Digressions&Impressions

On the latest controversy in the philosophical blogosphere.

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At Leiterreports (here; here; here) and DailyNous another 'philosophy controversy' is playing out. I am sure most of my readers know that it was triggered by an autobiographical essay in Quillette accusing OUP, widely regarded as the leading press in English language professional philosophy [humble-brag: that's where I publish my stuff], of irregular editorial practices with a monograph and handbook chapter on one of the central topics in the contemporary culture wars. (The author has already found new homes for both works.) As has become clear, the handling editor was Peter M., who is widely regarded as the most prestigious philosophy editor within the field. (No, I work with the other Peter, O.) The author of the autobiographical essay is a senior professor at MIT, Alex Byrne.

Nearly all the people crying 'foul' now are people that happily participate in a system that is opaque, riddled with systematic conflicts of interests, editorial unaccountability, and that usually apparently does not cause them any friction. For, when I read Byrne's essay in Quillette, I was stunned by his surprise that he received 'bizarre' referee reports that do not substantiate their claims and that are uncivil. And that, after a life-time in the profession, he sincerely claims "a reviewer is expected to give reasons for her verdict." The tone of referees has been a widely discussed problem in professional philosophy (including in a thoughtful piece unrelated to culture wars in TLS by Tim Crane not so long ago.)

I was bemused to read in Byrne (and some commentators in the blogosphere) that "publication is practically guaranteed" for a handbook article. Twice in the last decade a handbook chapter drafted by me was rejected: once with the suggestion that one of the co-editors could rewrite it with me (I pulled that article and it became chapter 1 of my monograph), and once because my work was not deemed up to par and the editors decided there was too little time for me to improve it. While that stung, for all I know the editors were right about that latter call because another version of that paper was rejected in another special issue. (I can't hate the essay because it was my successful job-talk paper.) I certainly agree with Byrne that receiving editorial word via Twitter is seriously odd; it's probably still marginally better than the time the Monist canceled a special issue with one of my accepted papers without informing me! (We eventually published the paper in Metaphilosophy, where it was published after a year and half (including a mysterious delay because of an editorial mix-up.)) Yes, I did publish a subsequent paper with the Monist. None of my experiences are newsworthy because they are so common and they do not involve the culture wars (although some of my anonymous referees single out my blogging for special ire).

More than a decade ago, I was galvanized into blogging because of a massive plagiarism scandal involving a senior scholar that I sometimes collaborated with that exposed lackadaisical refereeing and publishing practices in an adjoining field. Recently that very same field was rocked by a second major plagiarism scandal (involving a more junior scholar), and dropped the ball in its response in lots of ways. In fact, shortly after NewAPPS was founded several controversies involving Synthese unfolded (we had a 'Synthese Affair' tab): one triggered by a special issue on intelligent design involving editorial improprieties that even made it to the New York Times and one involving inappropriate pictures on a course website by one of the very editors involved in that scandal. A few years later another special issue by Synthese exploded into the news when its guest editor suggested that logical pluralism and homosexuality are linked. This produced a moratorium on special issues at Synthese.

As an aside [feel free to skip to the next paragraph], after the moratorium ended, I co-edited a special issue for Synthese. My very own contribution to that special issue did not make it through the revamped referee process.  So, I can attest that Synthese has learned its lesson. (It's chapter 13 of my 2017 OUP monograph now.)

I don't mean to leave you with the feeling that professional philosophy has a Synthese problem, or that this journal was/is especially badly managed, or that controversy always only involves then-culture-war issues.  Some of the purportedly best journals in professional philosophy, Nous and PPR went through a phase when they had to put moratoria on submissions for extended periods, in part because they had been edited by the same highly respected editor, who also edited Philosophical Issues. In that very same period, another highly respected long-time editor of Philosophical Studies resigned after 25 years because he was unhappy about how a fellow editor handled a paper critical of a paper (by Byrne) thar he had published in the same journal. (Okay that also involved culture war issues.) After the resignation, stories surfaced that this very editor did not always practice double-anonymous reviewing when it suited him. 

Even when proper refereeing procedures are followed a journal can screw up post publication. By the time the 'transracialism controversy' (which also made the New York Times) had played out, the editorial team, many of the associate editors, and many of the governing board had resigned or been nudged out from the feminist journal Hypatia. (I wrote lots of earnest, widely read blog posts about this case none of them made it into the wikipedia entry.)

The previous paragraphs hint at the proverbial tip of the ice-berg. For much of the post WWII period, analytic philosophy has been characterized by a concerted effort at journal capture and then these journals were subsequently run in a clubby fashion that disproportionally served the interests of people in the network of these journals, which have absurdly low acceptance rates, in a discipline that is characterized by incredibly steep economic and prestige hierarchies. It is, in fact, not uncommon to receive incredibly uncivil referee reports, which, if they do materialize, often are slow in coming. At many journals editors de facto farm out the decision by effectively giving a single, sometimes idiotic referee veto power.

It's not just journals. When I was still very junior a highly respected editor at one of the other leading philosophy presses forced a paper out of the volume I co-edited because one of his/her/their referees was incensed over a footnote in one of the papers (never published) that re-litigated a conference dispute (between the referee and the chapter’s author) decades earlier. The referee revealed himself to me and wisely recused himself, but the editor felt loyalty to the referee and insisted that the chapter be withdrawn. (The author refused to submit a different paper.) I thought it very odd that the editor (with no expertise in the field) took sides in a professional dispute. It didn't stop me from working with this editor again, of course. And when I look into my soul, I recall times that as an editor I was involved in decisions that may have seemed badly motivated to some of the rejected authors.

If we step back from the details of any controversy, such controversy is only to be expected: academic philosophers are humans not sages, who have few reliable measures to navigate a very scarce job environment and informational overload while norms of quality and professional conduct are constantly contestable (and, more slowly, shifting). While there are a lot of truth-guided and earnest people in the profession, whenever we get a glimpse under the hood of how confidential consequential decisions (e.g., publication, admission, appointments) are really made irregularities seem to proliferate. (That is compatible with the vast majority of decisions being defensible on intrinsic and/or procedural grounds.)

Moreover, in each controversy, a very senior figure will gravely and shamelessly intone that other scholars are afraid to speak up because they fear for their careers. It somehow never registers that the structural, cultural, intellectual, and economic conditions that generate such -- let's stipulate -- real fear (sometimes even co-produced by said senior figure) also existed in some shape or another in the lost golden age they cherish, but that then they were on the right side of history in which the people in their network could count on obliging editors, referees, and appointment committees (just ask continental philosophers, or anyone working in other margins of the field).

In our collective behavior we reveal that professional philosophy is, in part, a (modest-in-the-long-term-scheme-of-things) spoils system because during each controversy we go through the same charade sincerely felt debates and sophisticated and laughable arguments (including by world class experts on argument, the working of evidence, inductive risk, deliberative democracy, and ethics, etc.), but we never really risk changing the system and incentives -- our role in a wider political economy of credentialing and knowledge production -- that produce these kinds of controversies (and the many less noticed irregularities that they hint at) so frequently.

