Orwell’s press card portrait, 1943
Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” — in fact, to any “sensible” art-hating English person — it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be aesthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot.
But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the aesthetic sense. Since Mannequin rotting in a taxicab is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschevismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals.
It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art”, and everything is O.K.: kicking little girls in the head is O.K.; even a film like L’Age d’Or* is O.K. It is also O.K. that Dali should batten on France for years and then scuttle off like rat as soon as France is in danger. So long as you can paint well enough to pass the test, all shall be forgiven you.
One can see how false this is if one extends it to cover ordinary crime. In an age like our own, when the artist is an altogether exceptional person, he must be allowed a certain amount of irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman should be allowed to commit murder, nor would anyone make such a claim for the artist, however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his favourite recreation was raping little girls in railway carriages, we should not tell him to go ahead with it on the ground that he might write another King Lear. And, after all, the worst crimes are not always the punishable ones. By encouraging necrophilic reveries one probably does quite as much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves is separable from that. And yet even the best wall in the world deserves to be pulled down if it surrounds a concentration camp. In the same way it should be possible to say, “This is a good book or a good picture, and it ought to be burned by the public hangman.” Unless one can say that, at least in imagination, one is shirking the implications of the fact that an artist is also a citizen and a human being.
* Dali mentions L’Age d’Or and adds that its first public showing was broken up by hooligans, but he does not say in detail what it was about. According to Henry Miller’s account of it, it showed among other things some fairly detailed shots of a woman defecating.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
August 27, 2019
QotD: Salvador Dali and the “benefit of clergy”
August 23, 2019
QotD: The ego of Salvador Dali
Orwell’s press card portrait, 1943
[Dali’s] aberrations are partly explicable. Perhaps they are a way of assuring himself that he is not commonplace. The two qualities that Dali unquestionably possesses are a gift for drawing and an atrocious egoism. “At seven”, he says in the first paragraph of his book, “I wanted to be Napoleon. And my ambition has been growing steadily ever since.” This is worded in a deliberately startling way, but no doubt it is substantially true. Such feelings are common enough. “I knew I was a genius”, somebody once said to me, “long before I knew what I was going to be a genius about.” And suppose that you have nothing in you except your egoism and a dexterity that goes no higher than the elbow; suppose that your real gift is for a detailed, academic, representational style of drawing, your real métier to be an illustrator of scientific textbooks. How then do you become Napoleon?
There is always one escape: into wickedness. Always do the thing that will shock and wound people. At five, throw a little boy off a bridge, strike an old doctor across the face with a whip and break his spectacles — or, at any rate, dream about doing such things. Twenty years later, gouge the eyes out of dead donkeys with a pair of scissors. Along those lines you can always feel yourself original. And after all, it pays! It is much less dangerous than crime. Making all allowance for the probable suppressions in Dali’s autobiography, it is clear that he had not had to suffer for his eccentricities as he would have done in an earlier age. He grew up into the corrupt world of the nineteen-twenties, when sophistication was immensely widespread and every European capital swarmed with aristocrats and rentiers who had given up sport and politics and taken to patronising the arts. If you threw dead donkeys at people, they threw money back. A phobia for grasshoppers — which a few decades back would merely have provoked a snigger — was now an interesting “complex” which could be profitably exploited. And when that particular world collapsed before the German Army, America was waiting. You could even top it all up with religious conversion, moving at one hop and without a shadow of repentance from the fashionable salons of Paris to Abraham’s bosom.
