Podcast • May 14, 2009

George Scialabba: the untethered, untenured mind

In this world of overrated pleasures and underrated treasures, as the songwriter said, I’m glad there is George Scialabba. In the din, that is, of over-caffeinated wonks and touts who pass for thinkers, I rejoice ...
Ideas as a life, not a living.

Ideas as a life, not a living.

In this world of overrated pleasures and underrated treasures, as the songwriter said, I’m glad there is George Scialabba. In the din, that is, of over-caffeinated wonks and touts who pass for thinkers, I rejoice in a modern guy from the old neighborhood who reads around the clock in Matthew Arnold’s realm of “the best that has been said and thought in the world” and keeps writing what he thinks. What Are Intellectuals Good For? is his new collection. The first answer to the question is his subtitle: “Essays and Reviews by George Scialabba.” With a vocation but not a speciality, George Scialabba meets the Irving Howe standard of the public intellectual: “By impulse, if not definition,” Howe wrote of the New York circle in the 1950s, “the intellectual is a man who writes about subjects outside his field. He has no field.” No tenure, either. No tank to think in, no social circle, no genius grant (yet), no seat in the opinion industry or on cable TV — “no province, no clique, no church,” as Whitman said of Emerson — not even a blog. Though yes, a website. George Scialabba’s “credentials” are only the steady heart and critical pen he brings to the ecstatic discipline of ideas. Ideas seduced George as a Catholic kid in the Italian-American working class precincts of East Boston, the harbor neighborhood often mistaken for an airport. Affirmative action brought him to Harvard (Class of 1969). A half-conscious zeal to be a “divine secret agent” brought him into the narrow way of the lay order, Opus Dei. “Intellectual concupiscence, I guess” brought him out of the church onto the wide path of modernism.

The gods and demi-gods in George’s cast include Nietzsche and D. H. Lawrence, Bertrand Russell and Orwell; in America, Randolph Bourne and Dwight Macdonald, Susan Sontag, Walter Karp and Ralph Nader. The tilt is often but not always to the left. George’s deeper enthusiasm is for self-conscious humanists in the public square. “By that,” he writes, “I mean that their primary training and frame of reference were the humanities, usually literature or philosophy, and that they habitually employed values and ideals derived from the humanities to criticize contemporary politics… Their ‘specialty’ lay not in unearthing generally unavailable facts but in penetrating especially deeply into the common culture, in grasping and articulating its contemporary moral/political relevance with special originality and force.” Scott McLemee says it well in Inside Higher Ed: “If you can imagine a blend of Richard Rorty’s skeptical pragmatism and Noam Chomsky’s geopolitical worldview — and it’s a bit of a stretch to reconcile them, though somehow he does this — then you have a reasonable sense of Scialabba’s own politics. In short, it is the belief that life would be better, both in the United States and elsewhere, with more economic equality, a stronger sense of the common good, and the end of that narcissistic entitlement fostered by the American military-industrial complex.” My conversation with George Scialabba is about whatever happened to the Williams James lineage of public intellectuals — to Emerson’s ideal of “Man Thinking” in his “American Scholar” essay. I ask him toward the end for his own specifications of the post-modern intellectual, a description of the ideal he’s seeking today:

GS: I think post-modernity is premature. I think we ought to postpone post-modernity for a few centuries, at least. I don’t think that modernity has exhausted its potential and the very sad fact is that nine tenths of the world, or eight tenths, or seven tenths, hasn’t yet entered modernity. This is a great, terrible indictment of us who have. We need to stop improving our lifestyles and just start inviting, at least pulling up, people who are trying to climb into the modern political and literary and intellectual and scientific culture. When nobody is getting less than two thousand calories of food or culture a day, then we can take off into the post-modern future—together. But now it just looks like we are really heading for a species division: some people are on such a fast-track to the future that, when other people are sunk in pre-modern misery, and its just not a healthy prognosis for the species.

CL: So who, then, are we looking for in the way of an example?

GS: Well, culturally I would say Wendell Berry and Sven Birkerts. People who have the sense of the vast, unexplored riches in the printed word, in the case of Birkerts, and in the natural world, in the case of Berry. People like Ralph Nader, who have a sense of the vast riches of the civic realm. They seem to be the exemplary modern men, and I don’t think that we should try to extend or go beyond their example so much as we should try to emulate it.

