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Category: Essays (page 42 of 46)

Richard Rorty: Philosophy and the Mirror of Nature

Going back to Rorty’s big book from 1979 reminds me of how much of a summation of Rorty’s philosophical project it is. It is also, up until the last section, bereft of the political baggage that would come to dominate his work soon afterwards. The meat for the analytics lies in its comparatively clear account of post-Wittgensteinian developments in the philosophy of mind, philosophy of language, and epistemology. Rorty even engages with Kripke briefly to trash (rightfully) Kripke’s defense of dualism, and implicitly with it the entire strain of post-Kripkean metaphysics, in which we find people arguing over how many grains of sand constitute a “heap” and whether Mount Everest plus one atom is still Mount Everest. The correct answer is that language does not work (or “refer”) in this way, and Rorty’s marshaling of Quine, Davidson, and Sellars to make this point is quite convincing, even when the particulars are dubious. (E.g., one must first get past an oblique argument aboutinner sensations in order to reach the more general and forceful points about language and praxis.)

In the midst of this is one of the clearest accounts of the Myth of the Given, one of the core arguments of the philosophy of Wilfred Sellars. (Whether Rorty’s is one of the more accurate accounts is entirely up for debate.) I want to quote it at length because I think it is Rorty at his philosophical best. Rorty’s account is based on Sellars’ classic and impenetrable paper Empiricism and the Philosophy of Mind, which despite its fame, is far less known than it should be, at least in my experience. (I encountered it once in four years of analytic philosophy.) Rorty’s application of it in discussing “Pre-Linguistic Awareness” follows:

Children and photoelectric cells both discriminate red objects, but pre-linguistic children are thought to “know what red is” in some sense in which photoelectric cells do not. But how can the child know what pain is if all awareness of anything “is a linguistic affair?” Here Sellars needs another distinction. This time it is between “knowing what X is like” and “knowing what sort of thing an X is.” The latter involves being able to link the concept of Xness up with other concepts in such a way as to be able to justify claims about X’s. On Sellars’s Wittgensteinian view, in which to have a concept is to use a word, these two abilities are the same ability. It follows that we cannot have one concept without having many, nor can we come “to have a concept of something because we have noticed that sort of thing”; for “to have the ability to notice a sort of thing is already to have the concept of that sort of thing.” But to “notice a sort of thing is to notice under a description, not just to respond discriminatively to it. What, then, is it to know what pain is like without knowing or noticing what sort of thing it is?

It is just to have pain. The snare to avoid here is the notion that there is some inner illumination which takes place only when the child’s mind is lighted up by language, concepts, descriptions, and propositions, and does not take place when the child inarticulately wails and writhes. The child feels the same thing, and it feels just the same to him before and after language-learning. Before language, he is said to know the thing he feels just in case it is the sort of thing which in later life he will be able to make noninferential reports about….

There is no reason for Sellars to object to the notion of “knowing what pain (or redness) is like,” for this would only support the Myth of the Given, and contradict psychological nominalism, if there were some connection between knowing what pain feels like and knowing what sort of thing pain is. But the only connection is that the former is an insufficient and unnecessary causal condition for the latter. It is insufficient for the obvious reason that we can know what redness is like without knowing that it is different from blue, that it is a color, and so on. It is unnecessary because we can know all that, and a great deal more, about redness while having been blind from birth, and thus not knowing what redness is like. It is just false that we cannot talk and know about what we do not have raw feels of, and equally false that if we cannot talk about them we may nevertheless have justified true beliefs about them. What is special about language is not that it “changes the quality of our experience” or “opens up new vistas of consciousness” or “synthesizes a previously unconscious manifold” or produces any other sort of “inner” change. All that its acquisition does is to let us enter a community whose members exchange justifications of assertions, and other actions, with one another.

(pp. 183-185)

For me, this passage succinctly describes several of the great discoveries of analytic philosophy in the 20th century, beginning with Wittgenstein, and provides a proper groundwork for a philosophy of language. It is far from precise, but the force of the rhetoric makes its point.

