Conflicting Visions

A question prompted anew by Thomas Sowell’s The Vision of the Anointed: Self-Congratulation as a Basis for Social Policy

Imagine a municipality which levied taxes in order to pay for a state-supported brothel. Think of it like a public park.  Also imagine that the workers in the brothel are conscripted. Think of it like the military draft.  

Now imagine a society where 51% of the people think that such State Brothels are a good idea and 49% think they are morally repugnant.  What should that society do?

I have discussed this question with students a number of times.  Suffice it to say that my students all think the idea is terrible, but they have a hard time articulating a persuasive argument that it should be prohibited.

Sowell doesn’t discuss the brothel question, obviously. No self-respecting scholar would ever raise such a topic for serious consideration.

Sowell has a very different agenda.  Sowell’s book is an exercise in skewering the zeitgeist, the attitude of the modern American Left to see the world as if they are the Anointed Ones and They know the Truth unlike those Benighted Folks who disagree with them.  Sowell spends page after page taking apart the idea that the view of the Anointed is obviously right.

Sowell thinks the opposite to the View of the Anointed, what he call the Tragic View, is better.  He argues those with the Tragic View at least are willing to try to understand the Views of the Anointed, but the reverse is not true.  

Sowell manifestly has little patience for the Anointed.  Similarly, if you were part of the Anointed, this book would seriously irritate you.  

At one point in the midst of reading the book, I got to wondering to whom this book was written.  It would have a nice appeal to people who agree with Sowell and just want the reassurance that someone who knows a lot of stuff agrees with them.  

Then I realized that Sowell’s real audience is people who have not yet formed a world view.  He wants to save everyone from joining the Dark Side.

And that led to the question which started this rumination.  What does a society do if there are two diametrically opposed world views?  How do you achieve compromise on things which the two sides view as moral absolutes.  

You value Freedom. I value Moral Restrictions. How do we compromise?  Either prostitution is allowed or it is not.  Either infanticide is allowed or it is not.  

The side which does not have its preferences enshrined into Law will think the social order is unjust.  

But, does anybody really think we should just put laws against murder up for a vote and say “Majority Rules”?

The Vision of the Anointed is thus a mixed bag.  It is full of great examples and studies and arguments.  It is in some ways a Handbook on Social Science Research which can be Used by Conservatives in a Debate.  (Hard to believe the publisher didn’t think that would make a good title for the book. But it is an accurate title.)  

On the other hand, it is a frustrating book for settling the larger issue of why someone should choose Sowell’s Vision or the Vision of the Anointed.  

It isn’t clear how to address that question though.  Do you pick your underlying vision of society on the basis of social science research?  

At some point, we have to acknowledge that a society can only function as a society if there is a shared moral-cultural order underlying it.  

What do you do when that shared set of beliefs disintegrates?  We are in the process of finding out.

The College Carnival

Whenever a school year winds down, nostalgia creeps in.  There is a sameness to the rhythm of college.  

While the individuals change, the nature of the average student doesn’t change much.  

Indeed, it hasn’t changed much since at least 1920.  That was the year F. Scott Fitzgerald published This Side of Paradise.

This novel is one of those inter-war expressions of the hopelessness of the modern age.  And after a century of unbelievable change, I was shocked at how much Amory Blaine would fit right in at a college like Mount Holyoke.  

Nearly a century after Fitzgerald’s book was published, college students are still chasing after the same things with the same hopes and fears and the same ennui nagging at the fringes of consciousness. 

Amory ends the novel with the declaration: “I know myself, but that is all.”  In that phrase is captured all of the angst and problems of the 21st century undergraduate college.  

Amory, of course, does not understand himself at all.  He just thinks he does.  But he does know that he knows nothing beyond himself, nothing greater than himself.  His whole life is reduced to the Self:

“I am selfish,” he thought.
“This is not a quality that will change when I ‘see human suffering’ or ‘lose my parents’ or ‘help others.’
“This selfishness is not only part of me. It is the most living part.
“It is by somehow transcending rather than by avoiding that selfishness that I can bring poise and balance into my life.
“There is no virtue of unselfishness that I cannot use. I can make sacrifices, be charitable, give to a friend, endure for a friend, lay down my life for a friend — all because these things may be the best possible expression of myself; yet I have not one drop of the milk of human kindness.”

That is, of course exactly what the modern college teaches students.  Live for the Greater Good because then you will fully express yourself.  Study hard because then you will be able to do great things and feel self-fulfillment.

What about all those classes and things those professors make you learn?  Knowledge is dead.  As Eliot put it in 1934:

Where is the Life we have lost in living?
Where is the wisdom we have lost in knowledge?
Where is the knowledge we have lost in information?