George Scialabba in conversation with Chris Lydon, in Boston, May 6, 2009.

It’s easy to see George Scialabba as the exception that proves the rule that “public intellectualism” is dead — stifled by the “power elite” in corporate universities and government, by television and the tyranny of advertising — “the modern substitute for argument,” as Santayana said; “its function is to make the worse appear the better.” But I don’t buy the line. I don’t even buy George’s discouragement. The open architecture of the Web has diversified and, at many sites, enriched and intensified the play of accessible ideas, beyond our imagining, say, ten years ago. Among the exemplary great ones: edge.org, which keeps freshening the argument that biologists and brain scientists are now the critical source of public ideas; 3 Quarks, the best of global magazine racks; George’s favorite, Crooked Timber; my favorite, perhaps: Juan Cole’s Informed Comment, where a Middle East historian at Michigan became the Thucydides of the Iraq War. Yet clearly something is missing — some point of connection, some contemporary version of Chatauqua. Our moment of crisis and broad popular disillusionment might be a dream time for independent thinkers, but it isn’t yet. Is the fault in our stars or in ourselves, that we don’t have a bolder, more robust public culture?

Podcast • November 5, 2008

New Conversation, New Narrative: Stanley Fish

Click to listen to Chris’s conversation with Stanley Fish. (41 minutes, 19 mb mp3) Stanley Fish: Paradise Regained? Stanley Fish made the campaign’s most audacious — also the most thoughtful — attribution of a certain ...

Click to listen to Chris’s conversation with Stanley Fish. (41 minutes, 19 mb mp3)

Stanley Fish: Paradise Regained?

Stanley Fish made the campaign’s most audacious — also the most thoughtful — attribution of a certain aspect of divinity to Barack Obama. Fish was a Milton scholar before he became a culture warrior and, more recently, the New York Times’ “Think Again” blogger on the life of the mind, on campus and off. When Doctor Fish pictured the taunting John McCain and the imperturbable Barack Obama as a version of Satan’s contest with Jesus, he was drawing on Milton’s Paradise Regained — “a four-book poem in which a very busy and agitated Satan dances around a preternaturally still Jesus until, driven half-crazy by the response he’s not getting, the arch-rebel (i.e. maverick) loses it… The power Jesus generates,” in Fish’s reading “is the power of not moving from the still center of his being and refusing to step into an arena of action defined by his opponent. So it is with Obama, who barely exerts himself and absorbs attack after attack, each of which, rather than wounding him, leaves him stronger. It’s rope-a-dope on a grand scale… Jesus is usually the political model for Republicans, but this time his brand of passive, patient leadership is being channeled by a Democrat.”

We are talking in this election-day conversation about what feels already like a redemptive example and a profound turn in the civic culture. Are we ready for a touch of what could also be called a Gandhian model of doing the public business? I am asking Stanley Fish about the Obama challenge to public intellectuals, and about the Obama effect on the American “narrative.” Fish speaks as a Hillary Clinton Democrat who’s ready to make a considered and very large leap of faith.

SF: There will be, I believe, a three to six month period, which we can call a window of opportunity. By that I mean: countries around the world — some allies, some neutral, some our adversaries — will think there is a new opportunity for conversation and an opening up of old questions. So that is one part of the equation, the other part of the equation, if I’m right, is the response of the Obama administration is able to make.

In the Middle East, Latin America, Russia and Africa, there will be an opportunity for the United States, especially for the Obama administration, to start talking with people in ways that might lead to concrete resolutions, not tomorrow but down a road that has a discernable end.

I just heard this morning that Hugo Chavez, who is anticipating an Obama victory, said that he would be happy to sit down with the new American president and see what areas of compatibility and mutual self-interest we might identify so that we may no longer have to think of our two countries existing in an adversarial relationship.

CL: It’s remarkable. When Ahmadinejad calls then you know something has really happened.

SF: It is remarkable. If a bunch of things like that happen, and the administration has the savvy to take advantage of it, then I think we’ll see remarkable changes…

Stanley Fish in conversation with Chris Lydon, November 4, 2008

Podcast • November 4, 2008

The Hunter’s Evidence: Carlo Ginzburg

In Carlo Ginzburg’s beautifully extended metaphor, the original public intellectual was the Stone Age hunter: Man has been a hunter for thousands of years. In the course of countless chases he learned to reconstruct the ...