Unfortunately, it is followed just a few pages later by a wholly unwarranted jump in logic, which is just the sort of thing that makes Rorty so maddening:

The moral prohibitions are expressions of a sense of community based on the imagined possibility of conversation, and the attribution of feelings is little more than a reminder of these prohibitions. This can be seen by noticing that nobody except philosophers of mind cares whether the raw feel of pain or redness is different for koalas than for us, but that we all care quite a bit about a koala when we see it writhing about. This fact does not mean that our or the koala’s pain “is nothing but its behavior”; it just means that writhing is more important to our ability to imagine the koala asking us for help than what is going on inside the koala. Pigs rate much higher than koalas on intelligence tests, but pigs don’t writhe in quite the right humanoid way, and the pig’s face is the wrong shape for the facial expressions which go with ordinary conversation. So we send pigs to slaughter with equanimity, but form societies for the protection of koalas.

(p. 190)

The irony here is that Rorty did not follow Sellars far enough in order to put “the idea of the having of pain” into the linguistic space of reasons, under which one certainly can imagine helping pigs out because they “feel pain,” and not just because they exhibit pain behavior. (This motivation is not a necessity, but “attribution of having of pain” definitely figures into vegetarians’ arguments just as much if not more than “cuteness” or “anthropomorphic behavior.”) I believe this to be another of Sellars’ crucial contributions to philosophy, and I find it puzzling and frustrating that Rorty did not utilize it. Rorty’s denial of this possibility amounts to a pathetic fallacy, and damages his argument quite badly. I suspect Rorty found this behavioralist argument to be more obviously persuasive than delving into the complexities of Sellars’ Myth of Jones and just ran with it.

Rorty, good and bad, in a nutshell.

Richard Rorty, 1931-2007

Here I was about to write on Dante, and I hear that Rorty has passed away. Rorty is such a paradoxical and multifaceted figure that his death gives me cause to ponder my own philosophical orientations and biases. Even more than other analytic “slipstream” figures (my appropriated, tongue-in-cheek term for those analytics who headed, intentionally or unintentionally, towards an epistemological and hermeneutic rapprochement with continental developments: late Wittgenstein, Quine, Sellars, Goodman, Putnam, Davidson, McDowell, and Brandom, all of whom owe some kind of debt to the American pragmatists, particularly Peirce), Rorty let himself abandon the analytic style and rigor and embrace far more historicist positions. And I feel this pull myself. But complicating this is the seeming existence of three Rortys. In roughly chronological order:

  1. the analytic “linguistic turn” Rorty (Philosophy and the Mirror of Nature, etc.)
  2. the pragmatic deconstructionist Rorty (Contingency, Irony, and Solidarity, etc.)
  3. the liberal populist Rorty (Achieving Our Country, late essays, etc.)

Even worse, the earlier Rortys continued to coexist with the later ones, although the analytic Rorty disappears mostly from the picture post-Contingency. The reason for this vanishing is that Rorty wisely realized that the post-Sellarsian philosophy of language was neither useful nor supportive of the relativistic pragmatic liberalism that the other two Rortys wanted to promote. Between the first two Rortys is Rorty turning his back on the analytic tradition and collapsing the lessons of Sellars and Quine into a roughly deconstructionist stance that Rorty inherits from Derrida, as well as an explicit embrace of historicism. There is little talk of sensing, mind, or language as practice in his later work, though clearly Rorty maintained enough affinities with his analytic forefathers to acutely criticize post-Kripkean analytic metaphysics. I am in great sympathy when in that article, he observes, criticizing Kripke-worshiper Scott Soames:

To my mind, the story of 20th-century analytic philosophy (including the role of Kripke in that story) is best told by highlighting questions about whether truth is a matter of correspondence, about what is and is not ‘out there’ to be corresponded to, and about whether there is any sense in which thought makes ‘direct contact’ with reality. So I regret that Soames’s history shoves these issues into the background. But perhaps correspondence is just my hobbyhorse, as necessity is his.

