Alan Jacobs

After the killing of George Floyd, my first response — after sympathy for poor Floyd, I hope — was to think that the protesters were overreacting to an event that, while tragic, was not nearly as common as they were saying. (No, there’s no “Black genocide” in America.) But then I started noticing the response of many white conservatives: an opposite exaggeration, in their case of the dangers of protests; a noticeable lack of sympathy for the victims of police violence, and a tendency to blame those victims; and in general a disinclination to see racial prejudice as a meaningful element of American culture.

I wrote a few posts about all this, including one about the difference between acute and chronic suffering.

Similarly, when the whole controversy over Critical Race Theory blew up, my first reaction was dismay at the ways that “activists” were using shoddy scholarship, or wholly bogus pseudo-scholarship, to implement a radical political agenda for America’s schools. But then, again, the white conservative pushback was both uncharitable and extreme, and seemed determined to treat any reckoning with America’s history of slavery and racism as “CRT” and therefore to be banished. Increasingly, white conservatives took up the view that explicit declarations of hatred for people of a certain color is the only kind of racism there is.

This struck me as just as historically as blinkered and uninformed as, I dunno, maybe the views of the Black Hebrew Israelites. So, me being me, I started thinking about the past, listening to the voices of our ancestors — in this case mainly recent ones, which in my view is okay, because they always have a strong gravitational pull, and anyway people think that anything that they haven’t thought about in the past 72 hours is ancient history and therefore irrelevant. Ralph Ellison is as much a mystery to them as Homer.

But I’ve been reading Ralph Ellison — a lot of Ralph Ellison, letters and essays; and that led me to Murray’s dear friend Albert Murray, whose curious and wonderful body of work I’m seriously into. (After all, Murray is my fellow native of Alabama.) There’s a tradition of thought and expression here that seems deeply relevant to the current scene, capable of illuminating much that otherwise remains dark for us.

I posted a couple of passages relevant to all this stuff in a recent newsletter, and fifty or sixty people immediately unsubscribed. Okay, well, I guess that’s not really what my newsletter is about, so fair enough. But heads up: Here at the old blog you’ll be hearing more about some of the leading Black intellectuals of the past half-century or more. Because they’re fascinating in themselves — and they tend to illuminate our own weird moment.

So my thanks to white conservatives for leading me into this fertile field of reading and thinking. I owe you, guys.

I just love this post by Imani Perry about how excited her sons were when she won the National Book Award.

Definitions:

An accu­rate def­i­n­i­tion of “influencer” is: a vir­tu­oso of a par­tic­u­lar inter­net platform; some­one who has learned to use its mech­a­nisms to achieve their own objectives, rather than the other way around.

An accu­rate def­i­n­i­tion of an inter­net “creator” would have to be: someone whose income is deter­mined by a platform’s algorithms.

That’s Robin Sloan, with a very good distinction. I’m not either of those things, so I wonder what I am? Maybe just a writer. 

A good overview of the value of deep reading.

From a lovely profile of Will Arbery by Chloé Cooper Jones:

One of the first stories Arbery ever told me was how, even as a child, he longed to protect [his sister] Julia’s nuanced way of speaking. When he was away at camp, and then later, as a young adult in college, he would receive letters and emails from Julia and could tell when they had been edited, her language standardized by someone else. But Arbery loved the particular cadence, rhythms and arrangements of her sentences and did not want them changed.

In the program note for “Corsicana,” Arbery says that he wrote the play thinking about the dances Julia makes up, the songs she sings in private, the art she makes that belongs only to her. “I’ve been thinking about the way Julia sings ‘O Holy Night,’ making everyone shut up and listen and watch her, and then getting too nervous to start. So we all have to sing it together, trudging through the notes until we reach the time-to-shine part — ‘fall on your knees, oh hear the angels’ voices’ — and that’s when her voice rises unmistakably above all of ours, and she finishes the song, and suddenly there’s a new thing in the air above our heads and we all get quiet.” 

I have some thoughts on Arbery’s play “Heroes of the Fourth Turning” in this essay. 

In my new essay on anarchism, I describe myself as “a person with an exceptionally low anthropology” — and if you want to know what I mean by that, here’s more from David Zahl. 

Nothing like listening to the Welsh sing their anthem. 🏴󠁧󠁢󠁷󠁬󠁳󠁿