The Books We Own And Will Never Read

Let’s get real, be honest, face the facts: There are some books on my shelves I will never read. The reasons for this are manifold: the contents of the shelves are not static, as I keep adding to them; my shelves are disorganized, which means that many books escape detection as I inspect the shelves looking for the next book to take on; my tastes in reading have changed, leading me to steadfastly ignore an older acquisition–it just does not catch my attention; some books have not rewarded my reading attempts in the past and have been put back, perhaps to be visited again someday–but we both suspect that encounter will not happen; and lastly, most grimly, most cosmically, time is running out–given rates of acquisition, my physical and intellectual capacities, my waking hours, my many other commitments, some tasks will remain incomplete in this life, as they do in all others. Among them the reading of books we thought we would read some day.

I may have presented this as a ‘problem’ in the opening lines above, but it really isn’t. Every owner of books knows this; you buy books not just to read them but because, quite simply, books are artifacts we like to keep close by, to offer reassurance of all kinds. They are talismans, security blankets, good-luck charms, mirrors of ourselves, souls in the bodies of our lives; call them what you will, they aren’t just objects to be opened and ‘consumed’ and ‘exhausted’; not every fruitful and significant relationship with an object requires us to integrate it fully or even partially into ourselves. When we go to a museum and look at a work of art, we do not bring it home with us, we do not seek to own it; it is enough for us that we were able to experience it in some way, no matter how attenuated. When we go into the outdoors, we do not bring home the proverbial bubbling brook or dale, except by way of photographic reproduction. Our lives brought us together with these; they will take us apart. We will have had some measure of that which we saw and felt and tasted and touched; some, perhaps not all.

Books are meant to be read, of course. And an archetypal mode of pretension in our world is a kind of shallow display, a pointing in a direction we will never go. Books can play that function for those who deploy them as such; you might be able to signal erudition of a socially valuable kind by your book ownership. We should tolerate such pretension; there are worse things to be inauthentic about, and if the outcome is a room full of books for us to look at, admire, and browse through, then so be it.

My ownership of books I will never read is made easier by being a parent; I reassure myself periodically that I’m putting together an inheritance for my daughter. In a life marked by tiny failures at every step, this is one to be proud of.

 

Fascism And The Irrelevance Of ‘Truth’

Yesterday, a former student wrote to me, asking for clarification on something he had read in an online discussion group:

We [Fascists] don’t think ideology is a problem that is resolved in such a way that truth is seated on a throne. But, in that case, does fighting for an ideology mean fighting for mere appearances? No doubt, unless one considers it according to its unique and efficacious psychological-historical value. The truth of an ideology lies in its capacity to set in motion our capacity for ideals and action. Its truth is absolute insofar as, living within us, it suffices to exhaust those capacities. [From: Gregory J. Kasza, “Fascism from Above? Japan’s Kakushin Right in  Comparative Perspective,” in Stein Ugelvik Larsen, ed., Fascism Outside Europe (Boulder, Colorado: Social Science Monographs, 2001)]

My student asked:

What is being implied about fascism and ideology? What is being said from “fighting for an ideology means fighting for mere appearances?” Is the author implying that to the fascist, truth cannot be unquestioned and as a result, can potentially change?

I have not been able to procure a full copy of the paper so my remarks are limited to the excerpt above. In it, the speaker/writer claims that political and theoretical struggle for the fascists is not necessarily devoted to the pursuit of truth; a clash of competing ideologies is not a clash of competing truth claims. In one sense, a battle over ideologies, over competing systems of thought, is a kind of superficial battle for ‘mere appearances’–precisely because one ideology is not clashing with another to establish itself on the grounds that it is the ‘true’ or ‘correct’ one; but this clash becomes more than just a matter of appearance when we realize that the truth value of an ideology is independent of what the author terms its ‘psychological-historical value’; that the ‘truth of an ideology’ is found in its capacity to make us act. That is what of value to the fascist, the fact that a system of thought–theory–induces praxis, that it shortens the gap between the two, that it encourages those powers within us that make us act.