The predictability, frequency, and manner of these controversies makes me suspect that such controversies serve a social function. It would be nice if they represented the birth-pangs of a new, healthier intellectual age. But I doubt they are truth-functional because they are characterized by what Mill called ‘vituperative’' speech; I used to think the function was still epistemic: to signal a shift in norm, practice, or attitudes. I increasingly suspect they recur because they drive people without a taste for cruelty and combat away from the discipline (and thereby reduce competition over jobs and prestige, and rid ourselves of sources of dissent) and help entrench the same type of enduring professional hierarchy, even if the tokens at the top move around a bit.

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The story starts with a stolen Maupertuis (II)

Last week (recall) I returned a stolen Maupertuis to The Institution of Civil Engineers (hereafter: ICE) Library in London. During my visit, while I was admiring a beautiful copy of the third Edition of Newton's Principia, the librarian, Debra Francis, called my attention to a four page manuscript wedged in the first few pages. The manuscript was in English and seemed to be written by somebody familiar with the mathematics of the Principia. It looked 18th century to me. So, while still in the library I sent pictures of it to Niccolo Guicciardini and then, separately in a joint email, to Scott Mandelbrote, George Smith, and Chris Smeenk. 

As I noted, the copy of the Principia is part of the Telford collection that originates the library and was donated by a MR. Young in 1840 (as a plaque inside the book reveals). You may recall that in my original post, I remarked "I immediately tried to remember Thomas Young's dates." Of course, I quickly googled these (1773 – 1829), and left it aside. 

Most of my own original thoughts were about the author and contents of the manuscript, especially because I could tell Niccolo was excited to receive it. More about that soon.

After a visit to the vault (which did not contain the paperwork we were looking for), I left the library with a promise from Debra Francis to track down the provenance of 'Mr. Young's Principia.' Today she reported back to me. Well, hold on to your seats, because it's a banger:

This is from the Minutes of Proceedings of the Institution of Civil Engineers, Volume 1, p. 11 (see here).

Thus, it seems pretty clear that this is referring to the Thomas Young, who indeed had a brother (and nephew) called Robert Young who seems to have survived him (and seems to have died around 1850). So, the plot thickens. And in my next installment we'll return to the manuscript, its author, its contents, and, of course, how it ended up in Thomas Young's personal copy of the Principia. For Niccolo had a hunch about that, that's turning out to be very fruitful...to be continued.

The story starts with a stolen Maupertuis

Actually, the story starts with me buying a copy of Maupertuis' (1738) La figure de la terre at auction online. I am a modest rare book collector; my principle of collecting is 'works that intersect with my scholarly research in neat ways' (all other things being equal, which is not always -- <think of prices> -- the case). So that means that unlike many collectors, I am not always after the first edition of a work and do not mind copies that show sign of some scholarly use (which also means I can afford them more easily). 

Now, my first scholarly projects starting with George Smith were on the Huygens-Newton debate over universal gravity and the shape of the Earth, and the measurements that settled it. Maupertuis' measurements in Lapland -- the title page of the 1738 work prefers 'polar circle' -- were part of the evidence that helped resolve the debate. While others (Maglo, Terrall, Shank, etc.) would publish with more detail on La Figure, I used this work by Maupertuis to make some modest, albeit distinctive claims about the philosophical particulars of Adam Smith's History of Astronomy. 

The pictures of the lot suggested a very clean copy, but one with a modern binding. Much to my surprise the bidding for it remained relatively calm even in the final minutes. And so for under 500€ (generally the most I am willing spend on a rare book) I was the proud owner of a work that is a joy to read, has an interesting story, and that shows up in non-trivial places in my own scholarship. I was elated! The seller sent it off with tracking, and the book arrived after a few days. I had last held a physical copy in my hand over twenty years ago in Chicago (presumably at the Newberry library, but I just noticed there is also a copy in Regenstein so maybe there).  

After opening the package, I opened the book and I had my first modest disappointment. The neat map I remembered at the front of the book was not there. My spirits started to deflate, but after looking through the book I found it at the back. (See here for a picture of the map at Gallica.) Interestingly enough, the copy of the English translation in the British Library, which seems to be one used by Google to scan it also has the map in front, whereas the French version has it in back (but the reproduction is badly done)! So, I wondered if I had misremembered and had only looked at the English translation. More on this below.

However, when I started to look through the book more slowly I had a true shock. There was an impressive library stamp on the page facing the frontispiece with "The Institution of Civil Engineers" and an address at "25 Great George Street, Westminster" in London. (See the picture below this post.) Now, I have bought books at auction before that had impressive library stamps in them. I always do due diligence before I bid and check out the provenance. Usually I find that the book had belonged to a seminary or school library that had closed or merged. Most sellers show a library stamp in the pictures that the seller usually supplies in auction. How could I have missed this?

I went online to check the lot I had bought and to my shock there was no picture of the stamp! I then went online to look for the Institution of Civil Engineers library, and found an impressive website, which suggested the library was flourishing although it had moved a few doors down. I checked the catalogue and it showed a copy of the book I was holding in my hand. At that moment, I realized I had almost certainly a stolen book in my hands (although part of me hoped they had sold off a duplicate).

I knew I had to move quickly, so I immediately wrote the auction house with my suspicion (so that they would keep my payment in escrow). (It was Friday afternoon after hours for the auction house so I knew I would not hear back before Monday at the earliest.) I then contacted the seller/dealer through the auction house message system in France; he responded quickly but in a dismissive fashion. (I return to that below.)

I decided to call the ICE library. The person who picked up the phone was a librarian, Debra Francis. I quickly explained the situation. It turns out the ICE library is supposed to have two French copies of La Figure (one part of a special collection). While we were talking she established one of these copies was missing. I was not surprised, I was holding it! At this point I knew the book had to be returned, but I was not wholly eager to take the loss. So, I gave her my yahoo email address, but little else info about me.

However, it was time to be more assertive with the seller. In our online interactions he revealed that he had bought the book a few months ago at another (reputable) auction house, and that these would have been cautious about provenance. (I was stunned how little he paid!) I decided to call the specialist listed on their website. I explained the situation to him, and after some back and forth he explained that the book was bought through an intermediary as part of a much larger estate of a deceased book-dealer. So, now I knew that my seller was not himself the thief or an accomplice in selling on stolen goods, and that the book was probably missing at least since 2020 or so. (My seller had merely looked the other way downstream.) The member of staff of this auction house told me they were insured against this kind of thing. So, I decided that my seller could probably get his money back there.

By monday, after some further communication between us, my seller agreed not to accept my money if I returned the book to the library in London. And much to my relief my auction house agreed to this approach provided I would supply them with pictures of the stamp and of the book, as well as a letter of the ICE library and me handing it back. I contacted my new librarian friend at ICE, Debra Francis, and she was eager to facilitate this.  