Couple “language” with “thought” and “truth,” and this is indeed my view of modern analytic philosophy as well. But even as he says this, his later work makes it clear that Rorty had lost interest in this question in and of itself, and was far more concerned with its implications and utility in political and cultural frameworks. His leap to an embrace of continental traditions is not surprising in this light, and his status as a maverick seems to be mostly due to this leap alone. His actual positions fit squarely into a deconstructionist (or “post-structuralist,” if you will) mainstream, with a little American flavoring. With regard to his treatment of meaning and language, Rorty’s actual separation from Derrida lies less in his ideology and more in the comparative clarity of his writing, which did as much to offer analytics a bridge to deconstructionist thought as it did to antagonize them towards it.

Perhaps it was this clarity that caused the third Rorty to evolve, in which he popularized his style even further and, most notably, wrote a little book called Achieving Our Country, celebrating Emerson and Dewey as models for a pragmatic politics. No matter that much of what he advocates in this book is unsubstantiable by Rortys 1 and 2. It was clear that after having embraced a heterodox liberalism under the guise of “liberal ironism” in his second incarnation, he was ready to put that into practice and drop the theory to attempt a concrete politics in the tradition of Dewey. Yet while Habermas attempted to ground such a liberalism in a dense, coherent account of intersubjectivity, Rorty seemed to have lost interest in fighting with other philosophers, and wanted to speak to the people. The book was not popular, though it earned an amusing rebuke from George Will in Time, who must have seen it as some sort of threat, or as a convenient strawman for attacking academia. That last point is particularly ironic, as Rorty #3 did indeed drop (or at least obscure) all of the relativist baggage that David “Black Panthers and Blacklists” Horowitz thinks threatens our nation. Some good it did him. In the late essays published (by Penguin!) in Philosophy and Social Hope, he is attacking Marx and criticizing philosophical leftists like Derrida for embracing Marxism, in between celebrating Forster and (again) Dewey.

Ironically enough, I see something of a parallel development in Derrida, who begins as an unorthodox but traditional Husserlian phenomenologist, then develops an aggressive deconstructionism in contrast to preceding structuralist trends, and finally ends his life advocating for the EU and Enlightenment values and making nice with arch-enemy Habermas in the name of liberalism. But Derrida never quite abandoned his audiences the way that Rorty 1 and Rorty 2 did.

II.

There have been countless accounts of analytic vs. continental personalities, and I only offer this one on the
grounds that it’s purely anecdotal. (I use “continental” here as shorthand for the poststructuralist mainstream that holds sway in America: Derrida, De Man, Foucault, Kristeva, Lacan, Agamben. No need to correct me on this point; I know.) But my experience has been that on assuming a position, analytics are far more likely to take it as truth to be put into practice, while continentals tend to embrace a position as justificatory rhetoric. For instance, the analytic incompatibilist determinists I know, who believe in no free will and no moral responsibility, seriously apply such beliefs in their daily lives: they picture people as robots to be corrected when they malfunction, and they have no patience with even the idea of revenge. Derek Parfit’s views on (lack of) personal identity, by his own admission, brought him great comfort in facing death. David Lewis, to cite an extreme example, truly believed in an infinite number of alternate worlds for modal purposes. (Indeed, another modern history of analytic thought could be the effect that rigidity can have in inflating pedantic disputes into highly unintuitive beliefs.) On the other hand, the continentals I’ve known have been far more likely to stick with what is, in effect, a foundationalist standpoint, and use philosophical works, appropriately or otherwise, to justify them. I have seen many continentals discourse on the indefinite postponement and deferral of truth and meaning, only then to proclaim the moral evil of the Enlightenment, capitalism, the United States, Europe, etc. One could blame Heidegger for being especially bad at this, but my unjustified suspicion is that the indifference to rhetoric falls out of the modern continental approach itself, just as the analytic approach produces its dogmatists. For whatever reason, Rorty’s “irony” came to dominate his view to the point that such a serious embrace of analytic metaphysical positions became anathema to him. Yet because he was in America or because he was outside the continental scene or because he just was like that, he failed to feel the urgency to dive into the continental pool.