For the fascist then, truth is not the most important quality of a theory; a theory could be false in the conventional sense of ‘accurately corresponding to the actual state of affairs’ and yet still be a ‘good’ theory precisely because at a particular moment in historical time, marked by very particular material, economic, and political circumstances, it is able to get one class of political and social actor ‘moving’; it is able to make real this actor’s agency; it has found, magically, the key that unlocks access to a potential actor’s world-changing capacities. Theories of politics, according to the speaker/writer above, are theories of action; their value is judged accordingly. Do they make us act? To what ends? Are they effective? If the theory is effective in making us act to bring about the desired ends, it is a ‘true’ or better still, a ‘good’ or ‘useful’ theory. (This moving past the truth of a theoretical claim to its utility is a Nietzschean maneuver, visible in–among other places–‘On Truth and Lies in a Nonmoral Sense‘ and in many passages in Beyond Good and Evil.

Hannah Arendt On Our Creations’ Independent Lives

In ‘Remarks to the American Society of Christian Ethics’ (Library of Congress MSS Box 70, p. 011828)¹,   Hannah Arendt notes,

Each time you write something and send it out into the world and it becomes public, obviously everybody is free to do with it what he pleases, and this is as it should be. I do not have any quarrel with this. You should not try to hold your hand now on whatever may happen to what you have been thinking for yourself. You should rather try to learn from what other people do with it.

In a post responding to David Simon‘s complaints about viewer’s ‘misinterpretations’ of his The Wire, I had written:

[T]here is something rather quaint and old-fashioned in the suggestion that viewers are getting it wrong, that they misconceived the show, that there is, so to speak, some sort of gap between their understanding and take on the show and the meaning that Simon intended, and that this is a crucial lacunae….once the show was made and released, any kind of control [Simon] might have exerted over its meaning was gone. The show doesn’t exist in some autonomous region of meaning that Simon controls access to; it is in a place where its meaning is constructed actively by its spectators and in many ways by the larger world that it is embedded in.

Arendt’s remarks obviously apply to the business of interpreting artistic works–just like they do to other creations of the human mind like philosophical theories of politics and morality. Once ‘made,’ once theorized, and sent ‘out there,’ they have a life of their own, now subject to the hermeneutical sensibilities and strategies of those who come into contact with them; these encounters are mediated by the interests and inclinations and prejudices of the work’s interpreters (as Gadamer would have noted), by the history of the world that has intervened in the period between the creation of the work and its reception by others. To attempt to reclaim the work, to insist on the primacy of the creator’s vision at the cost of others, to regulate how the work may be thought of and more ambitiously, modified to produce derivative works–these are acts of hubris, of vainglory. The openness of such works to a series of rebirths and reinvigorations prepares it for its encounter with greatness; its ability to entertain multiple ‘readings,’ to provide room for fertile exploration with every new generation, these mark a work out as a ‘classic’ one; indeed, such fecundity in the face of repeated exegesis is perhaps the most enduring condition of the ‘classic.’

Arendt’s remarks are cited by Margaret Conovan in her ‘Introduction’ in Arendt’s The Human Condition (University of Chicago Press, Chicago, 1998, p. xx) as he claims that this difficult but rich work will continue to endure precisely because it affords its readers so much opportunity for their own idiosyncratic encounters with the text and its theses. My discussions with my students this semester–as we read Arendt’s book together–will, I think, bolster Conovan’s assertions.

The Indifferent ‘Pain Of The World’

In All the Pretty Horses (Vintage International, New York, 1993, pp. 256-257), Cormac McCarthy writes:

He imagined the pain of the world to be like some formless parasitic being seeking out the warmth of human souls wherein to incubate and he thought he knew what made one liable to its visitations. What he had not known was that it was mindless and so had no way to know the limits of those souls and what he feared was that there might be no limits.