So, this morning I went to the lCE library right next to Parliament. I was stunned by how beautiful it was. And I was welcomed by Debra, who decided to give me a grand treat. First I was given a tour of the library and told its history. I was shown some of the special collections. And then we did the hand-over. But as we did the hand-over she showed me the copy of the 1738 La Figure from their special collection. It was much less pristine copy of the book than 'mine' that I was returning. But as we opened it, it did have the map on the facing page of the frontispiece just as I had remembered! 

For some reason this cheered me up greatly. In part, because it created a new puzzle why did some copies have the map in front and others in the back? (And more interestingly, which one was the original and which on the possible bootleg?) I have done a modest survey online today some seem to lack the map altogether, but other library copies do have the map and there is no clear pattern whether it's in front or in the back of the book.

Now, while Debra Francis was correcting some infelicities in the letter she had made out to my auction house, I had a chance to inspect the box with the original holdings of the library donated by (if I am not mistaken) Thomas Telford. Most of the books were clearly engineering specific. But my heart started to flutter when behind the glass I saw a copy of the Opticks. Judging by its tattered spine an original fourth edition. When my librarian friend returned we opened the case and it turned to be a fragile copy of the third edition.:)  [See picture below.] She had a quick peek in the catalog and informed me there should be more Newton holdings in the case. I scanned the list, and then looked more closely in the case, and immediately spotted a posthumous edition of Newton's work on fluxions. At this point, I had forgotten my misery over the Maupertuis and switched into scholar, teacher, and collector mode and started to pontificate on the significance of these holdings. Then I stopped mid-sentence, I had spotted the Principia!

When she took it out it was a pristine copy of the third edition donated by a Mr. Young in 1840. I immediately tried to remember Thomas Young's dates. I don't think I have ever held a third edition the Principia (the last one published during his life). Despite my excitement I was a bit sad there were no marginalia. However, as I was ruminating over this Debra Francis called me attention to a four page manuscript wedged in the front pages of the book. I have reproduced the first page below. (It's in English and fairly easy to follow.) I immediately took pictures of the whole manuscript and sent them to the great Niccolo Guicciardini to see if he could identify the author.

At this point my host invited me down to the basement where the members registry is held to see if we could identify which Young had donated the copy of the third edition of the Principia. (It turns out the relevant copy of the registry is in storage.)  As it happens the basement office is next to the vault, and I could not resist an offer of a tour of it (including learning the escape route on the other side of the vault). For, it turns out that the library has a special collection which houses just about every important book published in the 17th century on clocks and finding longitude.  So, for the next half hour I geeked out and excitedly explained the significance of each book I recognized to my patient host. And I was also struck by the presence of some works wholly obscure even to a specialist. By the time I left, I forgot to send the materials to the auction house because I was thinking of new research projects. 

 

 

RIP: Rob Brouwer 1938-2022

In a few weeks, Neglected Classics of Philosophy 2 (OUP, 2022) will appear. As you can see at books.google, it's dedicated to "Anneke Luger-Veenstra, Jan Stronk, and Rob Brower, my learned high school teachers, who encouraged a love of the classics." Two days ago my high school classmate, Jorine Lamsma, called my attention to an announcement in the newspaper that Rob had died June 1, 2022. The memorial service and funeral are today.

Rob was my high school Latin teacher for four years at Amsterdam's Vossius Gymnasium. My class (1c, 2c, 3c) was known to be 'trouble' and quite a few teachers fought trench warfare with us, as we found ever more creative ways to prank and be disruptive. But not in Rob's classroom. We called him "Mijnheer Brouwer," of course. He was not on first name basis with his charges.

Rob commanded our instant respect not because he was strict (which he was) and unperturbable (which he was), but because he somehow managed to convey that he instantiated the promise of bildung (without having to say so); he wasn't aiming to reach some learning target decomposed in weekly grammar, vocabulary, and syntax acquired. But rather he always made clear that whatever task of memorization and repetition we were assigned was in the service of our introduction to the classics and, without veneration, their wider cultural significance. As another classmate, Max Rosenberg, put it, each class was part of a much broader whole. And as the years passed, I slowly grasped -- hence my use of 'bildung'  --, these classics in turn would be good friends accompanying me in a life-time of imperfect self-cultivation.

Once, I was fourteen or so, a classmate pushed his button, and the unfathomable happened: the boy (no, not me) got sent out of class, with the archaic, 'gaat heen' and Rob, visibly steadying himself, pointing a finger at the door. For years we could get a good laugh trying to mimic that 'gaat heen,' but we had to acknowledge simultaneously that we were in awe of him. 

Not just because of his formal language and dress, Rob seemed like a character from a different age -- his classroom had the surprisingly bittersweet smell of his pipe --, he was the subject of myths: his son had died tragically (which turned out to be true), he suffered from Leukemia (which turned out to be true), he had studied to be a Jesuit (possible), and he was dating the German teacher, Erika Langbroek (which also turned out to be true). 

I had a very checkered high school career; I should have flunked out at the end of my third and fourth years (ninth and tenth grade). Mevrouw Luger played a big role in bending the rules my way each year. But I always passed my Latin, and to this day, I recognize that I have built a scholarly career on the years Rob put into me. (And I often regretted he was not my Greek teacher.) 

I forget if it was my junior or senior year, but I got wind that Rob was doing a reading group in philosophy with some interested class-mates at his home not far from the school in an apartment on the Beethovenstraat. (At this point he wasn't my teacher anymore, but it was before he moved into a different apartment with Erika also on the Beethovenstraat.) I invited myself along for the wine and the mystique. They were reading Die Kritik der reinen Vernunft (in German). I would like to say it got me excited about philosophy, but I suspect the main effect of the reading group was to make me excessively and irresponsibly fearless in the face of any text. 

Some time after college, I got back in touch with Rob. I suspect in order to brag to him that I had been taking philosophy classes with Dan Dennett (he was underwhelmed) and Martha Nussbaum. Rob, it turned out, was a real fan-boy of Nussbaum who, in graduate school, was one of my supervisors of my qualifying paper on the puppet image in Plato's Laws. Alongside E.B. England's commentary, Rob's wisdom became instrumental in helping me figure out the nuances of Plato's Greek and thought.

But perhaps I had simply bumped into him with Erika at the kleine zaal at Concertgebouw. Even long after he was struck by an increasingly visible Parkinson, he was a transfixed presence in the little balcony. I didn't share his love for nineteenth century Lieder, but we often discovered that we (or, in my case, my mum) had acquired season tickets for the same chamber music series.

We started to see other more frequently during my Summer visits back home while I was in graduate school. I am also unsure of the exact sequence of events that led to our first reading group with Martin Claes, then a Jesuit getting a PhD (now a pastor and a scholar), on Augustine's De Magistro. I  never asked Rob if he identified with Augustine's loss of his son. He never spoke of him to me, but he often expressed pride in his daughter (a lawyer). It was the start of numerous partially overlapping, reading groups with Rob in varying combinations with people from his life -- often people who adored Dante or choir (or both) -- or my own circle of Dutch academics and friends. 