That, perhaps is the essential outline of Dali’s history. But why his aberrations should be the particular ones they were, and why it should be so easy to “sell” such horrors as rotting corpses to a sophisticated public — those are questions for the psychologist and the sociological critic. Marxist criticism has a short way with such phenomena as Surrealism. They are “bourgeois decadence” (much play is made with the phrases “corpse poisons” and “decaying rentiers class”), and that is that. But though this probably states a fact, it does not establish a connection. One would still like to know why Dali’s leaning was towards necrophilia (and not, say, homosexuality), and why the rentiers and the aristocrats would buy his pictures instead of hunting and making love like their grandfathers. Mere moral disapproval does not get one any further. But neither ought one to pretend, in the name of “detachment”, that such pictures as Mannequin rotting in a taxicab are morally neutral. They are diseased and disgusting, and any investigation ought to start out from that fact.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
August 20, 2019
QotD: Autobiography
Orwell’s press card portrait, 1943
Autobiography is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats. However, even the most flagrantly dishonest book (Frank Harris‘s autobiographical writings are an example) can without intending it give a true picture of its author. Dali’s recently published [The Secret Life of Salvador Dali] comes under this heading. Some of the incidents in it are flatly incredible, others have been rearranged and romanticised, and not merely the humiliation but the persistent ordinariness of everyday life has been cut out. Dali is even by his own diagnosis narcissistic, and his autobiography is simply a strip-tease act conducted in pink limelight. But as a record of fantasy, of the perversion of instinct that has been made possible by the machine age, it has great value.
George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.
August 17, 2019
The British Empire in retrospect
It’s been fashionable to dismiss the British Empire as a positive force in history for about 100 years (partly in reaction to the losses during the First World War), but Casey Chalk reviews a recent book that counter-cherry-picks the facts to show it wasn’t all an authoritarian dystopia and cultural wasteland:
… the central argument of University of Exeter professor of history Jeremy Black’s new book Imperial Legacies: The British Empire Around the World, which, according to the book jacket, is a “wide-ranging and vigorous assault on political correctness, its language, misuse of the past, and grasping of both present and future.” The imperial legacy of Great Britain is also, in a way, an instructional lesson for the United States, which, much like the British Empire of the early to mid-20th century, is experiencing a slow decline in influence.
As a former history teacher who has visited many former British colonies in Africa and Asia, I’ve been well catechized in how British imperialism is interpreted. The British, so we are told, were violent aggressors and expert political manipulators. Using their technological superiority and command of the seas, they subjugated cultures across the globe, applied the “divide and rule” policy to set ethnic and linguistic groups against one another, extracted resources for profit, and stole cultural artifacts that now collect dust in their museums. Thus, so the story goes, blame for many of the world’s current problems lies squarely at the feet of the British Empire, for which she should still be paying reparations.
Yet, Black notes, “there is sometimes a failure to appreciate the extent to which Britain generally was not the conqueror of native peoples ruling themselves in a democratic fashion, but, instead, overcame other imperial systems, and that the latter themselves rested on conquest.” Take, for example, the Indian subcontinent, which was a disparate collection of kingdoms and competing empires — including Mughals, Sikhs, Afghan Durranis — during the early centuries of British intervention. All of these were plenty brutal and intolerant towards those they subjugated. Moreover, Hinduism promoted not only the oppressive caste system, but also sati, or the ritual of widow burning, in which widows were either volitionally or forcibly placed upon the funeral pyres of their deceased husbands. It was the British who stopped this practice, and others, with such legislation as the Hindu Widows’ Remarriage Act of 1856, the Female Infanticide Prevention Act of 1870, and the Age of Consent Act of 1891.
Nor has India been able to escape the same imperialist tendencies as the British. Just ask the Sikhs, whose demands to “free Khalistan” have gone unheeded by New Delhi, and who in 1984 suffered great atrocities at the hands of the Indian military and civilian mobs. Or ask Indian Muslims, of whom more than 1,000 died in the 2002 Gujarat riots and who suffer increasing persecution under the ruling Hindu nationalist party BJP. There’s also not a few folks in Kashmir who happen to call the Indians imperialists. One might note here that many of the problems in former European colonies are not solely, or even largely the result of European imperialism, but can be attributed to many other causes, population increase, modernization, and globalization among them. Corruption in some former colonies, including India, is almost certainly higher than it was during British rule.
India is only one such example where the modern narrative ignores both historical and contemporary realities, including, one might add, the fact that India as it now exists is largely a creation of British colonial efforts. It was Britain that united a disparate group of people into a single cohesive unit with a national identity. Indeed, as Black rightly notes, “modern concepts of nationality have generally been employed misleadingly to interpret the policies and politics of the past.”
This is further complicated by the fact that in many places, especially India, “alongside hostility, opposition and conflict,” between the imperialists and the colonized, “there was inter-marriage, intermixing, compromise, co-existence, and the process of negotiation that is sometimes referred to as the ‘middle-ground.'” One need look no further than the First and Second World Wars, in which more than 1.5 million and approximately 2.5 million Indians, respectively, fought willingly and bravely in the service of the British crown.