What does the modern college student learn?  We talk about teaching “critical thinking” and “life skills,” but never wisdom.

So, what is the modern college?  It’s just like the frenzy of social activity described by Fitzgerald in a subchapter entitled “Carnival.”  It’s also just like the Carnival (“Karn Evil 9, First Impression, Pt. 2”) Emerson, Lake and Palmer described in 1973.  

It doesn’t have to be like that, of course.  But, the fact that the college Fitzgerald describes and the college my students attend are more alike than it is comfortable to admit, must give one reason to pause in hoping for a dramatic change in the culture of higher education.

Pnin, Portrait of a Professor?

Shortly after I first became a professor, I read Nabokov’s novel, Pnin

(No, sorry, I have absolutely no idea how to pronounce that name.)

I had fond memories, very fond memories, of the book.  In a fit of nostalgia, I decided to reread it. 

A stunning experience.  Either I have changed a lot since I first read the book or the book has changed a lot.  (The latter possibility is tempting to embrace.  Imagine a world in which books really do change between readings.  You could then go back and reread your favorite books and each time they would not just seem different, they actually would be different.  Never mind; that’s a really dumb thought experiment.) 

Now it isn’t really all that surprising that after over two decades of teaching, I am a bit different.  I’ve read a few books since then, for example.  But even still, this novel was nothing like I remembered it. 

It still had (obviously) the same episodes I remembered so vividly, but then when I thought about it I realized there were only two episodes I remembered vividly.  (Pnin on a bench in the wrong city realizing he could never get to the talk he was supposed to give; Pnin utterly dismayed—indeed more dismayed than any other character in any other book ever—when he hears glass breaking in the kitchen sink.) 

The entire story surrounding those two events was extraordinarily different than the story which existed in my memory.   

When I thought about it, it really wasn’t hard to see why my memory of the book was so different than the book as it exists.  I remembered the book as being all about a befuddled professor wandering around an idyllic campus in the Northeast.  It was an amusing tale, capturing life at a New England college perfectly. 

Why did the book seem that way?  Well imagine being a newly minted Assistant Professor, coming from a 1960s style-concrete-slab-buildings-everywhere campus in California, and arriving at one of the most gorgeous liberal arts colleges in the world, red brick buildings with ivy covered walls set amongst rolling green lawns and sparkling lakes. 

Imagine wandering to a library which is gorgeous enough to be a chapel and a chapel which is magnificent enough to be a library reading room.  Imagine an office with 12 foot ceilings and wood trimmed windows. 

And then imagine reading a book about an old professor pottering around such a campus, slightly bewildered by the world.  How could that novel not seem like an idyllic vision of a future life?  How could it not be utterly poignant when our professor hero had moments of doubt and pain? 

How could said assistant professor not henceforth recommend that novel to I don’t know how many people as the best picture of life at a Northeastern liberal arts college ever written?

I was talking with someone not too long ago about this very problem of a book which once read at a particular moment in life was forever stamped not with the book but with the memory of a book which isn’t exactly the book which is there.  He mentioned the idea of going back to write the novel he remembered.  An intriguing idea, that.

So, what is this novel?  Curiously, it feels like I am about to desecrate the novel by describing it accurately. 

That’s not a joke—I am having this terribly sick feeling right now in even thinking about writing down a review of Pnin, the book.  I feel like I am about to kill Pnin, the memory. 

Pnin, the novel, starts off as the story of a befuddled Russian refugee who is living a tenuous life as a professor at a college in New England.  The first six chapters are tales designed to mock the professor, but in every case there is a twinge of pathos mixed in with the mockery. 

We find out why in the seventh, and last, chapter.  The narrator, someone eerily similar to Nabokov himself, tells us the back story of his own past and his interactions with Pnin.  And somewhere in the midst of that last chapter we realize we have an unreliable narrator on our hands. 

Pnin stole the love of the narrator’s life and this book is a sort of revenge fantasy, but revenge on a man whom the narrator knows is actually fundamentally good and decent.  Indeed, that Pnin as described in this novel, this thoroughly pathetic figure, should have stolen the beautiful woman from our dashing hero seems improbable. 

The narrator pretends in that final chapter that it was he who rejected the woman who went on to marry Pnin because our narrator would not have her, but there is something not quite right about that story. 

In the first six chapters, one imagines that the narrator knows all these things because he knows Pnin well.  Then we discover the narrator has never spoken to Pnin at any point during or after the time when the events related in the book take place. 

