When there is a breakdown in a culture…it can usually be traced to one of several things. The first is a deep disagreement about what constitutes the ordinary and canonical in life and what the exceptional and divergent….this we know in our time from what one might call the “battle of the life-styles.” exacerbated by intergenerational conflict. A second threat inheres in the rhetorical overspecialization of narrative, when stories become so ideologically or self-servingly motivated that distrust displaces interpretation, and “what happened” is discounted as fabrication. On the large scale, this is what happens under a totalitarian regime, and contemporary novelists of Central Europe have documented it with painful exquisiteness–Milan Kundera, Danilo Kiš, and many others. The same phenomenon expresses itself in modern bureaucracy, where all except the official story of what is happening is silenced or stonewalled…finally, there is breakdown that results from sheer impoverishment of narrative resources–in the permanent underclass of the ghetto, in the second and third generation of the Palestinian refugee compound, in the hunger-preoccupied villages of semipermanently drought-stricken villages in sub-Saharan Africa. It is not that there is a total loss in putting story form to experience, but that the worse scenario story comes to to dominate daily life that variation no longer seems to be possible. [links added]
My reasons for posting this passage, at this time should be clear enough.
The first state of affairs that Bruner lists above has been a feature of American life for as long as I can remember it, and indeed, has been from the birth of the nation; it constitutes a dynamic and creative tension in American culture. It has led to many species of politics and political engagement, not all of them conducive to the continuance of the American polity. The third condition too, has been realized in ample measure in American life; it is what makes the ‘voices of the downtrodden’ especially worth listening to–as rappers like Public Enemy were fond of saying, by listening to them you learned something about a world most American citizens did not need or want to interact with; that music offered affirmation that despite the ‘impoverishment of narrative resources’ powerful, creative voices still spoke loudly and clearly. The second condition is the one that will seem especially familiar to us now in this era of ‘fake news–the relentless, seemingly unstoppable lying, the bald-faced denial of ‘what is in front of our nose.’
The crucial mistake, a self-congratulatory one, would be to imagine that this state of affairs is entirely new; bald-faced, persistent, and systematic liars have long worked their trade. What is new is the materiality of our information exchanges, their speed and ubiquity, their all-pervasiveness. They make possible the ‘breakdown’ in communication many experience today; the so-called ‘echo chambers,’ the sense that some divides cannot be bridged by discourse. The central irony in all of this, as media scholars have not tired of pointing out, that it is our civilization’s most pervasive, most efficient, most democratic communication system ever that has facilitated this state of affairs.
Breakdowns in cultures are not trivial affairs, and there is no sign that the current political and cultural tensions in American life will lead to anything like an irreparable rift; but complacency is no substitute for thinking about what changes in material conditions can induce a different social and personal consciousness that could help heal the present schisms.