August 15, 2019
QotD: Strong female characters in fiction
If you’d asked me at twelve, I’d have told you I had no idea why the story charmed me as it did. I only knew I liked re-reading it and it became one of my favorite books. It felt good and somehow “right” in a way that fairytales and romances didn’t.
Today, when I telling the kids about it, I realized why. It was because the character was a strong woman. Born with the ultimate disadvantage, the ultimate lack of support, she doesn’t – like fairytale princesses – either get rescued by a strong knight nor even by fate that reveals her to be a hidden princess. Also, she never complains; she never repines – she takes the situation she finds herself in and makes the best out of it, all the while looking out for those who are weaker or in more need than her. This last characteristic nets her the all-important recipe book (supposedly created by a medieval convent, which rings true for Portugal, and lost for centuries.) When her romance doesn’t work because her very conventional suitor wants a girl of suitable family, she doesn’t go into a decline, she just goes on with life.
She is, in fact, what editors so often say they want “a strong woman heroine, self sufficient, a good role model for growing girls.” Only, from my observation and reading, by this they usually mean mouthy, aggressive, foolhardy and complains a lot about men till one wonders if said character has an issue with being born female. There are exceptions, of course, but complaining about fate and men and being bitter seems to be obligatory.
And yet, it is true that this type of character is not only a great role model for young women, she is the type of role model we do need. Earth needs women (yes, and men, but we’re talking women here) who take care of the weak and helpless. Earth needs women who don’t whine. Earth needs women who cheerfully shoulder the burden of what needs to be done.
Earth does not need women who complain about men all the while neurotically obsessing on clothes and jewelry to attract said men and pursuing the highest-status males they can possibly get. There is nothing wrong with these activities, in moderation, but when they become the focus of existence they create a generation of infantile harpies. Now, I don’t think any women in real life are as bad as that, but almost all women characters in books and movies are just like that.
Young women who read/watch these characters end up feeling they must APPEAR like them or they’ll be thought weak. And this is wrong. Strength in women – and men – can be defined not as throwing weight around but in doing what must be done for oneself and those who depend on one.
Earth needs grown up women.
I very much hate to tell people what to do, much less what to be, but I wish we could set about writing – and living – role models for the women Earth needs.
Sarah Hoyt, “Earth Needs Women a blast from the past of November 2010”, According to Hoyt, 2017-07-13.
August 13, 2019
QotD: Karl Popper on the paradox of tolerance
In note 4 of volume 1, chapter 7, of Popper’s The Open Society and Its Enemies, he clarifies his position on how best to deal with intolerant philosophies:
… I do not imply, for instance, that we should always suppress the utterance of intolerant philosophies; as long as we can counter them by rational argument and keep them in check by public opinion, suppression would certainly be unwise. But we should claim the right to suppress them if necessary even by force; for it may easily turn out that they are not prepared to meet us on the level of rational argument, but begin by denouncing all argument; they may forbid their followers to listen to rational argument, because it is deceptive, and teach them to answer arguments by the use of their fists or pistols. We should therefore claim, in the name of tolerance, the right not to tolerate the intolerant.
It is clear from Popper’s writing that it would be unwise to resort to violence against an intolerant group that is willing to discuss and debate their ideas. So long as the intolerant group is tolerant enough to agree to debate and discuss their intolerant ideas rather than resort to violence, it is better to handle them with words.
The problem is, some groups, like Antifa, respond to arguments with violence. And it is these sorts of groups that Popper claims must not be tolerated. If a group is so intolerant that they are unwilling to discuss ideas and instead rely entirely on violence, then they must be met with violence. In other words, Popper is simply saying that a nonviolent society must, at the very least, believe in a right to use violence as a form of self-defense.
Nathan Kreider, “Misconceptions of the Paradox of Tolerance”, Being Libertarian, 2019-05-31.