Meanwhile, we started corresponding and as I look through our letters, I see that he never stopped trying to broaden my horizon. His letters reflect his curiosity, even an excessive strain of enthusiasm; he offered a never ending stream of suggested novels or works of scholarship. While in his own work, he had an exacting low tolerance for minute error, in his reading habits he was primarily searching for bold and expansive interpretations. As I advanced in academia he relished keeping me informed of scholarly fashion that had somehow captured the imaginations of the culture and book sections even editorial pages of the Dutch broadsides.

In addition to being a teacher, Rob was a scholar, translator, and poet. His translations of Dante's Divine Comedy, Statius' The Thebaid, Lucan's Bellum Civile, Virgil's Bucolica/The Eclogues combine vast erudition with linguistic and poetic sensitivity. He also translated Epictetus. He would probably be very amused to hear me claim modest credit for triggering his renewed interest into Lucan just as he was completing his stupendous Dante translation. But it's true: while teaching the Treatise in my first seminar at Wesleyan in 2002, I was confused by the way the motto of book 3 of Hume's Treatise had been translated in the then new 'student edition' published by OUP. (The motto is from Lucan.) We started a correspondence about it, and I date to it the start of my interest into Seneca.

When I heard Rob had died, I looked at our correspondence to see when we last had written. I noticed to my horror he had never acknowledged my word that I had dedicated the forthcoming Neglected Classics volume to him. I had not registered this silence at all during the depths of my own illness.

Before I close, I don't want to suggest Rob was an ethereal personality only. He was happy whenever he could talk about Erika or Sabine. And our reading groups were carefully planned around not just his choir practices, but also his cycling holidays.

I also don't mean to suggest he was above name-dropping. Once he asked me slyly if I knew who Henny Vrienten was. They had met swimming their laps in de Zuiderbad. Later Vrienten became involved in the recording of Rob's Dante.

Near the end of De Magistro, Augustine suggests that when we praise a teacher, we're really praising ourselves and this never seems to me more true than in the Academy during the many, lovely ritual practices of acknowledging the roles of supervisors in one's education. Self-praise does not strike me as a sin, but I have to admit that all of these academic practices (fests, collections, memorial conferences, etc.) seem, however sincerely felt and expressed, a bit tainted by the multiplicity of self-advancing roles they play in our prestige hierarchies and zero-sum political economy. (Perhaps this also accounts for the sincerity.)

We encounter our high school teachers through their words, their curriculum, their classroom, and features of their personality as well as the school yards myths about them. The older, and more experienced I get in the classroom, the more it seems to me they -- I mean all true teachers -- use a feature of their personality, perhaps made excessively visible to the student, to find a way to connect with the longings and desires, perhaps vanity even (as Adam Smith claims), of their students, and turn this connection, however tenuous, into the engines of shared enquiry. This also means that not every teacher is the right fit for each student.

The reason why when we praise a teacher, we're really praising ourselves according to the closing lines of De Magistro is that teachers are kind of puppets or actors speaking thoughts of others and that it's the student's reason or intuition that is doing the real work of understanding even if the words of the official teacher trigger or guide such understanding. The Platonic idea with which De Magistro closes, that nobody teaches another anything, has, thus, generated learned philosophical commentary that betrays non-trivial professional anxiety.

Augustine does make an exception to this quite general claim at the start of De Magistro, which I doubt is retracted during the dialogue. He suggests that when we ask questions we're really teaching something about our needs or our plans. The latter includes, of course, the path of inquiry, as Augustine explicitly notes. Rob was magisterial in asking questions that directed our gaze to the inner, guiding light that we need on life's path.

 

 

The Dispossessed (Spoilers), Pt 3.: Utopia without Satire (on Le Guin and Borges)

Bedap’s eyes had got very small, like steel beads. “Brother,” he said, “you are self-righteous. You always were. Look outside your own damned pure conscience for once! I come to you and whisper because I know I can trust you, damn you! Who else can I talk to? Do I want to end up like Tirin?”

“Like Tirin?” Shevek was startled into raising his voice. Bedap hushed him with a gesture towards the wall. “What’s wrong with Tirin? Where is he?”

“In the Asylum on Segvina Island.”

“In the Asylum?”

Bedap hunched his knees up to his chin and wrapped his arms around them, as he sat sideways on the chair. He spoke quietly now, with reluctance.

“Tirin wrote a play and put it on, the year after you left. It was funny—crazy—you know his kind of thing.” Bedap ran a hand through his rough, sandy hair, loosening it from its queue. “It could seem anti-Odonian, if you were stupid. A lot of people are stupid. There was a fuss. He got reprimanded. Public reprimand. I never saw one before. Everybody comes to your syndicate meeting and tells you off. It used to be how they cut a bossy gang foreman or manager down to size. Now they only use it to tell an individual to stop thinking for himself. It was bad. Tirin couldn’t take it. I think it really drove him a bit out of his mind. He felt everybody was against him, after that. He started talking too much—bitter talk. Not irrational, but always critical, always bitter. And he’d talk to anybody that way. Well, he finished at the Institute, qualified as a math instructor, and asked for a posting. He got one. To a road repair crew in Southsetting. He protested it as an error, but the Divlab computers repeated it. So he went.”

“Tir never worked outdoors the whole time I knew him,” Shevek interrupted. “Since he was ten. He always wangled desk jobs. Divlab was being fair.”

Bedap paid no attention. “I don’t really know what happened down there. He wrote to me several times, and each time he’d been reposted. Always to physical labor, in little outpost communities. He wrote that he was quitting his posting and coming back to Northsetting to see me. He didn’t come. He stopped writing. I traced him through the Abbenay Labor Files, finally. They sent me a copy of his card, and the last entry was just, ‘Therapy. Segvina Island.’ Therapy! Did Tirin murder somebody? Did he rape somebody? What do you get sent to the Asylum for, beside that?”

“You don’t get sent to the Asylum at all. You request posting to it.”

“Don’t feed me that crap,” Bedap said with sudden rage. “He never asked to be sent there! They drove him crazy and then sent him there. It’s Tirin I’m talking about, Tirin, do you remember him?”

“I knew him before you did. What do you think the Asylum is—a prison? It’s a refuge. If there are murderers and chronic work-quitters there, it’s because they asked to go there, where they’re not under pressure, and safe from retribution. But who are these people you keep talking about—‘they’? ‘They’ drove him crazy, and so on. Are you trying to say that the whole social system is evil, that in fact ‘they,’ Tirin’s persecutors, your enemies, ‘they,’ are us—the social organism?”

“If you can dismiss Tirin from your conscience as a work-quitter, I don’t think I have anything else to say to you,” Bedap replied, sitting hunched up on the chair. There was such plain and simple grief in his voice that Shevek’s righteous wrath was stopped short.--Ursula Le Guin (1974) The Dispossessed, Chapter 6, pp. 141-143 (in the British edition). 