Many of the figures mentioned above, despite my complaints, were brilliant and did remarkable work in analytic or continental philosophy. I think Rorty will be remembered for pursuing a more aggressive synthesis than most more than for espousing a particular position. I don’t necessarily see this as a fault, because I think his intent ultimately was not to stake out a singular philosophical position, but it does complicate how to assess his stature. Maybe because I am something of a philosopher, I can’t think of him as being as important as Habermas, Davidson, or even Derrida, even though I have problems with all three of them. If Rorty had had another fifty years, perhaps he would have produced a big book that would have been a liberal, anti-communitarian version of Alasdair MacIntyre’s After Virtue; more likely, though, he would have gotten involved in politics (as another of his spiritual compatriots, Charles Taylor, actually did). He would have made a good columnist for the New York Times, certainly a better one than the universally ridiculed Stanley Fish. (But there I go, shooting Fish in a barrel again….)

Statement of the Problem

Arguments making a case for complexity and hybridity, usually formulated in response to previous over-simplifications, are by definition hard to refute–but they can also be hard to get excited about.

Alison Shell

ANTIFESTO

No art without art, no text without text.

  1. No mention of institutional affiliation.
  2. No discussion of the publishing industry.
  3. No discussion of academia or academic careers.
  4. No attacks on critical theory.
  5. No arguments with or over print media.
  6. No blog triumphalism.
  7. No “literary” vs. “non-literary” classifications.
  8. No arguments from authority.
  9. No false objectivity.
  10. No aping of academic prose styles.
  11. No aping of popular prose styles.
  12. No smugness.
  13. No discussion of this manifesto.

[Thanks to EW for the title and JBF for the runner-up.]

Roberto Bolaño: The Savage Detectives

Q: You are Chilean, Spanish or Mexican?

A: I am Latin American.

(Roberto Bolaño)

This is a long book–too long, in fact–but it makes its point. Bolano, who died a few years back as a consequence of alcoholism, drug abuse, and assorted other consequences of extreme living (read the New Yorker profile of Bolaño for an overview), wrote a lot of short books and two very long books, including this one. And not only does it play at being autobiography, but also at a bildungsroman, as it follows “Arturo Belano” and his friend Ulises Lima from Mexico to Europe to Africa. But given Bolaño’s life, it reads as the only bildungsroman he could have written: a paean to the costs and benefits of never growing up. The bildung is entirely ironic, or negative.

The setup, in the words of James Wood:

“The Savage Detectives” was published in 1998, but its heart belongs to the Mexico City of the mid-1970s, when Bolaño was an avant-garde poet bristling with mad agendas. Like much of his work, the novel is craftily autobiographical. Its first section is narrated in the form of a diary, by a 17-year-old poet named Juan García Madero who is on the make, erotically and poetically, and who has been asked to join a gang of literary guerillas who have named themselves the “visceral realists.” The group is led by two young poets, Arturo Belano and Ulises Lima, a wild duo who appear elsewhere in Bolaño’s work (in “Amulet,” for instance). Lima is based on one of Bolaño’s friends, the poet Mario Santiago, and Belano is based on … Bolaño.

Yet for this scenario, there isn’t a lot of literature in the book. Much of the so-called literary discussion is nothing more than trivialities, like Garcia Madero quizzing his friends on obscure poetic terms, and so-called “visceral realism” is, it is made clear, a mere platform for attacking the many betes noires of Lima and Belano (and Bolaño), particularly Octavio Paz and Pablo Neruda. Bolaño never slips: the book is entirely committed to showing literature as a lifestyle and not as an artwork, and what it extracts.

