Alan Jacobs

To the young blonde FexEx driver blasting D’Angelo’s Black Messiah from her truck: Respect. Total respect.

18 Warning Signs of a Deadly New Lifestyle - by Ted Gioia: — but they’re not all symptoms of the same disorder — or anyhow not in the same way.

“Anthropophobia — the fear of other people — is on the rise” is the chief theme, and “Time spent alone is rising for all demographic groups” and “People no longer build friendships” are related phenomena. But others may reflect quite different motives and concerns.

For instance: “After centuries of intense urbanism, more people now want to live in the country — away from bustling cities, suburbs, or even small towns.” This could be a symptom of anthropohobia, but it also could arise from a desire to reconnect with the natural world, a world our social order hopes to make irrelevant. (“Why move to the country when you can watch this YouTube video of snow falling in a wilderness cabin? — and without ads for a nominal monthly fee!”) So a desire to move to the country might be related to a settled and well-earned suspicion of Technopoly’s ability to meet all our needs.

(I know some folks who left big cities for small towns or the countryside during Covid and now couldn’t be brought back at gunpoint — and it’s not because they dislike people. They meet fewer people in the course of any given day, but the ones they know they know better, more meaningfully, than they knew the people they saw on a daily basis in the city.)

And: “Even humanities professors don’t want to deal with human beings.” The essay that Ted links to discusses, among other things, the difficulty that editors of academic journals have in getting peer reviewers for the submissions they receive. Until fairly recently, here’s how that worked: A journal editor wrote to me and asked me to review a manuscript. If I said yes, he sent me the manuscript and I wrote back with my thoughts. But now? An editor writes to me, tells me that he or she has taken the liberty of assigning me a username and a password at a website that manages a “reviewer database,” and at which I may fill out various forms and click various checkboxes on my way to providing a review that meets certain pre-specified criteria.

To that I say: Oh hell no. And my refusal is the opposite of not wanting “to deal with human beings”; it’s my declining to accept a transaction from which the humanity has been surgically removed by robots.

(Also: Why do editors have recourse to such semi-automated systems? Because they get so many submissions. Why do they get so many submissions? Because publish-or-perish is still the core principle of academic employment, and in an ever-shrinking academic job market humanities professors are cranking out scholarly articles at an unprecedented pace to try to make themselves viable candidates for the tiny handful of jobs still available. The real problem lies far, far upstream of my refusal to become another entry in someone’s database.)

So the various examples that Ted gives of this “deadly new lifestyle” point in varying and in some cases opposite directions. Some of these developments show people succumbing to Technopoly; others involve resistance to Technopoly. And that’s a big difference.

Matt Crawford:

Superficially, litter and the rusting carcasses of salvaged cars are both an affront to the eye. But while litter exemplifies that lack of stewardship that is the ethical core of a throwaway society, the visible presence of old cars represents quite the opposite. Yet these are easily conflated under the environmentalist aesthetic, and the result has been to impart a heightened moral status to Americans’ prejudice against the old, now dignified as an expression of civic responsibility.

Later in the essay, Matt writes:

Among the sacrifices demanded by the new gods may be your ten year old car that gets 35 MPG, requires zero new manufacturing (with its associated environmental costs), and may be good for another ten years. As Rene Girard points out, ritual violence is usually directed against a scapegoat who is in fact innocent, onto whom the sins of the community are transferred. In our pagan society of progress, it seems anything old and serviceable can serve this role.

Bill Bryson:

Imagine a form of baseball in which the pitcher, after each delivery, collects the ball from the catcher and walks slowly with it out to center field; and that there, after a minute’s pause to collect himself, he turns and runs full tilt toward the pitcher’s mound before hurling the ball at the ankles of a man who stands before him wearing a riding hat, heavy gloves of the sort used to handle radioactive isotopes, and a mattress strapped to each leg. Imagine moreover that if this batsman fails to hit the ball in a way that heartens him sufficiently to try to waddle forty feet with mattresses strapped to his legs, he is under no formal compunction to run; he may stand there all day, and, as a rule, does. If by some miracle he is coaxed into making a misstroke that leads to his being put out, all the fielders throw up their arms in triumph and have a hug. Then tea is called and everyone retires happily to a distant pavilion to fortify for the next siege. Now imagine all this going on for so long that by the time the match concludes autumn has crept in and all your library books are overdue. There you have cricket.

I’m not saying that this is what cricket is like, but I am saying that this is precisely what cricket looks like to a person raised on baseball.

An amazing new newsletter issue by @ablerism (Sara Hendren) – y’all need to get on this train!