Every moment in which we saw Pnin’s inner self throughout the book was necessarily pure fabrication.  Events which would have just been amusing stories are turned into lampoon by relating the inner thoughts of Pnin. 

The book is clever—but you knew that—it is Nabokov after all. 

As a portrait of life in a New England college, it’s not exactly right. A bit too much caricature designed to make Pnin look like a fish out of water. 

As a portrait of a professor, again it’s not quite right. 

As a means of thinking about how we do in fact create narratives of others, it’s pretty good.  How many people exist in our mind’s eye exactly the way we really wish they were?

Pnin, the book, is quite good.  I recommend it.

But: R.I.P. Pnin, the memory.

Is This My Autobiography?

From Dorothy Sayers’ The Mind of the Maker:

“But the writing of autobiography is a dangerous business; it is a mark either of great insensitiveness to danger or of an almost supernatural courage.  Nobody but a god can pass unscathed through the searching ordeal of incarnation.”

Sayers is using that observation as the conclusion of a chapter discussing the writing of autobiography, a particular form of art which has obvious relevance to a rather noteworthy Creative Act of God. What follows is not directly related to what Sayers is arguing, but, since Sayers was writing a Great Book, it set my mind wandering into all sorts of directions.

After reading Sayers’ chapter on autobiography, I got to ruminating about my own life (shocking) and once again faced the realization that a biography of my life would be pretty dull stuff.  

When I have said this to people in the past, there is almost always an immediate objection.  It seems that saying one’s life would make a dull biography is taken as a strong version of self-deprecation.  

There is apparently rampant confusion of the two sentences: 1) “My biography would be dull” and 2) “My life is worthless.”  

But, those two sentences are not even remotely the same.  My life is not worthless, yet I have a hard time imagining anyone wanting to read a book-length treatment of it.  I was born, grew up, went to school, got married, got a job, had kids.  Nothing exciting there.  So, I cannot even imagine writing an autobiography.

This made me wonder about whether Sayers’ remarks quoted above were accurate or not.  How would I know?

Then it hit me.  I have a blog.  This blog has no real content other than a Faithful Record of My Thoughts over Time.  Which strangely sounds a lot like autobiography.  Am I writing an autobiography without even knowing it?  The mind reels.

If so, which is it:  do I have an insensitivity (Sayers’ “insensitiveness” is a rather ugly word, no?) to danger or a supernatural courage?  

Clearly the former.  Then again, there really isn’t much of a danger here—after all, I am a tenured professor.  

(My wife is constantly worried that my blog will somehow lead to some dire result, but when pressed, she can never actually figure out what could actually happen to me if someone (who?) took offense.  My wife has neither an insensitivity to danger nor supernatural courage—and perhaps not coincidentally, she doesn’t write autobiography.  More from my wife anon.)

Pursuing the Blog as Autobiography line a bit further:  is this blog an honest autobiography?  

As Sayers notes, no autobiography can be the whole of the author, it is inherently a partial revelation due to the limitation of the form.  Obviously I am more than my blog.  

But, if we imagine handing a set of blog entries to a person who knew nothing about me, would the impression formed from nothing other than what was written in this place bear any resemblance to Reality?  What strange creature would be conjured up by the contents herein?  

That is one of those questions which would generate an answer which it is probably better not to know.  Yet, it is also one of those questions that once asked, makes one wonder.

And then:  if this blog is a form of autobiography, then perhaps my autobiography isn’t as dull as I would have thought.  While my conventional biography would be quite dull, I have read some Great Books and had some Great Conversations over the years, and a record of those books and conversations is potentially not without interest.  

And suddenly I realized that the most famous biography of all time details a life in which absolutely nothing happens—one reads Boswell to see Johnson’s wit, not his activities.

At this stage in my ruminations, I broached the subject at the dinner table.  Lo and behold, my wife was channeling Samuel Johnson.  She quickly concluded that blogs were akin to autobiography.  

However she added that blogs were much worse than autobiography.  Traditional autobiography required that the contents pass muster with an editor before they were broadcast to the world.  Blogs have no such editor.  

These days, anybody can feel free to broadcast his life and thoughts to the world, whether such writing is worthy of attention or not (and for some reason, my wife looked at Your Humble Narrator with a knowing glance when mentioning the latter option).  

Insensitive to the danger (see above), I then asked why people would feel the need to write an autobiography.  “Narcissism.”  My wife didn’t miss a beat in giving that answer.  Blogging is the ultimate form of narcissism, concluded my wife.  One assumes that one’s every thought is worthy of attention and so one blogs.  

Apparently my wife thinks I am a Narcissist.