August 12, 2019
QotD: The “lost technological developments” of the Great Library
Hero does seem to have been another exception to the rule when it comes to philosophers tinkering with gadgets and it’s possible (though far from certain) that he worked in the Mouseion. But the practical applications of his study of pneumatics and dynamics were more toys and curiosities than any great leaps forward in technology. He famously made an aeolipile, though he didn’t actually invent it, given that it had already been described by the Roman engineer and architect Vitruvius, but this can only be called a “steam engine” in the loosest sense of the term. Hero’s little device was not capable of doing anything more than spinning in place and Roman technology lacked the high tensile metallurgy, the mathematics or the precision tooling that would be required to make a true steam engine. The other technological wonder that is often invoked here is the Antikythera mechanism. Exactly how this intricate mechanical orrery based on a geocentric model is supposed to indicate some nascent Industrial or Scientific Revolution is never made clear, but not only did it have no connection to the Great Library, it was a kind of instrument known since the third century BC. If it is evidence that the Greco-Roman world was on the brink of a technological revolution and was only stymied by the rise of Christianity, one has to wonder what kept them from achieving this wondrous thing for the 600 years between its invention and the conversion of Constantine.
The New Atheist mythic conception of the “Great Library of Alexandria” bears very little resemblance to any historical actuality. It was a shrine with scholars attached to it, not a secular university. Its scholars were far more concerned with poetry, textual analysis, grammar, lexicography and rhetoric than anything we would see as “science”. The proto-science they did do was mainly of a highly abstract and often metaphysical nature rather than anything like modern science. And it was also generally divorced from technical innovation and what little practical application it was given did not much at all to advance technology. The idea that if the Great Library had not been burned down by wicked Christians we’d all be living in gleaming space cities on Europa or Callisto is, therefore, a silly fantasy. And not least because the Great Library … wasn’t burned down by wicked Christians.
Tim O’Neill, “The Great Myths 5: The Destruction Of The Great Library Of Alexandria”, History for Atheists, 2017-07-02.
August 7, 2019
QotD: “Great” “Art”
How do we know it’s true art? And before you start making gestures and sputtering, to finally come back with “knowledgeable people know that,” let me cut through the fog. The answer is, we don’t. No, not even experts. If everyone knew what great art was, investment in art wouldn’t be such a risky business. Great art, great literature, any form of “greatness” in creative expression is ultimately “What future generations think is great.” And, like all speculation about the future, it’s difficult, if not impossible. In visual art, what is often the acclaimed taste of an era is the laughable, ridiculous pastiche of a later era. In literature … Do me a favor, let your fingers do the walking through Gutenberg, then look up the biographies of some of those authors. Many of the people who make you say “who?” and who in fact would make anyone but an expert in the literature of their time go “who?” were literary lions in their times, acclaimed by all and pronounced “the next Shakespeare.” (Who, like “the next Heinlein,” used to rise every generation until people got tired of it.)
If the art is so great, how come no one is buying it? Besides the artist who is spending way too much time with absinthe and way too little time with quill and paper, or brushes and canvas, that is?
Oh. I see. Because the general public is too stupid to appreciate the greatness of the artist. Because the artist is “ahead” of the public.
Yeah, if you believe that you probably also think that history comes with an arrow since obviously art does. That is, art moves from “primitive” to “exquisite and advanced.” If you truly believe this, I invite you to go through any local art museum and move through it from, say, Roman times till now. And then I invite you to think. The Denver Museum of Art has an installation that consists of a bunch of twisted-together kitchen implements, something that often happens in my house due to the habit of overfilling drawers and my tendency – pre-coffee – to think there is no problem brute force can’t solve.
This is an “installation” worth 2 million and if you believe it is superior to Leonardo da Vinci’s Virgin of the Rocks, you should stop hitting the absinthe. No, wait. Have another cup. I have this installation …
Sarah Hoyt, “What Happens When the Artist Chides His Audience?”, PJ Media, 2017-07-13.
August 5, 2019
QotD: Depictions of Heaven
Orwell’s press card portrait, 1943
Attempts at describing a definitely other-worldly happiness have been no more successful. Heaven is as great a flop as Utopia though Hell occupies a respectable place in literature, and has often been described most minutely and convincingly.