This post is the third in an open-ended series on Le Guin's The Dispossessed (see here for pt 1; here for pt 2.). Annares is an anarchist society without public laws, property, nor guilt. Relatively minor violations of local norms and practices are generally sanctioned by social criticism and ostracism. The exchange between Bedap and Shevek, the initially foolish hero of the story, reveals that some major violations of norms are medicalized; one is viewed as psychologically diseased if one murders, rapes, or systematically refuses to contribute work to society (a society -- it should be noted, in fairness -- that teeters on the edge of subsistence and otherwise is quite generous). Presumably the Asylum aims at rehabilitation. (In chapter 10, we hear the Asylum understands itself as a "refuge.") Bedap's suggestion is that those who show too much independence of  thought are also nudged to the Asylum.

What makes Tirin's situation so interesting is that his free-thinking is expressed in terms of a satire. And it becomes clear through the narrative that Annares is unfamiliar with such comedy. In this respect Annares, a community devoted to sympathetic mutual aid, is not unalike to how Socrates legislates Kallipolis and, perhaps more pertinent, how J.L. Borges imagines (recall) Ibn Rushd's Muslim Spain (which also lacks satirical comedy). That Le Guin was very familiar with Borges' thought, and took it rather seriously, is suggested by her (1988) introduction to Borges' co-edited volume The Book of Fantasy, which focuses exclusively on Borges (without paying much attention to the two other editors) and the "honours" she thinks he is due, and scattered remarks in her non-fiction writing. Among the noteworthy claims of that introduction is that she treats fantasy and science fiction as a joint genre, each (to convey her thought rather reductively) devoted to making visible the moral questions of our age.

The arts are key to social life to the relatively isolated communities of Annares. And, in particular, the theatre is very important, "the Art." (Chapter 6; p. 131) But the syndics who put up art-works also have rather restrictive interpretations of what art should be shown. So, comedies do exist on Annares, but are not as central: ‘They performed tragedies, semi-improvised comedies, mimes. … Rising out of and embodying the isolation and communality of the Anarresti spirit, the drama had attained extraordinary power and brilliance.’ (p. 131) So, satire is unknown.

My students and I had some initial difficulty in understanding why Tirin's play created such trouble for him in Annares. It looks rather innocent. Here is a brief, post-facto summary by an eye-witness (in chapter 10):

“Did you see the play he put on, the one that made trouble for him?”

“At the Summer Festival, after you left? Oh yes. I don’t remember it, that’s so long ago now. It was silly. Witty—Tirin was witty. But silly. It was about an Urrasti, that’s right. This Urrasti hides himself in a hydroponics tank on the Moon freighter, and breathes through a straw, and eats the plant roots. I told you it was silly! And so he gets himself smuggled onto Anarres. And then he runs around trying to buy things at depots, and trying to sell things to people, and saving gold nuggets till he’s holding so many he can’t move. So he has to sit where he is, and he builds a palace, and calls himself the Owner of Anarres. And there was an awfully funny scene where he and this woman want to copulate, and she’s just wide open and ready, but he can’t do it until he’s given her his gold nuggets first, to pay her. And she didn’t want them. That was funny, with her flopping down and waving her legs, and him launching himself onto her, and then he’d leap up like he’d been bitten, saying, ‘I must not! It is not moral! It is not good business!’ Poor Tirin! He was so funny, and so alive.”

“He played the Urrasti?”

“Yes. He was marvelous.--chapter 10, p. 269

At first sight, Tirin is merely making fun of the money-obsessed Urrasti, drawing on the shared prejudices or ideology of the anarchists of Annares. These views are taught on Annares from a young age. In addition, Urrasti are not allowed to visit Annares. (Annares and Urras are each other's moons.) This is, in fact, part of the founding "Settlement" that governs the isolationist anarchist society (which is developed out of the refugees of the members of a failed revolution on Urrasti). They keep outside influences and people, which are seen as dangerously corrupting, out of Annares. This is achieved by limiting planetary entry to a few commodities that are exchanges with mining commodities that are useful to the much wealthier Urrasti societies. 

So, Tirin's play is a fantasy about the troubles an Urrasti might find in adjusting to life on or trying to subvert life on Annares. And since the Urrasti is not presented in attractive fashion and is, in fact, held up to ridicule, it is at first odd that Tirin is sanctioned so badly for staging the play (and his life haunted by it), and that Shevek eventually decides he has to publish it independently despite social disapproval. 

Now, eventually, we are informed that Shevek learns to understand Tirin as an "inventor-destroyer, the kind who's got turn everything upside down and inside out. A satirist, a man who praises through rage." (Chapter 10, p. 270.) This goes very much against the purpose of drama on Annares, which really frowns on (i) individuality in all the arts and tends to praise works that (ii) promote (without being shallow) uplifting harmony. (This is also seen in the treatment of choral music on Annares.) 

So, let's take stock: in virtue of (i) and (ii) and (iii) representing immorality in satirical fashion Tirin's play is called "immoral" by some (270). Even in the narrative of The Dispossessed, it is recognized that calling an author immoral in virtue of (i-iii) is not an especially sophisticated response to the play.  But despite the Urrasti being the but of the joke, there is an important feature of the play that is highly critical of Annares. While the satire seems to be primarily directed against the traditional capitalist or properterian enemy it also expresses a criticism of the isolation of Annares. As Shevek puts it, this satire also teaches, "what prisons are, and who builds them. Those who build walls are their own prisoners." Annaeres is simultaneously a great social project, and a prison.

Now, for us as readers with only partial and second hand access to the play, it's not entirely clear how this interpretation follows from what we have been shown. But it is not entirely unclear either: the local Annares women does not get satisfaction, and the interaction between the man and women is governed by mutual misunderstanding. And all of this is due to the fact that the Settlement has built a theoretical and empirical wall around Annares. To keep capitalism out, the locals also deliberately keep themselves uninformed and to avoid nearly all mutual exchange.* The outside world is a source of contamination--and needs to be quarantined out. (This point is actually made on the very first page of the book.) 

And taken like this, Tirin's satire is not misunderstood at all by those who criticized and socially ostracized him. And while they may seem initially outlandishly vindictive and dangerously totalitarian to us, Tirin's audience accurately perceives that his ridiculous satire is taking aim at the foundational commitments of their society of mutual aid.+ (Notice that in the play, the Annares basically leave the Urrasti to his own devices.)