Yesterday’s Fad

When it was all the rage back in 2014, I was asked and asked and asked and asked again what I thought about Piketty’s Capital in the Twenty-First Century.  After a few months of the incessant question, I read it. 

All the way through. 

Every single word.

I also read more reviews of it than I think I have ever read about a contemporary book. The reviews had an interesting pattern. 

The first wave of reviewers were the enthusiasts and the haters.  Neither set had read the book (more about that anon). 

Then along came the economists.  They read the book and starting doing what economists do best; they take it apart into tiny little pieces and hold up each piece to see if it is a good piece.  No book ever survives that kind of scrutiny.  Capital did not survive that kind of scrutiny.  There are many reviews like that out there now—my favorite was Larry Summers’ review because Summers liked the book and took it apart anyway. 

My first temptation after reading the book was to join the chorus.  Lots of details in the book annoyed me; some things really annoyed me; some things I thought were interesting; some are really interesting.  

But, the sort of technical review is just treating this work like it was a technical bit of economics.  But, technical bits of economics don’t make bestseller lists and, more importantly, nobody ever asks me what I think about them. 

So, how good is Capital?  Not as a technical paper in economics, but as a book.  I never saw it reviewed on that criterion.  Is this book any good? 

Sadly, the book as a book is terrible.  I have seen it praised for being readable, but the comparison set being used is articles written by economists. 

So, let’s state up front: this book is much easier to read than an article selected at random from The American Economic Review.  Normal people (i.e., not economists) could, theoretically, read Capital.  But, compare this book to books normal people read and there is no doubt: it is an awful book.  Unreadable.  It is a slog, a real slog and the punchline is already known.

You don’t have to take my word for it, by the way.  The Wall Street Journal had an interesting article after the book came out in which they used data from Kindle to estimate how far people got when reading books.  Clever idea.  Kindle records when people highlight passages.  So, you can look where people stop highlighting.  Best-selling novels: people are still highlighting close to the end.  Nonfiction:  people don’t get as far.  Capital?  The lowest of the books they looked at: 3% of the book. 

That seems about right—I suspect few people have read past page 25.  If someone made it to page 100, they must be determined.  If they read the whole thing, they are almost certainly an academic economist who is thinking about the technical economics and is determined to get through the whole book and has too much time on their hands. 

Most economists don’t read regular books, so most economists may not know this, but anyone who says this book is really readable and good needs to read more non-economics books. 

Let me repeat—this is not an assessment of the economics in Capital; it is an assessment of the book as a book.  In other words, I would have liked this book vastly more if Piketty had just taken the interesting data and put it all in a 100 page article in the Brookings Papers on Economic Activity.   But, then, if he had done that, he wouldn’t be a star, so you have to admire his choice at that level.

How bad is the book?  Well, let’s take the much discussed fact that Piketty uses literary references in his work. 

The fact that it is shocking that Piketty mentions literature shows how low economists have sunk in being generally readable.  Look! An economist who has read a novel!  Serious Carnival Freak Show material here! 

But here is the dirty little secret nobody mentions when saying how exciting it is that Piketty mentions literature.  From the evidence of this book, one can safely conclude that he has read exactly one novel (Pere Goriot) and some summaries of a couple of Jane Austen novels.   

Now, I am sure Piketty has read more novels than that.  But, for all the discussion about the literature in this book, it is surprising how few literary references there are.

And even what literature is actually mentioned was incredibly poorly used. 

The endlessly repeated literary reference: there is a character in Pere Goriot who tell another character that it is better to marry a rich woman than to try to work your way up through the professions. 

Piketty uses this quote to show that in the Old Days, the only way to wealth was to marry rich, that working people could never get rich, and so they all would be better off just marrying rich. 

This, Piketty argues, is Bad, really Bad.  And, Piketty says, those Olden Times are Back.  Piketty doesn’t like that fact.  So he quotes that passage from Balzac.  A lot. 

But, here is the thing: that character in Balzac’s novel is wrong.  Even if we grant that marrying a wealthy woman will make you richer than, say, going to law school ever could, that doesn’t mean you should skip law school.  Because, you see, there are a limited supply of available wealthy women.  Sorry to break this to you, but not everyone can marry a wealthy woman. 

If your main goal in life is to become wealthy and you have the chance to marry a multi-billionaire, then don’t hesitate.  No matter what era, no matter what else is going on in the economy, don’t hesitate.  

But, again, sorry to break this to you, but not only are there few multi-billionaires available for marriage, the ones that exist do not want to marry you.  So, you might want to go ahead and work after all. 

Piketty doesn’t seem to have enough literary sense to realize that just because a character in a novel says something, that doesn’t make it true.

