Posts Tagged ‘ethics’
October 9, 2015 | by Dan Piepenbring
- Michael Lewis’s profile of (and fan note to) Tom Wolfe also reveals the startling comprehensiveness of the latter’s archives: “Wolfe saved what he touched—report cards, tailors’ bills, to-do lists, reader letters, lecture notes, book blurbs, requests for book blurbs, drawings, ideas for drawings never executed (‘Nude Skydiver Devoured in Midair by Ravenous Owls’), and dozens of sexually explicit and totally insane letters from a female stalker, including one consisting chiefly of seventeen pages of red lip prints. He just tossed all this stuff in steamer trunks and hauled the trunks up to the attic, where some of them had sat undisturbed for fifty years. He kept postcards from friends with hardly anything written on them; he kept all the Christmas cards; he kept morning-after notes from New York society ladies … The documents tell the story of the leading journalistic observer and describer of American life, in a time of radical cultural transformation, and of the sensational explosion in American literary journalism that occurred in the late 1960s and 1970s—on which the ashes and the dust are just now settling.”
- The orphan in literature is many things—spunky, resourceful, downtrodden, tragic, trammeled, unfettered—but foremost it’s a shortcut to narrative tension: “Orphanhood is the beginning of (mis)adventures and only very rarely the end. Once such intolerable extremity has been inflicted (by parents, by cruel society, by authors), it can’t be left be: the sufferers must seek relief and resolution … The literary orphan belongs to no world except that of narrative opportunity … Many people expect real orphans to behave like literary orphans: like portable anti-alienation devices for the people who, so to speak, take us in.”
- If you sat for a portrait from Goya, you weren’t there for vanity’s sake; you had to be prepared to see the worst in yourself, because that’s what he was going to put on the canvas. “Even while he was following the protocols of aristocratic portraiture, Goya just couldn’t stop himself noticing—and depicting—all sorts of extraneous and revealing sights … There are such subversive undertones and notes of sardonic comedy to many of his pictures … Goya’s (Lucian) Freud-like honesty about his sitters seems so clear in retrospect that it has always been a mystery why some of them put up with it. He clearly despised his last royal master Ferdinand VII, who looks sly, nasty, fat-faced and idiotic in the state portrait of 1814–15.”
- Driving refugees on Lesbos: “At one of the main landing beaches, children, babies, elderly, sick and disabled people were waiting for Norwegian volunteers to pick them up and drive them three wiles west to another makeshift waiting point at Efthalou. It used to be illegal to transport refugees on the island and the police arrested a few people, but the law has since been relaxed. A Danish woman asked me to drive a family of four. They were from the Palestinian Yarmouk refugee camp just outside Damascus, which is now mostly controlled by Islamic State. Rami, the father, spoke excellent English … ‘Somebody, somebody will help us,’ he said. His wife was pregnant and had had bleeding problems in the boat. ‘Oh my god, very beautiful,’ Rami said as we drove round a bend on the dirt track overlooking the sea.”
- You look like someone who’s seeking ethical clarity. Well, don’t look for it here. We don’t have any. We’re fresh out. “The old question—How to live an alright life in a bad world? … Nonprofit job, artish hobbies, moderate drinking, hope the friends stay funny and nearby. While young: shared apartments, cheap whiskey, n+1; older: art in the house, Spanish wine, the New Yorker. And when God or the workers’ council weighs our fates, hope the scales might be tipped by the weight of a book … An idea is a kind of cartoon. Inhabiting one, we get that thrill of clarity: everything simple and certain, with sharp black borders. But at some point this cleaner world turns oppressive, like the grandparents’ condo after a few days’ visit, and we look to escape. That too is another sort of thrill. We get out, and the fuller world rushes back to meet us, in all its grubby confusion.”
September 16, 2015 | by Damion Searls
Nietzsche on education, inequality, and translation.