To close: one of the main questions that The Dispossessed makes us ask -- this is played out in a number of set-piece debates in chapter 12  -- is whether a society founded on the noble ideals of mutual aid and solidarity, can tolerate individual, intellectual commerce with the rest of the world (especially if that commerce is not governed by social utility) without risking its own survival by it. The question is, of course, not limited to such admirable societies. Le Guin's book offers no platitudes of reassurance or an answer to the question; each of us have to think it for ourselves with our communities.**

 

On Pynchon on 1984

By the time they have left the Ministry of Love, Winston and Julia have entered permanently the condition of doublethink, the anterooms of annihilation, no longer in love but able to hate and love Big Brother at the same time. It is as dark an ending as can be imagined. But strangely, it is not quite the end. We turn the page to find appended what seems to be some kind of critical essay, "The Principles of Newspeak". We remember that at the beginning, we were given the option, by way of a footnote, to turn to the back of the book and read it. Some readers do this, and some don't - we might see it nowadays as an early example of hypertext. Back in 1948, this final section apparently bothered the American Book-of-the-Month Club enough for them to demand that it be cut, along with the chapters quoted from Emmanuel Goldstein's book, as a condition of acceptance by the club. Though he stood to lose at least £40,000 in American sales, Orwell refused to make the changes, telling his agent, "A book is built up as a balanced structure and one cannot simply remove large chunks here and there unless one is ready to recast the whole thing . . . I really cannot allow my work to be mucked about beyond a
certain point, and I doubt whether it even pays in the long run." Three weeks later the BOMC relented, but the question remains, why end a novel as passionate, violent and dark as this one with what appears to be a scholarly appendix?
The answer may lie in simple grammar. From its first sentence, "The Principles of Newspeak" is written consistently in the past tense, as if to suggest some later piece of history, post- 1984 , in which Newspeak has become literally a thing of the past - as if in some way the anonymous author of this piece is by now free to discuss, critically and objectively, the political system of which Newspeak was, in its time, the essence. Moreover, it is our own pre-Newspeak English language that is being used to write the essay. Newspeak was supposed to have become general by 2050, and yet it appears that it did not last that long, let alone triumph, that the ancient humanistic ways of thinking inherent in standard English have persisted, survived, and ultimately prevailed, and that perhaps the social and moral order it speaks for has even, somehow, been restored.--Thomas Pynchon (2003) "Introduction" Nineteen Eighty-Four By George Orwell [HT: Victor Gijsbers]

We know that Pynchon is not the only major novelist that grappled with Orwell's Appendix to Nineteen Eighty-Four; at the end The Handmaid's Tale, Atwood, who according to her own testimony about 1984, "read it again and again," pays homage to it in the "Historical Notes" themselves "Being a partial transcript of the proceedings of the Twelfth Symposium on Gileadean Studies, held as part of the International Historical Association Convention held at the University of Denay, Nunavit, on June 25, 2195." In presenting these historical notes, Atwood, reassures the reader, who may have no taste for (recall) Socratic metaphysics --  "for everything that has come into being destruction is appointed, not even such a fabric as this will abide for all time, but it shall surely be dissolved" (Plato, Republic, 546a)" -- that the "Gilead period," too, will come to an end in some sense. 

Pynchon, who is not exactly known for his optimism, is right to pay attention to the Appendix to 1984, but I am not entirely sure that his hesitant ("perhaps") optimism about what the Appendix signals can withstand scrutiny. His interpretation assumes, first, that the (let's call it) authorial stance of the Appendix has to be taken at face value. That's decidedly odd because 1984 represents us with a world in which just about every text is a forgery of some sorts. (While it would be a mistake to treat them alike, Orwell and Borges were contemporaries, after all.) In fact, much of the action of 1984 consists in the production of forgeries (not just of texts of memories). The production of newspapers by the Ministry of Truth and the torture chambers of Ministry of love have this in common. So, why would the Appendix be any different?

As an aside, the apparent function of the forgeries in Oceania appear to be to produce a totalizing infallibility about everything, not the least the past, of the Party. (No Pope would dream of this!) And what it illustrates is that even if one were to grant (for the sake of amusement) the linguistic idealist, that all is text, what one may call the production values that inform or are exhibited by the production of texts make a huge difference. Linguistic idealism comes in many varieties. If one treats this focus on 'values' as bourgeois, feel free to replace 'production values' with 'means of production' in the previous sentence. In so far as Orwell is a true socialist (and an author), this attention to the conditions of textual production need not surprise. 

But let's stipulate that we need to take the Appendix at face value. You may say, 'What else can we do, after all?' It's true, as Pynchon emphasizes, that the Appendix treats Newspeak as a thing of the past. Given that Pynchon explicitly understands Newspeak as the essence of Oceania, and in his argument tacitly relies on the metaphysical principle, I'll paraphrase Spinoza (E2D2), that when its essence is taken away the entity ceases to be, Pynchon infers from the demise of Newspeak quite reasonably that Oceania must have ended.

Before I get to the merits of Pynchon's argument, a reader may suspect that I will object to Pynchon's metaphysics as an imposition on the world of 1984. Of course, I am assuming you are not the kind of reader who may find my parading of metaphysical jargon quite pedantic. Even so it's worth noting that the core torture scenes in Part III of 1984, emphasize that metaphysics is salient. The torturer, O'Brien, repeatedly, in fact, reminds his victim, Winston Smith, that metaphysics is not his "strong point." So I am not going to object to the form of Pynchon's argument.*

Newspeak is what the philosophers call a final language. In the text -- I have in mind both 1984 and its Appendix -- this is marked by the contrast between the provisional versions (as, I now quote the Appendix, "embodied in the Ninth and Tenth editions of the Newspeak Dictionary") -- and its definitive form "embodied in the Eleventh Edition of the Dictionary."  As we learn from the Appendix and, earlier in the novel, from Syme, who, before he is presumably vaporized, is one of the developers of Newspeak, Newspeak is supposed to be an austere language: its vocabulary culled down, and, through some semantic tools the expressive power of particular words is greatly enhanced, the language's expressive power is curtailed. It's a final language designed to be spoken and used by the Party.**

Now, Syme indeed suggests that the "Revolution will be complete when the language is perfect. Newspeak is Ingsoc and Ingsoc is Newspeak." The narrator of 1984 adds that this is expressed with "a sort of mystical satisfaction." And indeed this idea, the perfection of language, is characteristic of what we may call Enlightenment mysticism (and satirized by Swift). Pynchon's interpretation of 1984 is rooted in Syme's understanding of Newspeak.

The Appendix, which follows Syme's interpretation of Newspeak sometimes literally, omits this mystical claim. I'll quote the Appendix (and then suggest an alternative to Pynchon's interpretation):

The purpose of Newspeak was not only to provide a medium of expression for the world-view and mental habits proper to the devotees of Ingsoc, but to make all other modes of thought impossible. It was intended that when Newspeak had been adopted once and for all and Oldspeak forgotten, a heretical thought--that is, a thought diverging from the principles of Ingsoc--should be literally unthinkable, at least so far as thought is dependent on words. Its vocabulary was so constructed as to give exact and often very subtle expression to every meaning that a Party member could properly wish to express, while excluding all other meanings and also the possibility of arriving at them by indirect methods. This was done partly by the invention of new words, but chiefly by eliminating undesirable words and by stripping such words as remained of unorthodox meanings, and so far as possible of all secondary meanings whatever.

Unlike Syme, the Appendix places greatest emphasis on the fact that the purpose of Newspeak was to make what in 1984 is called 'Thoughtcrime' impossible. Even a Quine-ean couldn't be heretical through indirect methods in Newspeak. We might say, then, that it is regimentation that is the fundamental function of Newspeak as a final language.