In Carlo Ginzburg’s beautifully extended metaphor, the original public intellectual was the Stone Age hunter:

Man has been a hunter for thousands of years. In the course of countless chases he learned to reconstruct the shapes and movements of his invisible prey from tracks on the ground, broken branches, excrement, tufts of hair, entangled feathers, stagnating odors. He learned to sniff out, record, interpret, and classify such infinitesimal traces as trails of spittle. He learned how to execute complex mental operations with lightning speed, in the depth of a forest or in a prairie with its hidden dangers…

The hunter would have been the first ‘to tell a story’ because he alone was able to read, in the silent, nearly imperceptible tracks left by his prey, a coherent sequence of events…

What may be the oldest act in the intellectual history of the human race [is] the hunter squatting on the ground, studying the tracks of his quarry.

Carlo Ginzburg, in an essay “Clues,” in Myths, Emblems, Clues, 1990.
Carlo Ginzburg: historian as card shark

Carlo Ginzburg: historian as card shark

This is an extra-credit conversation — for me a teasing introduction to the father of “micro-history,” Carlo Ginzburg, on a visit to Brown, and one of his gifted disciples, David Kertzer, the Brown provost. They write village-level history about people you never heard of. The micro-historian’s view of the world and their craft is not just bottom-up in the spirit of modern social history, representing the untitled, often unlettered peasantry, the poor and the powerless. They also aim, with the discipline of anthropology and the imagination of novelists and poets, “to see a world in a grain of sand,” in Blake’s line — to recreate a vast social and spiritual panorama from, say, the recovered or newly liberated transcript of a trial.

Natalie Zemon Davis’s The Return of Martin Guerre (1983) is a classic text that became a film, a revelation of married life in 16th Century France. Robert Darnton’s The Great Cat Massacre (1984) unfolded the uprising in a Paris printer’s shop in the 1730s. The inspirational head of the stream was Carlo Ginzburg’s magical The Cheese and the Worms (1976). Told from archives of the Inquisition, it is the tale of a voluble miller, dubbed Menocchio, who was burned at the stake in 1599 for his imaginative (i.e. heretical) speculations about the stuff of the universe (like cheese somehow) and its penetration by angels and spirit (pictured as worms). In Ginzburg’s hands it is the story of early-modern man against authority; of the fusion of Menocchio’s little book learning, at the dawn of printing, with the zeal of the Reformation; and most memorably of a teeming, half-pagan popular religious culture in the rural precincts of Catholic Italy. David Kertzer’s new book this year is Amalia’s Tale, the story from trial transcripts of a wet-nurse from a village near Bologna who contracted syphillis from a farmed-out child of a foundling home. Kertzer’s canvas becomes a chronicle of disease and medicine, law and power, privilege and enterprising resistance, church rules and the meaning of motherhood, and much more.

The triptych of saints over the altar of micro-history, as Carlo Ginzburg recounts, represent Sherlock Holmes, Sigmund Freud and Giovanni Morelli, the 19th Century art historian and sleuth. The trick, as Freud put it, is to divine “secret and concealed things from unconsidered or unnoticed details, from the rubbish heap, as it were, of our observations.” The skill required (Ginzburg’s words again) is “the flexible and rigorous insight of a lover or a horse trader or a card shark.”

What they would teach us is a way of looking at the world right around us. This is, as we say, the short course.

Podcast • September 23, 2008

Slavoj Zizek: What is the Question?

The Elvis of the intelligensia, Slavoj Zizek, hot-links in our one-way conversation… …from nominating George W. Bush (for his trillion-dollar bail-out) to the Communist Party to Kung-Fu Panda, …from John McCain (“Bush with lipstick”) to ...

The Elvis of the intelligensia, Slavoj Zizek, hot-links in our one-way conversation…

…from nominating George W. Bush (for his trillion-dollar bail-out) to the Communist Party to Kung-Fu Panda,

…from John McCain (“Bush with lipstick”) to Naomi Klein,

…from Barack Obama’s risk of the “John Kerry syndrome” to the experience we’re all having of putting on the reality sunglasses in John Carpenter’s “They Live,”

…from the movies “Fight Club” and “300” (which he says left-populists should be studying) to his reading of gold-digger Kate Croy in Henry James’ Wings of the Dove as a plausible model of political militancy,

…from Immanuel Kant’s notion of the sublime, to racist jokes with a moral purpose.

zizek2

In New York on the last day of an American tour, absorbing the demise of Yankee Stadium and maybe of Wall Street as we thought we knew it, Zizek’s talk is a blast-furnace but not a blur. The theme through all Zizek’s gags is that the financial meltdown marks a seriously dangerous moment — dangerous not least because, as in the interpretation of 9.11, the right wing is ready to impose a narrative. And the left wing is caught without a narrative or a theory. “Today is the time for theory,” he says. “Time to withdraw and think.”