When I went off to college, it wasn’t, as far as I could tell, the result of any decision. The assumption—the fact—was simply there, in my family or high school or race and class or wherever it was, that there was more to come after twelfth grade. I didn’t appreciate the privilege nearly enough, but I also felt no need to justify to myself or anyone else how I planned to spend the next four years. There must still be such eighteen or nineteen year olds out there, never expected to explain themselves, but it is harder to imagine them. Nowadays, education is fraught and embattled and debated and doubted down to the core.
I feel like I’ve read the same essay half a dozen times recently—here are two good examples—an essay insisting that the true value of education is not calculable in monetary terms. Education is moral, philosophical: a process of creating and becoming better people. You can make the argument that a liberal-arts education is “valuable” in the narrow sense, since it is, but even if that argument wins some battles—and it rarely does—it will lose the war. Once you concede that economic striving takes priority over artistic or humanistic goals, then arts funding and English degrees and even pure science are never going to withstand the juggernaut of business and technology. You have to fight under a higher standard.
I agree with this line of thought and am happy enough to see the point made half a dozen times over. I’ve read it recently in Friedrich Nietzsche, too, whose little-known 1872 lectures On the Future of Our Educational Institutions are appearing this fall in my new translation under the snappier title Anti-Education. Even in Nietzsche’s day, the state and the masses were apparently clamoring for
as much knowledge and education as possible—leading to the greatest possible production and demand—leading to the greatest happiness: that’s the formula. Here we have Utility as the goal and purpose of education, or more precisely Gain: the highest possible income … Culture is tolerated only insofar as it serves the cause of earning money.
July 16, 2015 | by Dan Piepenbring
- Have you seen F. W. Murnau’s skull? From the neck up, the Nosferatu director has gone missing from his grave, which sits about twelve miles out of Berlin. No reward has been set, and no word given on whether his lovely throat remains intact.
- I do my best to ensure that this is a Go Set a Watchman–free space. But who can resist the chance to quote a bunch of parents who named their sons after Atticus Finch, only to find that Watchman depicts him as a racist, segregationist clod? “When we first heard about the book, my wife said, ‘Oh no, I hope Atticus didn’t turn bad or something,’ ” one father told the New York Times. “Maybe our son will grow up and be the more famous and distinguished Atticus, and maybe he’ll get all the recognition.” The name was the 370th most common in the country last year, and Watchman’s first printing comprises two million copies. Young Atticus has his work cut out for him.
- Ethics professors spend their entire careers immersed in rigorous analysis of what’s right and good. If you’ve never met one, you could be forgiven for ranking them just under clergymen in their unswerving dedication to the moral life. But ethicists are not, in fact, any more ethical than you or I. A researcher examined their approaches to “voting in public elections, calling one’s mother, eating the meat of mammals, donating to charity, littering, disruptive chatting and door-slamming during philosophy presentations, responding to student emails, attending conferences without paying registration fees, organ donation, blood donation, theft of library books, overall moral evaluation by one’s departmental peers based on personal impressions, honesty in responding to survey questions, and joining the Nazi party in 1930s Germany.” The result will stop the presses: “For the most part, ethicists behave no differently from professors of any other sort—logicians, chemists, historians, foreign-language instructors.” (They do donate to charities more regularly and eat less meat, though.)
- When the Guatemalan writer Eduardo Halfon published his first novel, he had a terrifying encounter with a reader of sorts: “He smiled and shook my hand and even said he was sorry to bother me at home. But he walked in without being asked, and immediately, as he sat down on one of the sofas, took out a big black gun and placed it loudly on the living room table … He said that Hitler was one of his heroes. He said that Hitler was one of the greatest of men. He said that he admired how Hitler always knew exactly how to dispose of his enemies. He said that we should all learn from Hitler. He then asked me if I understood and I managed to stutter that I did and he grabbed his gun from the table, got up, and walked silently out of my house.”