It is a commonplace that the Christian Heaven, as usually portrayed, would attract nobody. Almost all Christian writers dealing with Heaven either say frankly that it is indescribable or conjure up a vague picture of gold, precious stones, and the endless singing of hymns. This has, it is true, inspired some of the best poems in the world:
Thy walls are of chalcedony,
Thy bulwarks diamonds square,
Thy gates are of right orient pearl
Exceeding rich and rare!But what it could not do was to describe a condition in which the ordinary human being actively wanted to be. Many a revivalist minister, many a Jesuit priest (see, for instance, the terrific sermon in James Joyce’s Portrait of the Artist) has frightened his congregation almost out of their skins with his word-pictures of Hell. But as soon as it comes to Heaven, there is a prompt falling-back on words like ‘ecstasy’ and ‘bliss’, with little attempt to say what they consist in. Perhaps the most vital bit of writing on this subject is the famous passage in which Tertullian explains that one of the chief joys of Heaven is watching the tortures of the damned.
The pagan versions of Paradise are little better, if at all. One has the feeling it is always twilight in the Elysian fields. Olympus, where the gods lived, with their nectar and ambrosia, and their nymphs and Hebes, the ‘immortal tarts’ as D.H. Lawrence called them, might be a bit more homelike than the Christian Heaven, but you would not want to spend a long time there. As for the Muslim Paradise, with its 77 houris per man, all presumably clamouring for attention at the same moment, it is just a nightmare. Nor are the spiritualists, though constantly assuring us that ‘all is bright and beautiful’, able to describe any next-world activity which a thinking person would find endurable, let alone attractive.
George Orwell (writing as “John Freeman”), “Can Socialists Be Happy?”, Tribune, 1943-12-20.
August 2, 2019
QotD: What we mean by “civilization”
Which is when the dime dropped and I realized you guys immediately translated civilization to “as good as we have or better.” Which, of course, made me giggle. Because I’d have liked you to tell a Roman, with their world-bestriding empire that they weren’t civilized. Or, before that a classical Greek.
Understand I am not imagining others before us had the internal combustion engine, or steam, or trains, or … Sure, they might have, but that’s a heck of a coincidence, since those things usually come about by an individual stroke of genius, and even when they do they often aren’t used the way we did (Romans and their mechanical toys.)
To imagine other civilizations of which we’ve forgotten every trace followed exactly the same route we did to the same place we’re at requires believing that inventing steam and the internal combustion engine and harnessing electricity is as natural to humans as dams to beavers.
Now, maybe that’s true. It would certainly make for a very good science fiction story. (Short story, I think. Too much of a punchline thing for a novel.) BUT the odds defy rationality.
I was imagining, you know “builds houses of wood or stone. Domesticated SOME animals. Has villages and cities. Might have trade over long routes. MIGHT have had wheeled vehicles.” (The last, as we know, one can have quite sophisticated civilizations without.)
Look, it’s not your fault. Since the seventies, we’ve been bombarded by crazy BS about superior aliens or superior lost civilizations. (And before that, there was a trickle of it, too, going back I think to the eighteenth century, just couched in different terms.) You’ll get stuff about how the pyramids were built of stones that floated at the sound of a certain note. (A C note, or the equivalent, I bet. “Listen, Mac, you take this stone to the top of the pyramid, I give you a C Note. A hundred Amontheps in your pocket, bucko. Buys a lot of fish and falafel.”)
Part of this, and part of the reason it intensified since the seventies were the “unilateral disarmament people.” You know, those jokers who wanted us to get rid of our own nukes and stand disarmed in front of the USSR, who would then realize we were peaceful, and not attack, and everyone would live in peace and harmony with rainbows and farting unicorns. Yes, it was a stupid and crazy idea since the continued survival of the USSR depended on plunder and conquest. But I’ll remind you our last president still believes that bag of moonshine. All of it, including the unicorn farts.
Sarah Hoyt, “We Are The Superior Civilization”, According to Hoyt, 2017-05-15.
July 31, 2019
All Art Is Propaganda: Christopher Hitchens on George Orwell – George Packer Interview (2009)
The Film Archives
Published on 27 Jan 2014George Packer (born August 13, 1960) is an American journalist, novelist, and playwright.
He is perhaps best known for his writings for The New Yorker about U.S. foreign policy and for his related book The Assassins’ Gate: America in Iraq.
