Last week at Brooklyn College, the Wolfe Institute‘s Spring 2012 Faculty Study Group met to discuss Corey Robin‘s The Reactionary Mind, which aims to identify substantive theses central to that political tradition by way of an intellectual history of conservatism; more precisely, by close readings of some central works of the conservative canon. (The Faculty Study Group is organized by the Wolfe Institute every semester to read and discuss an academic work of interest; this semester’s selection of The Reactionary Mind had already generated some pre-discussion controversy.)
Our meeting last week was considerably enhanced by Corey Robin himself, who joined our discussions of Chapters 6, 7, 8. I expected the discussion to not be restricted to these chapters, of course, and I was not disappointed. Over the course of our two-hour interaction, we were able to get Corey to describe the book’s central thesis–that conservatism is reactionary, counter-revolutionary politics, infused with romantic sentiment, responding vigorously to perceived threats –, clarify some theoretical points, and consider possible sharpenings and applications of his thesis. (One extension of great interest to me is to apply Corey’s central claims to conservatism beyond American and European shores.)
One of the most interesting clarifications of Robin’s thesis was the centrality of the romantic impulse in conservatism. Indeed, it seemed, after our discussions, that the romantic impulse is perhaps even more central than the reactionary, counter-revolutionary component of conservatism; it certainly explains conservative fascination with war, the attraction it presents to ‘outsiders,’ its glorification of strength and individual striving. (I intend to write a post very soon that explores the connection between the sentiments of the immigrant and the romantic imagination.)
There are some interesting theoretical resonances of this association of conservatism with romanticism.
Then, here is Susan Sontag, in ‘An Argument About Beauty’, (from At The Same Time: Essays and Speeches, Farrar, Straus, Giroux, 2007, page 9), where, after considering that works of art might be described as ‘interesting’ as opposed to ‘beautiful’ in an attempt to make them ‘more inclusive':
What is interesting? Mostly, what has not previously been thought beautiful (or good). The sick are interesting, as Nietzsche points out. The wicked too. To name something as interesting implies challenging old orders of praise; such judgments aspire to be found insolent or at least ingenious. Connoisseurs of ‘the interesting’–whose antonym is ‘the boring’–appreciate clash, not harmony. Liberalism is boring, declares Carl Schmitt in The Concept of the Political written in 1932. (The following year he joined the Nazi Party.) A politics conducted according to liberal principles lacks drama, flavor, conflict, while strong autocratic politics–and war–are interesting. [links added]