The ‘pain of the world’–its irreducible melancholia and absurdity, its indifference to our fortunes and loves and fears–can indeed feel like a malevolent being, a beast of a kind, one that may, if provoked, swat us about with a terrible malignity.  Here, in these impressions, we find archaic traces of an older imagination of ours; the formless fears of the child’s world have congealed into a seemingly solid mass, serving now as foundations for our anxious adult being. It is unsurprising that we have found ways to pay obeisance to this beast through prayer and fervent wishing and day dreaming and fantasy and incantations and magic and potions; we hope to pass unnoticed through its gauntlet, afraid to set astir the slumbering beast and provoke its attentions and wrath. As John Grady Cole, McCarthy’s character, notes, we fear two things especially about this beast: we suspect ourselves to be particularly vulnerable to its depredations, a particularly attractive prey for this predator; we fear we sport a bull’s eye on our backs, a scarlet letter that marks us out as an offender to be dealt with harshly; we fear there may be no limits to its appetites; we sense that lightning might strike not once, not twice, but without no constraint whatsoever; perhaps we ain’t seen nothin’ yet, and much more misfortune awaits us around the corner on life’s roads.

In our darkest moments we attribute a malevolent intelligence to this beast, but we know the worst eventuality of all would be a mindless beast, one whose ignorance of us and our capacity to tolerate pain could cause us to plumb unimaginable depths, to experience pain whose qualities defy description. (The fears of these sorts of mental chasms are expressed quite beautifully in Gerard Manley Hopkins’ mournful poem ‘No worst, there is none. Pitched past pitch of grief.’) McCarthy also seems to suggest the possibility of a presumption of ‘too much’ knowledge on Cole’s part–a la Oedipus, a possible arrogant claim to know the ways and means and methods and mind of the beast; but as McCarthy goes on to note, there is no mind here to be known, no rationale to be assessed, no strategy or tactic to be evaluated; there is merely being and man, caught up in its becoming. It is this irrelevance of man and his capacities and attributes to the working of this beast which is Cole’s deepest fear; it is ours too, the root and ground of the absurdist existentialist vision.

 

Anticipating Another Encounter With Books And Students

This coming fall semester promises to be a cracker: I have the usual heavy teaching load of three classes (including two four-credit classes whose lectures will be one hundred minutes long, thus making for a very exhausting Monday-Wednesday sequence of teaching running from 9:05 AM to 3:30 PM, with an hour break between the second and third class meetings); and I will be trying to make some headway on a pair of manuscripts, both due next year in May and August respectively (one project examines the Bollywood war movie and the Indian popular imagination, another conducts a philosophical examination of the Indian film director Shyam Benegal’s work.)

The three classes I will be teaching this semester are: Social Philosophy, Philosophy of Law, and Landmarks in the History of Philosophy. The following are their reading lists: the first two classes below feature my favored kind of reading assignments–pick a few select texts and read them from cover to cover; this is a slightly risky move, given that my students–and  I–might find out, together, that the text is ‘not working.’ For whatever reason; some works do not bear up well under closer inspection in a classroom, some material turns out to be tougher to teach and discuss than imagined, and so on. When it works though, a detailed and sustained examination of a philosophical work pregnant with meaning can work wonders, allowing my students and I to trace the various strands of complex arguments at leisure, drawing out their many interpretations and understandings as we do so.

Social Philosophy: 

Hannah Arendt, The Human Condition, University of Chicago Press; 2nd ed., 1998,

Herbert Marcuse, One-Dimensional Man, Routledge Classics,

Sigmund Freud, Civilization and its Discontents, W. W. Norton & Company, 1989,

Landmarks in the History of Philosophy:

William James, Pragmatism, Dover, 1995

Mary Wollstonecraft, A Vindication of the Rights of Woman, Dover, 1996,

Thomas Szaz, The Myth of Mental Illness, Harper Perennial

Philosophy of Law: 

‘The Case of the Speluncean Explorers’ by Lon Fuller (to introduce my students–briefly and vividly, hopefully–to theories of natural law, positivism, and some tenets of the interpretation of legal texts.)