Dangerous moments are coming. Dangerous moments are always also a chance to do something. But in such dangerous moments, you have to think, you have to try to understand. And today obviously all the predominant narratives — the old liberal-left welfare state narrative; the post-modern third-way left narrative; the neo-conservative narrative; and of course the old standard Marxist narrative — they don’t work. We don’t have a narrative. Where are we? Where are we going? What to do? You know, we have these stupid elementary questions: Is capitalism here to stay? Are there serious limits to capitalism? Can we imagine a popular mobilization outside democracy? How should we properly react to ecology? What does it mean, all the biogenetic stuff? How to deal with intellectual property today? Things are happening. We don’t have a proper approach. It’s not only that we don’t have the answers. We don’t even have the right question.

Slavoj Zizek of In

Defense of Lost Causes, in conversation with Chris Lydon, September 22, 2008

It’s almost impossible, I discovered anew, to interrupt Zizek. And impossible also to stop listening. Here’s the experiment: if you can break out of the Zizek spell, leave a comment, please, about where and why he lost you. He had me to the end.

Podcast • March 21, 2008

Speaking of Race: John Edgar Wideman’s Fanon

And people think Rev. Jeremiah Wright is angry. The jolt in John Edgar Wideman’s new novel, Fanon is the open rage in the modern black heart about the history of slavery and lynching, and the ...

jewidemanAnd people think Rev. Jeremiah Wright is angry.

The jolt in John Edgar Wideman’s new novel, Fanon is the open rage in the modern black heart about the history of slavery and lynching, and the furious living consciousness of the color line in 21st-Century America. A surrogate “author” in the story in his Manhattan apartment receives a severed human head, plastic-wrapped and hand-delivered by UPS. In the writer’s mind, the murder of Emmett Till in 1955 might have been yesterday. The Homestead neighborhood of Pittsburgh, where Wideman grew up, is today a wasteland. The author’s brother Rob, serving an endless prison sentence for murder, tells the writer: “Trouble does last always.” The author’s project, in honor of the anti-colonial hero, Franz Fanon (1925 – 1961), is “to tell the truth about color and oppression.”

In our American context today, Wideman says in our conversation, “I think we’re somewhere in the low end of the beginning, because we haven’t really faced up — and we have not taken on the burden of divorcing ourselves from the myths about color. We talk about it, and various times in our history we’ve fought about it… But we have not — in the words of maybe the most profound thinker about these things in the last 50 years, in the words of James Baldwin — we have not made the personal and private connection. Not his words, but his conceptualizing of the race situation. And that is: you cannot be a person if you deny personhood to another. You are as incomplete a human being as you project incompleteness on other kids of human beings.”

But at least Barack Obama has just spoken about race, and the country is listening. “For one thing,” Wideman says, “he made me happy. In the sense that he foregrounded what’s in the back of everybody else’s mind. Obama existed in a kind of a trap. That is to to say, he was a man who, you look at him and say: “Oh, this is an African-American guy, a guy of color.” But he was not supposed to be that. He was in kind of a classic Fanon dilemma: he was wearing a mask of one color, and he had another color underneath that mask. Everybody knew it, but the question is: who was going to take it off, who was going to pull it off? … At least now, he’s acknowledged: yes, there’s a mask and there’s skin underneath. And we’re at such an immature level, or it’s such a difficult question, we can’t exactly say what’s skin and what’s mask. But let’s talk about it, and here’s my version.”