Packer was born in Santa Clara, California. Packer’s parents, Nancy (née Huddleston) and Herbert Packer, were both academics at Stanford University; his maternal grandfather was George Huddleston, a congressman from Alabama. His sister, Ann Packer, is also a writer. His father was Jewish and his mother was from a Christian background. Packer graduated from Yale College, where he lived in Calhoun College, in 1982, and served in the Peace Corps in Togo. His essays and articles have appeared in Boston Review, The Nation, World Affairs, Harper’s, The New York Times, and The New Yorker, among other publications. Packer was a columnist for Mother Jones and has been a staff writer for The New Yorker since May 2003.
Packer was a Holtzbrinck Fellow Class of Fall 2009 at the American Academy in Berlin.
His book The Assassins’ Gate: America in Iraq analyzes the events that led to the 2003 invasion of Iraq and reports on subsequent developments in that country, largely based on interviews with ordinary Iraqis. He was a supporter of the Iraq war. He was a finalist for the 2004 Michael Kelly Award.
He is married to Laura Secor and was previously married to Michele Millon.
Books
The Village of Waiting (1988). New York: Farrar, Straus and Giroux (1st Farrar edition, 2001). Pb. ISBN 0-374-52780-6
The Half Man (1991). Random House ISBN 0-394-58192-X
Central Square (1998). Graywolf Press ISBN 1-55597-277-2
Blood of the Liberals (2000). Farrar, Straus and Giroux ISBN 0-374-25142-8
The Fight is for Democracy: Winning the War of Ideas in America and the World (2003, as editor). Harper Perennial. Pb. ISBN 0-06-053249-1
The Assassins’ Gate: America in Iraq (2005) Farrar, Straus and Giroux 2005 ISBN 0-374-29963-3
Betrayed: A Play (2008) Faber & Faber
Interesting Times: Writings from a Turbulent Decade (2009). ISBN 978-0-374-17572-6
The Unwinding: An Inner History of the New America (2013). ISBN 978-0-374-10241-8Articles
Packer, George (28 September 2009). “A Reporter at Large: The Last Mission”. The New Yorker 85 (30): 38-55. [Richard Holbrooke’s plan to avoid the mistakes of Vietnam in Afghanistan].
Packer, George (15 March 2010). “A Reporter at Large: Obama’s Lost Year”. The New Yorker 86 (4): 40-51.
Packer, George (12 September 2011). “A Reporter at Large: Coming Apart”. The New Yorker. [An assessment of the post 9/11 decade]
Packer, George (27 May 2013). “A Reporter at Large: Change the World”. The New Yorker.
July 30, 2019
Moira Greyland discusses how she came to write The Last Closet
Tamara Wilhite discusses some of the events that prompted Moira Greyland to write about her mother, Marion Zimmer Bradley and some of the reactions from readers of the book:
The Last Closet was written by Moira Greyland. She’s the daughter of Marion Zimmer Bradley, author of The Mists of Avalon and Walter Breen. It is Marion Bradley’s book from which the book title is drawn. “The Last Closet: The Dark Side of Avalon” is equal parts autobiography and true-crime thriller with a tragic sprinkling of the history of science fiction fandom mixed in.
Moira’s book includes large sections of horrifying personal stories, but she has gone to great length to document what happened. For example, her father’s repeated arrests on pedophilia charges (he died in prison) and her mother’s testimony during such trials are public record. She’s backed up everything she can from external sources.
I had the opportunity to interview Moira, and the transcript is below.
Tamara: Some of the events in the book go back forty years. What prompted you to write the book in 2017?
Moira: In 2014, a blogger named Deirdre Saoirse Moen contacted me. She was protesting Tor book’s publication of a puff piece lauding my mother, which did not mention either my father’s conviction or her court-documented collusion with him.
I only knew Deirdre as a woman from science fiction fandom who had hired me for a harp concert, and I did not realize how famous she was. My responses to her email consisted of a brief assent that my father had indeed done all that he was accused of and convicted for and more, but it also included the new for her information that my mother had been a great deal worse than my father. I also included my two poems “Mother’s Hands” and “They Did Their Best.”