HLA Hart, ‘On Primary and Secondary Rules’

Justice Oliver Wendell Holmes, ‘The Path of the Law’

David Caudill and Jay Gold, Radical Philosophy of Law

Besides these three classes, I will also be conducting an independent study with an undergraduate student on the relationship between Nietzsche’s writings and Buddhism; this promises to be especially fascinating. The following is the list of books my student and I will work through over the course of the semester:

Nietzsche and Buddhism: A Study in Nihilism and Ironic Affinities

Nietzsche and Zen: Self Overcoming Without a Self 

Nietzsche and BuddhismProlegomenon to a Comparative Study

Nietzsche and Buddhist Philosophy

Every semester, as always, brings on that same trembling anticipation: books and students and all the promises those encounters hold–the revelations, the surprises, the discoveries, the missteps. What a great way to spend one’s waking hours; I will have ample opportunities to count my blessings in the weeks that lie ahead.

The Bollywood War Movie And The Indian Popular Imagination  

In 1947, even as India attained independence from colonial subjugation, war broke out in Kashmir as guerrillas backed by Pakistan sought to bring it into the Pakistani fold. That war ended in stalemate after intervention by the UN. Since then, the fledgling nation of India has gone to war four more times: first, in 1962, Jawaharlal Nehru’s darkest hour, against China, a war that ended in a humiliating loss of territory and self-esteem, which left Nehru a broken man, and ultimately finished him off; then, in 1965, India and Pakistan fought their way to another inconclusive stalemate over Kashmir; in 1971, India fought a just war to bring freedom to the erstwhile East Pakistan, producing the new nation of Bangladesh in the process (war broke out on the western and eastern fronts in December 1971 and ended quickly as the Pakistan Army surrendered in Dacca two weeks later); finally, in 1999, India forced its old nemesis, Pakistan, back from the brink of nuclear war by pushing them off the occupied heights of Kargil. War is part of the story of the Indian nation; it continues to shape its present and the future. India, and its understanding of itself, has changed over the years; Bollywood has tried to keep track of these changes through its movies, in its own inimitable style. In a book project that I am working on, and for which I have just signed a contract with HarperCollins (India), I will examine how well it has succeeded in this task.  (I have begun making notes for this book and anticipate a completion date of May 31st 2018; the book will come to a compact sixty thousand words.)

In my book, I will take a close look at the depiction of war and Indian military history in Bollywood movies. I will do this by examining some selected ‘classics’ of the Bollywood war movie genre; by closely ‘reading’ these movies, I will inquire into what they say about the Indian cinematic imagination with regards to—among other things—patriotism, militarism, and nationalism, and how they act to reinforce supposed ‘Indian values’ in the process. Because Bollywood both reflects and constructs India and Indians’ self-image, this examination will reveal too the Indian popular imagination in these domains; how can Indians come to understand themselves and their nation through the Bollywood representation of war?

Surprisingly enough, despite India having waged these four wars in the space of merely fifty-one years, the Bollywood war movie genre is a relatively unpopulated one, and moreover, few of its movie have been commercial or critical successes. The Bollywood war movie is not necessarily an exemplary example of the Bollywood production; some of these movies did not rise to the level of cinematic or popular classics though their songs often did. This puzzling anomaly is matched correspondingly by the poor state of military history scholarship in India. My book aims to address this imbalance in two ways. First, by examining the Bollywood war movie itself as a movie critic might, it will show how these movies succeed or fail as movies qua movies and as war movies in particular. (Not all Bollywood war movies feature war as a central aspect, as opposed to offering a backdrop for the central character’s heroics, sometimes captured in typical Bollywood formulas of the romantic musical. This is in stark contrast to the specialized Hollywood war movie, of which there are many stellar examples in its history.) Second, by paying attention to the place of these wars in Indian popular culture, I will contribute to a broader history of these wars and their role in the construction of the idea of India. Nations are sustained by dreams and concrete achievement alike.