Interestingly enough, this is an aside, the author of the Appendix recognizes that once Newspeak is perfected, it would make translation of books and even complex fragments from older languages into Newspeak in a certain way impossible unless they either referred "to some technical processor some very simple everyday actions." (The Appendix offers the Declaration of Independence as an example of how "impossible" would be to render it into Newspeak.) One wishes (recall) our advocates of formal languages would keep this in mind.

Be that as it may, a more natural interpretation of the demise of Newspeak presents itself now.  For, from the point of view of the Party, the elimination of even possible Thoughtcrime would be self-defeating. For Thoughtcrime grounds the repressive apparatus of the Party. The possibility of Thoughtcrimes are -- as much as the conditions of permanent War -- central to the structure of self-discipline of the Party. The elimination of Thoughtcrime as a category would spell doom to the survival of the Party because it would lose its main means of self-control as a ruling, corporate spirit. It would then have to start codifying laws of some sort and bureaucratize, formalize these. This was not a problem in the world of 1984 because the perfection of Newspeak had been projected, as the Appendix notes in its closing sentence, into a more distant future (2050).

So, a more natural political possibility is that the Party abandoned the project of Newspeak because it saw that its perfection would be self-undermining and incompatible with the ideological needs of Ingsoc in power.*** (By contrast, a socialist language planner like Carnap recognizes that Esperanto, for example, is great for a world of public Enlightenment.) And the Appendix reflects the writings of someone who is intimately familiar with the abandonment of Newspeak (not the demise of Oceania).  Admittedly, there are some passages in the Appendix that exhibit a rather free-thinking attitude: the use of the Declaration of Independence as an example, in particular, is rather cheeky. And it forms the best evidence for Pynchon's interpretation. But the more literal reading of the Appendix understands it as a fragment from a reconstruction of the rise and fall of Newspeak as a social enterprise. That is compatible with the survival of Oceania once the Party realized that the mystical attitude toward Newspeak threatened to make it the essence of Oceania.+

 

 

On Comfort Reading, James Herriot, and Love on the Rocks

Once a upon a time, my wife was having a very crappy day. As it happens the Headcorn railway station in Kent, where she was waiting to catch a train, has a bookcase for books discarded by the public that they use as a charity fundraiser. Her eye fell on the James Herriot paperback pictured below.

Once, we stayed in a delightful bed and breakfast in North Yorkshire, in order to hike in the area. It was a memorable trip because it was my first experience with hiking in England; while it was already late March, the Dales and Moors were covered with snow and had a mesmerizing beauty in their barrenness. When we drove into the village, she pointed to a house and said 'that's James Herriot's house!' Only after she started filling me in, once we were snugly settled in the BnB (which had an astounding breakfast pudding with rhubarb compote), I had vague sense of remembering a TV series, popular forty years ago, which, when it aired in Holland, was called, conveniently, James Herriot.  She had devoured the books as an adolescent. 

When she was telling me the story about the encounter with the James Herriot paperback, I was reminded, once again, that there is, analogous to comfort food, a kind of comfort book. Some books we can safely return to in times of pain. And, oddly enough, despite the fact we know the plot and characters, the sense of escape and adventure may be no less thrilling. In fact, in virtue of our familiarity with these, there is a kind of safety we also feel with old friends.   

While I was pretending to be listening and reflecting on the nature of comfort books, my wife showed me a little rock pictured below. I inferred from the fragment of the last sentence of hers I processed, she found the rock under the James Herriot in the the case. I was now full attention. She said, 'and so I was given a heart.'  (See the two pictures below.)

It turns out there is a facebook group Love on the rocks uk (Painting Rocks ~ Making Smiles). It's mission is this: "Paint a rock, write Facebook love on the rocks uk on the back, take a picture and let us know where your hiding it and then make a stranger smile when they find it! It's free it's easy it's fun! Spread the love." As I write this, it has 96,962 members. While looking for a photo of the rock my wife found, I learned that many of the rock-paintings are delightful, even gorgeous. 

Anyway, the sappy moral of today's digression is that sometimes the kindness of invisible strangers really is heartwarming. Thank you.

On Books and Strangers in Libraries and the Tube

Yesterday, in the tube, I was reading Hermann Hesse's The Glass Bead Game (Das Glasperlenspiel). It's a long book, and despite a teenage infatuation with Narziß und Goldmund, I have been ambivalent about reading any more Hesse. (I intensely disliked Siddhartha, which I read in college, and Der Steppenwolf, which I could not finish.) Despite my misgivings about Hesse, I had bought it in paperback last year because of a suggestive footnote in Hugo Drochon's  recent (and excellent), Nietzsche's Great Politics (see here).

I enjoy letting me reading habits be shaped by the quiet recommendations of fellow scholars. While I was contemplating the silent web of allusions that connect the formation of my library, I realized that I had stopped reading and was starting at the angelic infant quietly sitting across from me. Or to be precise, I was following his (her?) gaze as s/he explored the confined surroundings of our subway car. I wondered if joint attention really was involuntary.

My silent reveries were interrupted by a pleasant voice diagonally across from me, who informed me that I was reading an excellent book. I looked at her, and said, thank you for that encouragement, I had been uncertain I would finish it. She said resolutely, it gets better the more you read of it. I looked down at my copy, I was on page 154, and wondered at what page I would surrender myself over to the book's life-world. When I looked back at the lady, she had reverted back to the resolute norm not to make eye-contact with anybody in the tube. Before I was aware of what was happening, the angelic infant was dragged out of the tube at Camden Town. 

I had noticed before that the book I would read could attract some comment from other, otherwise resolutely no eye-contact passengers. And once, while exiting the tube at Westminster, I had been given a book I had inquired about over my protests. My benefactor cut my off, as the doors shut, with a compelling I work for Penguin, I will treat this as a marketing expense.

While waiting for the elevator that would take me from the underground level to the exit, I noticed a guy reading Le Guin's Left Hand of Darkness. I had seen him on my ride into town earlier in the day; we had been compelled to leave our train, when, while "being held to regulate traffic" at Chalk Farm (I love the name of that station), it was changed from the Morden via Bank to the Morden via Charring Cross line.

I felt a strange excitement to see one of my favorite books being read (recall)  on the London Underground (twice in a day no less). I suddenly understood the pleasant voice's desire to share. So, I mentioned to dude, that's a great book, I hope you are enjoying it. He responded without hesitation, I dislike science fiction, but it was my reading group's choice and so far I am enjoying it. For no apparent reason, while we were entering the elevator, I decided to volunteer, I love teaching her in my utopia/dystopia classes. I could see he was eyeing the book I was holding, Where do you teach, he said with surprise, while I was as subtly as possible trying to make it impossible for him to catch the title of the book. I did not want to talk about Hesse.

I am writing this a day later in the British Library just as a patron sits down next to me with a big pile of books including Stormtrooper Families by Wackerfuss. My friend Jeff Bell coined the term heterobibliophilia, to capture the particular form of scholarly voyeurism when one peek at the books and manuscripts on tables temporarily vacated by other scholars taking a break in the library (recall also this post). I am suddenly grateful that the no-eye-contact-rule norm is even stronger in the British Library than in the tube.* 

As the elevator went up, and we were making small-talk, his eye caught Hesse, and he said with real warmth, as I knew he would, I loved Narcissus and Goldmund. I admitted that my once favorable views on it had changed for the worse a long time ago. At the street corner we were about to part; he firmly shook my hand and said, I am Ned, it was a pleasure. I took it, and said, same here Ned; I am sure we'll bump into each other again. And then, remembering he had mentioned his name, I said, while he was letting go of my hand, I am Eric.