Daniel Walden:

Criticism of this kind is a misuse of learning to muddle discussion for the sake of scoring points rather than to clarify it for a curious public. There is plenty of intelligent and reasonable criticism of Wilson’s work to be had from people who know the poems well — the Bryn Mawr Classical Review was positive but not uncritical, and I myself think her choices at Odyssey 15.365 were the wrong ones — and there is no need to give credence to people who consider their own desire for attention an adequate substitute for the knowledge and consideration that must attend real critical judgment.

This is well said. To almost everyone writing about art today I want to say: Dragging every scholar, every critic, every translator, every artist, every artwork before the bar of your political tribunal might, just conceivably, not be the only or even the best thing you can do when confronted by a work of art. 

I don’t think we’ve ever needed genuine works of art — imaginative creations that press us to see the world in larger or at least different ways than our standard everyday media-navigation categories allow — more than we do now. But our current resources are few, because of the ways the major art-related organizations have lost any discernible sense of purpose. They are merely reactive to social-media pressure. Examples: 

• This essay on the publishing world;  
• And this essay on the publishing world, written from a very different perspective; 
• This very long but very helpful video on what’s wrong with the movie industry; 
• This deeply reflective essay on the depressing world of art criticism and the contemporary museum.  

In light of these developments I’ve come to believe that the most important thing I can do here on this blog is to write about art as art — which is not to say that art lacks political purposes and implications. Often it is powerfully political. But no artwork worthy of our attention approaches politics the way that journalists and people on X do, as a matter of checking the right boxes to avoid exclusion from the Inner Ring. One thing good art always does is to remind us that our experience is dramatically larger than our quotidian political categories suggest. We are unfinalizable; we sprawl. The failure to recognize that is a terrible disease of the intellect. 

I am finished — not altogether, but largely, I think — with political and cultural disputation. I want to write about works of art that transcend the box-checking, that thwart easy dismissals, that shake us up. And if the current art scene doesn’t offer any of that, then I can always continue to break bread with the dead. 

Kevin Williamson, typically trenchant: “CLEAR has some fancy high-tech hoo-haw on the front end — biometric scanners and whatnot — but what it really offers is an officially sanctioned way to cut in line. […] But it wasn’t CLEAR that made air travel in the United States the ghastly mess it is — that was the TSA, the FAA, the local airport authorities, Congress, state legislatures, and a host of other malefactors, whose collective incompetence (and, at times, corruption) created the market for CLEAR.”

David Byrne: “I think the phrase that was used with My Life in the Bush of Ghosts was ‘cultural imperialism.’ I thought, That’s not quite right. I remember the first time I went to Brazil, and there was one little station that played sambas, and everything else was playing American pop tunes. I thought, That’s cultural imperialism: when the multinational record companies find it easier to promote the same artists everywhere rather than nurture local talent.”

Nap time.

Simple snapshot of a totally ordinary sight.

Chris Beha: “I sometimes think that the modern world’s true cultural divide is not between believers and unbelievers but between those who think life is a puzzle that is capable of being solved and those who believe it’s a mystery that ought to be approached by way of silence and humility. I am a problem solver by disposition, but in my heart I am strongly on the side of the mysterians.”

The Reason for the Season.

Just learned from my buddy Austin Kleon about Mishka Westell’s art.

An extraordinary story on how redwoods survive fire.

I often give my students take-home exams that ask them to explicate (give a close reading of) passages from books we are reading. They are asked to identify the passage, place it within the context of the work it is taken from, and then explain what it’s doing. It’s an old-fashioned kind of assignment, hearkening back to the days of the New Criticism, but the emphasis in Baylor’s Great Texts program, like that of the University of Chicago programs on which it is based, is on careful reading of primary texts; and even if this were not so, there’s a lot to be said in this ideological age — an age in which people believe the point of a university is to provide a venue for the declaiming of positions you already hold — there’s great value in requiring students to dig into the details of one small chunk of text and really read it.  

Here are the texts for an exam I’ve just handed out. 

PASSAGE 1

Each step in the development of the bourgeoisie was accompanied by a corresponding political advance of that class. An oppressed class under the sway of the feudal nobility, an armed and self-governing association in the medieval commune: here independent urban republic (as in Italy and Germany); there taxable “third estate” of the monarchy (as in France); afterwards, in the period of manufacturing proper, serving either the semi-feudal or the absolute monarchy as a counterpoise against the nobility, and, in fact, cornerstone of the great monarchies in general, the bourgeoisie has at last, since the establishment of Modern Industry and of the world market, conquered for itself, in the modern representative State, exclusive political sway. The executive of the modern state is but a committee for managing the common affairs of the whole bourgeoisie.