A similar sort of thing happens with his economics.  There is a great deal of bluster in this book.  Bluster is not the sort of thing which is normal in economics articles, but this book is full of bluster. 

Piketty knows the answer, and thus he sees evidence for his conclusions everywhere, even when it isn’t there.  Again, at one level this is the sort of technical stuff the economists are picking apart.  But, as a book, it makes the argument shockingly weak. 

Anyone who actually read this thing with a critical eye would notice holes in the argument everywhere—there is way too much of the “As we all know” sort of thing going on. 

As we all know, inherited wealth is immoral, but wealth you earn by working is moral.  You knew that, right?  Because, that is the sort of thing that is underlying the entire tone of this book.  And Piketty never pauses to even notice that simply because Piketty thinks wealth acquired by writing long economics books is moral and wealth inherited from your parents is immoral doesn’t in fact mean that this is true.  

Unless, of course, Piketty is God and gets to set the moral standards for the rest of the universe.  What if, crazy thought, there is nothing inherently immoral about inherited wealth.  Then is there still a problem here?  That is the sort of question which Piketty doesn’t manage to address in 577 pages of text.

Anyway, I could go on and on and on.  I have lots of marginalia in this book.  But, as I said, watching economists be economists is a bit dull for the rest of the world. 

So, instead I’ll say this.  If you haven’t read Capital, you are safe to skip it. 

A Real Horrorshow Book

In the category of violent books: Anthony Burgess’ A Clockwork Orange.

O my brothers, Your Humble Narrator would like to tell you it is a real horrorshow book, the kind thou ought to recommend to all thy droogs.

But, it’s not really all that amazing.  It’s good, to be sure. It is fun to read.  But it is not nearly as deserving as the praise it receives would suggest.

As for the movie—just stay away.  Part of the problem this book has is that it spawned a feverish adolescent fantasy in the mind of the movie’s director, Stanley Kubrick.  

This is a case where the movie not only isn’t as good as the book, but if one sees the movie before reading the book, then it will be very hard to read the book on its own terms.

Without a doubt, the prose is the only thing which really gives this book any chance of being worthy of attention.  It is a joy to submerse yourself into the jargon and style of the narrator, Alex. (The narrator is the original Your Humble Narrator.)  

From the inspired coinages to the mock Shakespearean style to the elaborate euphemisms for the ultraviolent acts of a depraved youth, uncovering what Alex means is a treat.  

The first time I ever read the book, the version had a glossary in the back to translate Alex’s language.  That is the sort of innovation which utterly destroys a book like this.  If you are going to read it, just read it.

The argument of the book?  It is an exploration of the nature of Free Will.  The book tries to isolate why people have a hard time with the idea of determinism and free will.

Do we choose to do Evil?  How important is it that we preserve the ability to do Evil?  If we could condition Evil people to do Good deeds by making it so that the very thought of an Evil Act induced overwhelming physical revulsion, would that be a good thing to do?  If people are compelled to Act Properly because we had made it impossible for them to Act Improperly, then have we made society better?

People like the idea that they choose to do good things.  But, they also like the idea that they do not choose to do bad things, that when people do bad things it was somehow determined by Forces Beyond Our Control.  

What this book does is ask which of those two things is more important.  Is it more important
1) to preserve the idea that we choose to do good, or
2) to preserve the idea that evil is out of our control?

If the latter, then should we alter the deterministic aspects of evil so that nobody will ever choose to do evil?  If we end up doing good because doing so is beyond our control, are we better humans?  

But, if we want to preserve the idea that what makes us human is the ability to choose to do good deeds, then doesn’t it necessarily follow that we must celebrate the ability to choose evil?  We don’t have to celebrate evil itself, but don’t we have to celebrate the possibility that we choose to do evil?

The biggest problem with the book is that it cheats in the end.  

The original last chapter is an argument that Free Will triumphs. But, since Alex chooses to Be Good in the end for no apparent reason, the book ends up reading like some fairy tale of an evil youth maturing and magically becoming a good member of society.  

Dropping the last chapter (as was done in the original American publication) isn’t an improvement—then we end with an evil character whose evil is somehow stamped on his soul with no possibility of choice. This is also simply a cheat because we know that there used to be a different last chapter with the opposite conclusion.  

If the entire rest of the book can be an argument for completely opposite conclusions, then it is really obvious that this book is not actually arguing anything.  

Nice prose in the service of a Big Question but providing No Answer, not even a bad answer, just no answer at all. 

So, read it for the prose, which is a real joy.  But, don’t spend too long imagining it is a deep book.

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