Much has been made of the book’s structure, and justifiably so. It is sandwich-shaped, with two shorter bookends taking place in 1975 and 1976 of the diaries of Juan Garcia Madero, and the main section narrating events episodically from 1977 to 1996 with intermittent flashbacks to 1976. The first section shows most of the benefits of the characters’ lifestyle, and it is not without some irritation that I read through one hundred pages of Juan sleeping his way through his fellow women poets and talking big with his fellow male poets. This irritation is intentional, because when things of consequence start happening, they are exactly the product of the sort of indulgent childish lives of wastedness that the visceral realists have been living. The rest of the book details the costs.

Even in that first part, we don’t forget that they are children: the visceral realists are people in their late teens and early 20s. Even Belano, who was imprisoned by Pinochet’s government in Chile after the coup before returning to Mexico, treats his experiences in the detached, solipsistic way a writer would: his politics are vague and more visceral than intellectual. The Chilean experience is only alluded to, while the book slides into a soap opera plot about Belano, Lima, and Garcia Madero going on the run with a girl trying to escape from her murderous thug boyfriend. If this sounds dissonant in summary, it doesn’t on the page, but it is terribly disconcerting, when the soap opera seems more real than Allende and Pinochet. So it is with adolescents. Bolaño hardly shied away from political topics, embracing them explicitly in works like By Night in Chile, but here he intentionally resists them because they are at odds with his characters and subject matter, and this is part of the tragedy he is trying to convey.

We return to the soap opera of 1976 at the book’s end, after having seen Belano disappear into civil war Liberia after nearly getting killed there, having stopped drinking due to a liver ailment that has doomed him to an early death (as one did Bolaño, killing him in 2003). Yet there hasn’t even been a progression during the middle section, and this is significant. Scenes from 1976 keep acting as a magnetic attractor as the other recollections move forward in time, arresting any sense of forward progression. Since the middle section of the sandwich is so diffuse, containing recollections from dozens of characters who never recur, many of who only had the most tangential interactions with Belano and Lima, no robust narrative emerges as a counterweight to Garcia Madero’s diary, and Garcia Madero himself is definitively absent from the middle section. The overall sense is that indeed, all of these characters’ lives ended in 1976, as Garcia Madero’s seems to have, and what is playing out afterwards in the middle section is a kind of afterlife purgatory of the sort Alasdair Gray brilliantly portrayed in the last two books of Lanark: a purgatory in which the characters wander lost without development. It is in this way, and no other that I can find, that the book makes sense, and a fatalistic, depressing sense indeed.

There are moments in the book–only moments–where the priorities change. The first is the horrific story of Auxilio Lacouture who hides in a bathroom for almost two weeks while the Mexican Army occupies her university in 1968 (she recounts this in late 1976 in the forward timestream of the book). She proclaims herself “the mother of Mexican poetry.” In the language of the book, this means that she, like Garcia Madero, disappears completely after 1976. Bolaño does not call attention to her disappearance, but it is crucial for the narrative that she vanish from the book: she represents the mother of all that is damaged and cannot survive. (It is at this crucial episode, however, that Bolaño’s writing falters, as Auxilio talks like a man, as happens with many of his most significant female characters.)

The other moment is the Liberian civil war, and it must be there that Belano vanishes, because it is there that his childhood truly runs out, as he seems to be faced with something he cannot comprehend.

And yet, Bolaño has stacked the deck, for Belano gets divorced and does not have children; Bolaño remained married and had two children. Belano lives on alone, near-suicidal in his excursions. Bolaño escaped, but for the sake of the narrative of Latin American and Latin America’s writers, Belano is sacrificed. The pathos is complete.

I am not in love with Bolaño in the way that Matthew details in his entry on Bolaño. As the work of a man who was racing against time to produce something urgent and vital, it is appropriately striking and direct. But The Savage Detectives, for all its careful construction, doesn’t quite have the juice to justify its conceit: Bolaño doesn’t quite manage to complete the circle to link Belano’s adventures in Liberia to the final 1976 episode with Garcia Madero. And the very end of the book, rather than making excuses, appears to acknowledge exactly that incompletion. Bolaño proclaims the imperfection of his work, and implies that perfection has gone to death with all his young characters. While not a satisfying ending, it is one I accept.

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