- The trials and triumphs of editing Saul Bellow’s last novel, Ravelstein: “As he homed in on something that was bothering him, you’d hear first a deep rasping, the audible intakes of breath growing sharper. Then he’d look up. ‘This isn’t working,’ he’d say. More breathing. Then, ‘Let’s try this.’ At this point, I would start writing, taking down his words. Word by word a new paragraph would emerge and take the place of the older one, stronger, sharper than what was there before. Even as I read it out to him, I’d see how he’d changed it for the better. Whatever had jarred in the earlier version had gone. Writer’s alchemy—changing what was pretty good to begin with into something even better.”
November 20, 2014 | by Sadie Stein
In my defense, I was really little when my mom took me to my first concert at a grown-up concert hall. The music was for children, but I was still too babyish; I demanded to leave in the middle of act I so I could pee. I have no memory of what we heard that day, but the elegant bathroom made a huge impression on me. “Who was that lady?” I asked my mother, after a uniformed woman had handed me a paper towel and my mom had dropped a bill in her basket. And she explained: that was a Madame Pipi.
For a long while after that, I was obsessed. “What do you want to be when you grow up?” adults would ask me. And I would answer, “A Madame Pipi.” It seemed to me the most glamorous job in the world; to be surrounded by grandeur, dressed in a smart uniform, and have a bowl of money, besides. To a small child, all grown-ups seem important and magisterial; bathrooms loom large; the adult measures of income and status do not apply. I made myself a Madame Pipi outfit with a small apron, although my parents would not allow me to be on duty when we had guests. Read More »
August 5, 2014 | by Timothy Leonido
A panda painting, small-claims court, and the perils of communal living.
Of the many collectives in West Philadelphia, the Mitten was widely held to be the ideal model. Founded by six young progressives from the Inter-cooperative Council in Michigan, it hosted workshops on social justice and fundraised for local nonprofits. And it was a staple of the queer-arts scene: punk bands played in the basement and drag shows filled the living room, with performers grinding on audience members and audience members grinding on banisters. In the adjacent lot they had grown a lush garden with six raised beds and a chicken coop.
When I first moved to Philadelphia, I was eager to join a house like this one—but brimming with collaborative energy, they were in high demand, and the ones I found lacked the character and spirit that’d drawn me to communal living in the first place.
I was impatient, though, and took a room in Cedar Park, aka “University City,” at an A-frame Victorian with a huge mulberry tree. The quaint facade hardly matched its sterile interior: overhead lighting reflected off marble countertops, the white walls were bare, and there was La-Z-Boy furniture in suburban quantities. This collective included five members, young professionals who, surprisingly, spent the majority of time away from the house, staying often with their partners. A math teacher, a product engineer, a classical vocalist and a software designer—they were mild and even a little shy. But one of the members, Jeff, maintained a particular enthusiasm for the house. He spoke in an affectedly deep voice, noticeably straining as he described the order of things: regular meals “kept costs down”; adherence to the chore wheel “kept everything running smoothly.” He appeared to be the oldest by a significant difference; his skin had a jaundiced tint, and his goatee was visibly grayed. A baseball cap covered his bald head, and in his beige clothing he nearly blended with the plush chairs in the living room. Read More »
September 4, 2012 | by Caleb Crain
A non-question has recently preoccupied the literary corners of the Internet: How rude should a book critic be? I call it a non-question because its non-answer is the same as for people in social situations generally: it depends. It’s impossible to find a universal rule that licenses rudeness. There’s always going to be at least one observer who feels that a conflict could and should be handled politely. (And who knows? Insofar as politeness is a skill, maybe there's always room for improvement.) Also, there’s always going to be at least one observer who describes as honest what others call rude. But even if you give up on unanimity and settle for a majority opinion, you still can’t formulate a general decision. Try it and see. Was William Giraldi justified in adopting a rude tone about Alix Ohlin’s novel? Was Ron Powers, about Dale Peck’s? Only the particular questions are worth debating, and no matter how many questions like them you answer, you never reach a rule that has the purity of math. The most you can hope for is etiquette.