lisp. When I was a child of six or so, I did. Scissors would be a treachery. My own aversion is for the word "craft". How I hate to hear "craft" applied to writing! The "craft" of the story, poem, whatever. It repulses me, with its overtones of some genteel, antiquated hobby. Engineering, that would be alright, I suppose. Art, design, plumbing, all of that, which puts writing where it should be, in the world where people build, repair, create fixes, mob up, make spaghetti, help their kids with homework, and are alternately illuminated and tired. Craft comes from the early modern guild economy, the fierce nostalgia for which has fed the fascism and reaction of the 20th and 21st century. (Even though I should add that guild organizations, from doctors to profs, have endured to our day with more vigor than unions. Alas.)

So where did it come from, this blight of "craft"? I suspect it came by way of the conservative modernists, the agrarians, the Tates and Ransoms, who viewed modern society as a blight in contrast to the organic societies of the pre-bellum South, i.e. societies held together by slavery. As opposed to the Russian formalists, who were seeking a vocabulary of devices and machinery, in line with their sympathy for socialism and the stripping away of superstition, the conservative modernists wanted a vocabulary that would make supplant the radicalism of, say, the futurist with the dark port wine views of a Spengler, moaning for an aristocracy.
In spite of this, "craft" did, to an extent, democratize literary culture. That culture was overwhelmingly masculinist, and I feel that it is turning. Put that in the balance with the trivialization effected by craft, the mini-industry that has sprung up around it, the mystification of the culture producer's position in the system of media and entertainment. Everything that I value in literary culture is anti-craft. Sloppiness, guesses, rants, jibes, reportage, stories told while waiting in line, raps while drinking in the park, emails, tweets, porno fan fic- these are the forms I want to go back to.