Deirdre was horrified, and reported that she had lost her lunch upon reading my reply. Her blog posts about my mother and my responses were reblogged to 92 countries all over the world. There was furious controversy, mostly consisting of everyone who tried to defend my mother getting shouted down. Some people read my mother’s appallingly callous court testimony and pronounced her guilty from her own words. Other people saw themselves in my poetry, in the flatness and horror so familiar to the trauma patient. Still others recognized things in my mother’s books about incest and sexual abuse which had never quite seemed right to them.
I was astonished at the volume of response, and at the many, many, MANY letters addressed directly to me. Most of the letters included both sympathy for me and my brother, but nearly all contained reports of the letter writer’s own abuse, many containing the words “I never told anyone this before.”
I was asked to fill in the rest of my story, and I did so, in a blog post called “The Story of Moira Greyland,” hosted on the blog of Katy Faust, another child of gays and lesbians as I am. My blog post was nominated for a Hugo in 2015, and I was offered a book contract by Vox Day of Castalia House.
The only concern I had about writing my book was that my late brother Mark was having a very hard time with the unplanned public exposure. He was having flashbacks about our father, and beginning to have a lot more trouble managing his health. The reason that was so problematic for him was that we both identified our mother as being the scary, dangerous one, where our father was comparatively gentle and loving. Having to deal with his history meant that there was no even remotely good parent left for him, even as a matter of memory.
His distress predated the book, though, and I did not think that it would be relieved by my silence.
I was given a year to complete the book, and I beat my deadline. It would do no good to mention the particular kind of hell it was to tell the story, and I credit my beloved late husband with sticking by my side through the entire process. Anyone with a trauma history can imagine that all of my trauma symptoms from flashbacks to ataxia got worse. It became very clear to me while writing exactly why it was that so few people talk about their injuries.
July 23, 2019
QotD: Science of the ancient Greeks
The problem with all this is not just that the scholars of the Mouseion were rather more interested in the textual variants of Pindar’s paianes than studying physics, but also a common modern misunderstanding about the nature of Greek “science”. Many modern people, including modern scientists, hear about the Greeks discussing motion or “atoms” or doing geometry to measure the circumference of the Earth or the distance to the Sun and assume that they were doing “science” in the modern sense of the word. Historians also sometimes refer to Greek natural philosophy as “science” and popularisations of the history of science draw simplistic direct lines between things like Greek discussions of “atoms” and modern atomic theory. But this obscures the fact that Greek proto-science was, while a distant lineal ancestor of the modern sciences, very unlike them in many important respects. At best, it was a highly rational attempt at understanding fundamental precepts of the physical and natural world. But it used induction and common sense more than measurement and experiment. There were exceptions (mainly in geometry and its related field, astronomy), but the Greeks were usually not interested in empirical measurement and so were usually even less interested in genuine experiments. Most Greek proto-science was a highly abstract and philosophical affair, based on some observations, but without modern ideas of carefully designed and repeatable experiments with calibrated measurement and attendant mathematics. Most of their “science” was done by sitting around, thinking and talking about concepts, not by actually dropping weights from towers – though they did do thought experiments which sometimes led to correct conclusions and sometimes did not. Their “science” was not our science.
This means that a Greek conversation about “atoms” was largely an abstract and metaphysical exercise about the philosophical nature of a thing and how many times it could be divided conceptually and what this may mean; the word comes from the Greek ἄτομος meaning “unhewn, uncut, indivisible”. No Greek philosopher walked away from such a conversation and decided to try to build some equipment to explore the physical nature of atomic structure and would probably have considered such an idea absurd. Nor would they have taken the step of considering that different forms of matter, liquid or gas were made up of different combinations of atoms and so decide to experiment with these substances to understand this better, since this was completely contrary to their (erroneous) conception of the “Four Elements” of Earth, Air, Water and Fire. The nature of Greek thought did allow them to draw useful and often correct conclusions about the physical universe, but it also set up barriers to the true scientific method that they simply did not and could not cross.