I had not expected Ned's handshake. I looked at my book vaguely guilty for badmouthing Hesse to strangers. As I crossed the street I sensed betrayal to the anxieties and confusions of my teenage self. And yet...through Hesse I had discovered Nietzsche, and through Nietzsche a philosophical journey had opened itself up to me. To mock Hesse meant to mock the chain of causes that got me here. So much for living by amor fati! 

The rain was pouring down Heath strait; I rushed home.

On Author Meets Critics

Most of us in philosophy receive very little in the way of of extended critical responses to our publications. This is true for even famous scholars, who may rack up a lot of citations, but still much of what they publish may in practice be ignored. Of course, no need to feel sorry for such scholars; they get invited for colloquia and may have many willing commentators on circulated drafts of their work  and so may still receive a lot of very useful feedback. While I defend the value of publishing (regardless of response) -- each publication is a mile-stone in one's development --, the structural lack of critical response to one's work, the utter lack of feedback mechanism between one's effort and the judicious judgment of one's intellectual community, is one of the more dispiriting elements of our profession. It is one of the reasons why I lament the decline of the review article.* 

One lovely institution that we have in the profession/academia, is the Fest--a celebration of another's academic career. There is no finer possibility, I think, to have the measure taken of one's academic life. The problem with the Fest as an institution, is that because it occurs at the end of one's career and in ripe old age, it reinforces the extreme sense of delayed gratification. In addition, the point is festive, and so it's not a good occasion for fundamental criticisms or polemics.  

Now, writing a book is an exercise in very much delayed gratification. One can easily spent a few years to half a decade on a book manuscript. (My Adam Smith monograph is really the product of twenty years reflection and false starts.) One possible good-making feature of publishing a book is receiving book reviews from folk you may have never met (or heard of). I can't tell ycou how much I enjoy reading and re-reading these reviews. Even the critical reviews, where insightful (that happens!), while no fun on some gut level, are still exhilarating: somebody gets it and has made an effort to show otherwise.

Another institution which is a good-making feature of book publishing is the so-called author meets critics session (and special issue). Not to put to fine point on it, but even if you are a card-carrying curmudgeon, it is incredibly difficult to be sad if you see some scholars you admire (or come to admire during the session) looking at their detailed notes on copies of your book around a table.+ When I started reflecting on the experience -- after feeling kind of silly for waiting so long for publishing my first monograph --, I noticed an overwhelming feeling of gratitude (to my hosts and critics).** 

Now sometimes author-meets-critics sessions are major, day-long events with multiple speakers at a high cost. (These are kind of Fests, but then in media res and more critical.) But it's quite possible to have author-meets critics sessions to be low-budget events that are contained in time (90-120 minutes). The latter are still swell by being personally and intellectually satisfying. 

Moreover, it's fun and instructive for the critic, too. For, you get to try out your responses to and ideas about a work, which you may well have had to read anyway, with the person (nearly always) most qualified to engage with you on them. These exchanges can become source of new research. How neat is that?  

And so this post is a plea for a lot more author meets critics style events. (I see no reason to restrict those to books, by the way.) By this I don't just mean we need to find funding and venues for them, but we need to reward them professionally. They are a great way to facilitate structured intellectual conversation. So, if you know somebody that belongs to the pro-civility-police and who laments the decline of western civilization and just happens to be bankrolled by a major foundation, get them to fund this academic institution.

On Being Solitary in the Desert

There came to him that peculiar loneliness which is felt only in the monstrous impersonality of a multitude, that incomparable sensation of pure aloneness never known in another circumstance. The solitary figure upon an unchanging expanse of desert is not so alone as is one list in the infinity if a crowded city. He who is alone on the desert is always aware of his own significance, however small, and his relation to the space that he can see. But one who is solitary in the midst of a teeming swarm loses awareness of himself as an individual. The hundreds of strange bodies which press against him unknowingly, the hundreds of strange eyes which look upon his face blankly without recognition, the voices which speak above, around, but never to him--in these lies true aloneness. Of these things he was dimlyt aware as he tumbled and drifted along.--John Williams (1948) Nothing but the Night

At a book-seller peddling recent remainders, I was surprised to discover, Nothing but the Night, a slim novel "by  the author of Stoner." I had been under the impression that Stoner (1965; recall), Butcher's Crossing (1960; recall),  Augustus  (1972; recall here and here), and a collection of poems exhausted his oeuvre. I admire these three books greatly (while I do not share in the euphoria about Stoner, I think I understand its popularity).

Reading Nothing but the Night comes as a great shock because while it has literary qualities it lacks the astounding control over language of the later books. In fact, the main character is unsympathetic exemplar of what we may call broken masculinity (and so anticipates John  Stoner): a self-loathing Harvard college-drop out, who is homophobic ["he had no sympathy for the sort of person Stafford was. Stafford's particular perversion constantly repelled him,"] prone to violence toward the women who are kind to him, excessively judgmental of the women his self-pitying father (a widower who travels to forget his despair) dates, but unable to defend himself against the violence other men. He has no genuine agency ["some unnameable power pushed him from one place to another, down paths he had no wish to travel, through doors he did not know and had no wish to know" & "some obscure powers controlled....their destinies'] He understands himself  -- there are deliberate echoes of Stoicism here -- as a puppet of the divine. This is a book that could be taught in a course on toxic masculinity (with a nod to a recent war whose existence is only hinted at).

That he is carrying childhood trauma and is haunted by the memory of his dead mother is revealed early and helps explain these behaviors, but does not endear. To pity somebody is not a means toward sympathetic identification or admiration (if anything, as critics of Christianity -- one thinks of La Rochefoucauld and Hume -- noted, it is a means to feel superior.)*

Loneliness is the great theme of Nothing but the Night. The quoted passage expresses an important truth, not the least  the significance of recognition. But it also allows me to explain why I found the books so hard to read; the implied narrator reveals (ahh) his superiority to the protagonist. I find that grating (as well that use of 'incomparable,' 'pure'--later Williams is more taut and more effective).  Even so, there is a more important point lurking here.

By revealing his perspective the narrator reminds the reader, without having to mark it explicitly, that there is another kind of solitariness--that of the reader. Reading is a form of thinking prompted by another's train of words. One is alone in the company of an author, who (to partially quote another line of the work) reveals his/her ideas 'to him sentence by sentence.' When a book succeeds in grabbing one's attention, one's solitariness may well be  forgotten or one is seduced into a silent dialogue with a book's character(s)'s or point of view. But when a book grates, one is like a disappointed lover alone in one's frustration, awkwardly aware of the imperfect desires of a needy self.