We talk about “three idols” in life that Wideman reveals in the novel. One is the warrior-intellectual Fanon of The Wretched of the Earth and Black Skin, White Masks. When imprisoned brother Rob asks, “Why Fanon?” the author answers: “Fanon because no way out of this goddam mess, I said to my brother, and Fanon found it.” Another idol is the author’s mother, dying of cancer in Pittsburgh, talking straight and serving the risen Lord of Homewood AME Zion. “… her belief generates an appetite for love, a flickering presence around her and an abundant radiance within her she shines on me.” The third is the artist Romare Bearden, who went to the same high school, Peabody in Pittsburgh, that the Wideman brothers did, and seems to have suggested something of Wideman’s style in print and in speech: fiction and conversation as a sort of collage:

If this book works in the way I want it to work, I want Fanon and my mother to meet and communicate. [they do] And I want the reader to believe that. I want the reader to see the inevitability of that. Because in thost two “heroes” I see sides of myself. On the one hand an intellectual, a public person, a trained person, someone who’s traveled, an international person. And on the other hand a woman whose accomplishment was to make herself an extraordinary human being in a very private, personal and closed community of family and friends in Pittsburgh. And I think that if there is any kind of remedy for the troubles of the world, if you will, it’s when those two impulses can have a conversation. Romaire Bearden is more or less an aesthetic hero. His main mode or form was collage. And certainly collage is a very suggestive art form, because it means you take bits and pieces from every damn thing and start throwing them together, and if you do it in the right way, maybe something new is created. Maybe the parts become greater than the whole, and whole greater than the parts, and suddenly you’re in the presence of something new. So I guess that is a kind of derivation of those three folks and the roles they played.

John Edgar Wideman, in conversation with Open Source at Brown University, March 19, 2008

Podcast • December 28, 2007

At Home with Harold Bloom: (2) on the Humanities

By his own account, Harold Bloom has lost a step or two at age 77, after major heart surgery. His reading rate is not what it used to be, he says. In his early thirties, the basic Bloomian reading speed with a serious text was 1000 pages an hour; it might be less than half that today. Meaning that nowadays it could take an afternoon, not just the lunch hour, to consume War and Peace.

By his own account, Harold Bloom has lost a step or two at age 77, after major heart surgery. His reading rate is not what it used to be, he says. In his early thirties, the basic Bloomian reading speed with a serious text was 1000 pages an hour; it might be less than half that today. Meaning that nowadays it could take an afternoon, not just the lunch hour, to consume War and Peace.

harold bloom

But Bloom’s mode of reading fast, writing fast, and memorizing almost everything still verges on the freakish, and his zest for the text is undimmed, as are his combativeness, his mockery, self-mockery, and his delight in seeing himself as both king and bad-boy of his literary profession. In our long conversation this past Fall, Professor Bloom gave us a short course in memorization, in effect: “How to Memorize… and What,” starting with Tennyson’s Ulysses He reviewed what he calls the “ghastly condition,” the “sellout” and “suicide” of the “Humanities” in American universities before “the School of Resentment.” Judge for yourself the mix of passion and put-on in Bloom’s voice. And then when I insisted he give us his constructive doctine on teaching teachers — he is, after all, the Art Blakey of literature scholars, in that so many of the great ones took his training — he gave an incisive guide, naming names and first principles.

The great Hillel says: do three things. Be deliberate in judgment. Raise up many disciples. And build a hedge around the Torah.

My version of that is to say: Be deliberate in judgment. Teach many students, but make sure that they are never going to resemble one another or resemble you yourself in the slightest. That is to say, remember what Ralph Waldo Emerson tells us in Self-Reliance: “that which I can gain from another is never tuition but only provocation.” So even with my doctoral students, every class I’ve ever taught is pure provocation. It is an attempt to make them arrive at self-tuition. This was not true of my contemporaries. This was not true of the school of Deconstruction, or of the Marxists, or the Semioticians, or of the New Historicists, the Foucault-eyites which is what they are (they all follow Foucault). This is not true of the Lacanians. They all teach a method, and people do not become themselves, but they become Paul de Man, my old friend, but not someone of whom I could approve because as I told him: “you clone endlessly.” I have never cloned, I would never try to clone… Ah, the hedge around the Torah. The Torah is for me the Western Canon, and to some extent the Eastern one as well. And the hedge doesn’t mean a fence, or a high barrier such as the Israelis now in their desperation at living in a very bad neighborhood may yet have to put up around the whole state. It means an open sort of a thing. With a hedge it can always grow. It is a natural kind of a thing. Hillel is a very good guide…

Harold Bloom with Chris Lydon, at home in New Haven, Connecticut. Autumn 2007.

Thanks to Chelsea Merz for recording this interview, and to Paul McCarthy for editing it.

There’s more to come in Part 3.