This was one of the reasons there was no direct link between their proto-scientific “science” and technology. Natural philosophy was, as the term would suggest, the preserve of philosophers. In a world where most of the population had to be devoted to agricultural production and most of the rest often barely got by, sitting around and talking about abstractions like “atoms” was a rich man’s luxury. Most philosophers either came from the upper class (though maybe its lower echelons in many cases) or had rich patrons or both, which meant most philosophers had little interest in making or inventing things: that was generally the preserve of lowly mechanics and slaves. Again, there were exceptions to this – Archimedes seems to have had some interest in the engineering applications of his ideas, even if most of the inventions attributed to him are probably legends. On the whole, however, lofty Greek philosophers didn’t think to soil their hands with something as lowly as inventing and making things.
Tim O’Neill, “The Great Myths 5: The Destruction Of The Great Library Of Alexandria”, History for Atheists, 2017-07-02.
July 18, 2019
QotD: “They might speak English, but they don’t speak Western”
But something happened to me last night, I had a kind of realization. It suddenly hit me WHY that is.
It’s because Harry Potter is literally all they collectively know.
Schools don’t teach history anymore.
They no longer teach the canon of Western literature.
They certainly don’t teach the Bible.So Millennials literally have no points of common reference. It’s not that they all just want to look like complete morons by infantilizing their political metaphor to the level of a children’s book, it’s that they have no other choice.
They’re literally bereft of the allegorical language of the West. I’m sure there’s some Harry Potter monster analogy I could use to explain it to them, how it’s like monsters have come along and literally stolen their ability to speak, their common language, and their birthright.
They can no longer express or understand the set of references we have from our past, our most prized stories, and our culture’s religious quotations. They can’t do Shakespeare, Milton, or even Mark Twain because they’ve never learned any of these while they were being taught Indonesian multicultural dancing and given participation awards. They don’t know what happened at Hastings in 1066, at Runnymede in 1215, or even at Sarajevo in 28th June 1914, because they were being given feminist diversity training instead of learning the history of their civilization. They certainly don’t know what “the least of these” refers to or where it comes from, as a recent event with a White House staffer proved.
They’ve lost the entire allegorical language of the West. They might speak English, but they don’t speak Western. To them, it’s like a foreign, dead, alien language. A set of stories they do not know.
RPGPundit, “Harry Potter and the way Millennial Leftists Don’t Even Speak Western Anymore”, The RPGPundit, 2017-02-02.
July 16, 2019
Totalitarian Temptations in Free Societies by Ryszard Legutko
Daniel Pipes reviews a recent translation (from Polish) by Teresa Adelson:
Legutko does not claim liberalism resembles communism in its monstrosity, much less that the two ideologies are identical; he fully acknowledges that the first is democratic and the second brutally tyrannical. After recognizing this contrast, however, he gets down to the more pungent topic of what the two have in common.
He first perceived those commonalities in the 1970s when visiting the West, where he saw how its liberals preferred communists to anti-communists; later, with the overthrow of the Soviet Bloc, he watched liberals warmly welcome communists, but not their anti-communist opponents. Why so?
Because, he argues, liberalism shares with communism a powerful faith in rational minds finding solutions which translates into a drive to improve the citizen, modernize him, and mold him into a superior being. Accordingly, both ideologies politicize, and thereby debase, every aspect of life, including sexuality, the family, religion, sports, entertainment, and the arts. (Here’s a mischievous but deadly serious question: which is the more awful art, the communist or the liberal, Stalin’s or the Venice Biennale’s?) [see below]
Both engage in social engineering to create a society whose members are “indistinguishable, in words, thoughts, and deeds ” from one another, aiming for a largely interchangeable population with no dissidents making trouble. Each sublimely assumes its specific vision constitutes the greatest hope for mankind and represents the end of history, the final stage of mankind’s evolution.
Trouble is, such grand schemes for improving mankind inevitably lead to severe disappointment; human beings, it turns out, are far more stubborn and less malleable then dreamers would like. When things go badly (say, food production for communists, unfettered immigration for liberals), two nasty consequences follow.
Here’s a mischievous but deadly serious question:
Which is the more awful "art", #Stalin’s or the Venice Biennale's (@la_Biennale)?
– Both are political kitsch
– But #SocialRealism is for the simple minded & #AvantGardism for the sophisticated
– The one lies, the other perverts pic.twitter.com/mgd1DX1FPF— Daniel Pipes دانيال بايبس (@DanielPipes) July 8, 2019