After a brief historical introduction to Bollywood, I will critically analyze selected movies–(Haqeeqat, 1971, Aakraman, Lalkaar, Border, Hindustan Ki Kasam, Hum Dono, Lakshya, LOC Kargil, Deewar (2004 version), Shaurya, Tango Charlie, and Vijeta)–beginning with post-WWII classics and chronologically moving on to more contemporary offerings. Along the way, I hope to uncover–in a non-academic idiom–changing ideas of the Indian nation, its peoples, and the Indian understanding of war and its relationship to Indian politics and culture as Bollywood has seen it. This book will blend cinematic and cultural criticism with military history; the wars depicted in these movies serve as factual backdrop for their critical analysis. I will read these movies like texts, examining their form and content to explore what they teach us about Bollywood’s attitudes about war, the effects of its violence on human beings, on the role of violence in human lives, on how romantic love finds expression in times of war, how bravery, cowardice, and loyalty are depicted on the screen. I will explore questions like: What does Bollywood (India) think war is? What does it think happens on a battlefield? Why is war important to India? What does Bollywood think India is, and why does it need defending from external enemies? Who are these ‘external enemies’ and why do they threaten India? How does Bollywood understand the military’s role in India and in the Indian imagination? And so on.

 

Margaret Atwood’s Handmaid’s Tale And The Gilead Nationwide

I’ve read Margaret Atwood‘s The Handmaid’s Tale late; in fact, I’ve only just finished reading it–by way of preparing to watch the new television series currently being aired on Hulu–some twenty-five or so years it was first recommended to me by an ex-girlfriend (who was then an office bearer with the National Organization for Women in New Jersey.) I might have read it too late; the issues broached in Atwood’s dystopian classic of speculative fiction–the rise of a totalitarian theocracy in the US, the forcing of women into sexual and reproductive subjugation, the curtailing of women’s bodily freedoms under the guise of protecting ‘conventional’ morality, a harsh penal regime, and environmental degradation notable among them–have been at the forefront of a great deal of political and moral discourse in the intervening years. The issues Atwood philosophized about–using the literary vehicle of a novel–have had their many complexities articulated and analyzed and theorized threadbare; they are now exceedingly familiar to us. For all of that, they are not any less threatening, and it is small wonder that as the Trump Administration, aided and abetted by that cabal of nihilists, the Republican Party, continues its wrecking ball treatment of the American Republic, the novel (and its associated television series) continues to seem increasingly prescient and prophetic. Perhaps even a little too much so; at least two of my friends have informed me that they will not be reading the novel or watching the show any time soon, ‘at least as long as this administration is in office–it’s a little too real right now.’ Dystopian speculative fiction should not be too realistic, I suppose.

The problem, of course, is that Donald Trump is not the problem; the Republican Party is. The impeachment of Donald Trump would merely bring to the Oval Office Mike Pence, a drone-like creature best placed to emulate those folks who run the land of Gilead in Atwood’s novel. Moreover, Republican run state legislatures the nation over specialize in drafting and passing legislation that flirts with the codes operative in Gilead: their primary obsession has been, and will be for the foreseeable future, the control of women’s bodies, but attempts to control where and how they work and what they can read or write never seem too far behind. (To be fair, state level Republican Party leadership is always interested in controlling what everyone reads and writes.) Take a look at some of the pieces of work linked to here–a piece dating back to last year–and you’ll have a fair idea of the medievalist mindset, which would not be out of place in Gilead, that is par for the course among the Republicans of today. Matters have only worsened since the election of Donald Trump; while his antics provide a never-ending series of distractions that cause liberals to foam at the mouth and fantasize about impeachment, Republicans quietly proceed with shadow legislation–like the new version of the American Health Care Act, which is due to be voted on, apparently without being read by anyone in a position to stop it from being passed.

Gilead will not come with a bang, but with a whimper.