The bourgeoisie, historically, has played a most revolutionary part.

The bourgeoisie, wherever it has got the upper hand, has put an end to all feudal, patriarchal, idyllic relations. It has pitilessly torn asunder the motley feudal ties that bound man to his “natural superiors”, and has left remaining no other nexus between man and man than naked self-interest, than callous “cash payment”. It has drowned the most heavenly ecstasies of religious fervour, of chivalrous enthusiasm, of philistine sentimentalism, in the icy water of egotistical calculation. It has resolved personal worth into exchange value, and in place of the numberless indefeasible chartered freedoms, has set up that single, unconscionable freedom — Free Trade. In one word, for exploitation, veiled by religious and political illusions, it has substituted naked, shameless, direct, brutal exploitation. 

PASSAGE 2

— The slave revolt in morals begins when ressentiment itself becomes creative and ordains values: the ressentiment of creatures to whom the real reaction, that of the deed, is denied and who find compensation in an imaginary revenge. While all noble morality grows from a triumphant affirmation of itself, slave morality from the outset says no to an ‘outside’, to an ‘other’, to a ‘non-self: and this no is its creative act. The reversal of the evaluating gaze — this necessary orientation outwards rather than inwards to the self — belongs characteristically to ressentiment. In order to exist at all, slave morality from the outset always needs an opposing, outer world; in physiological terms, it needs external stimuli in order to act — its action is fundamentally reaction. The opposite is the case with the aristocratic mode of evaluation: this acts and grows spontaneously, it only seeks out its antithesis in order to affirm itself more thankfully and more joyfully. Its negative concept, ‘low’, ‘common’, ‘bad’, is only a derived, pale contrast to its positive basic concept which is thoroughly steeped in life and passion — ‘we the noble, we the good, we the beautiful, we the happy ones!’ If the aristocratic mode of evaluation errs and sins against reality, this happens in relation to the sphere with which it is not sufficiently familiar, and against real knowledge of which it stubbornly defends itself: it misjudges on occasion the sphere it despises — that of the common man, of the lower people. 

PASSAGE 3

You see: reason, gentlemen, is a fine thing, that is unquestionable, but reason is only reason and satisfies only man's reasoning capacity, while wanting is a manifestation of the whole of life — that is, the whole of human life, including reason and various little itches. And though our life in this manifestation often turns out to be a bit of trash, still it is life and not just the extraction of a square root. I, for example, quite naturally want to live so as to satisfy my whole capacity for living, and not so as to satisfy just my reasoning capacity alone, which is some twentieth part of my whole capacity for living. What does reason know? Reason knows only what it has managed to learn (some things, perhaps, it will never learn; this is no consolation, but why not say it anyway?), while human nature acts as an entire whole, with everything that is in it, consciously and unconsciously, and though it lies, still it lives. I suspect, gentlemen, that you are looking at me with pity; you repeat to me that an enlightened and developed man, such, in short, as the future man will be, simply cannot knowingly want anything unprofitable for himself, that this is mathematics. I agree completely, it is indeed mathematics. But I repeat to you for the hundredth time, there is only one case, one only, when man may purposely, consciously wish for himself even the harmful, the stupid, even what is stupidest of all: namely, so as to have the right to wish for himself even what is stupidest of all and not be bound by an obligation to wish for himself only what is intelligent.

[caption id="" align=“aligncenter” width=“600”] Michael Torevell, News of Great Joy, mixed media and digital painting, 2022 [/caption]

Rowan Williams:

The basic form of the sin from which we need to be delivered is the myth of self-sufficiency. The diabolical urge that destroys our well-being again and again is the temptation to think of ourselves as somehow able to set our own agenda in isolation, and the greatest and most toxic paradox that results is that we become isolated from our own selves. We don’t and can’t know what we are as participants in the symphonic whole, and so we block off or screen out the life we need to receive, refusing to share the life we need to give. We live shrunken, hectic, short-term lives, stuck in futile conflicts and vacuous rivalries. We refine our skill at identifying other human lives, as well as the entire nonhuman environment, as competitors for space, forces that will, left to themselves, diminish rather than enrich us. We need to be healed from this habitual screening-out.

This means that the “repair” involved in Christ’s coming in flesh is a repair of our relation to ourselves.

Annie Soudain, Winter Glow, reduction lino print, 2017, appearing with this wonderful essay by Adam Nicolson.