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David Auerbach on literature, tech, film, etc.

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C. Wright Mills on Thorstein Veblen: Outside the Whale

I picked up the recent Oxford anthology of Mills, The Politics of Truth, for cheap. While there’s plenty of problems with Mills’s sociology, he still represents, along with Thorstein Veblen and Erving Goffman, a sort of triumvirate of  American sociologists who managed to find the right balance between theory and empiricism. They were also all amazing writers, and Mills was probably the best of the three. His writing is so damn compelling that I find it very easy to overlook gaps in his logic or structure because his visceral precision in describing behavior and emotions connects so well. I am suspicious of this ability! But because I sympathize with so many of his positions, I still find him gripping. Here he is paraphrasing and then quoting Veblen:

Thorstein Veblen realized that the world he lived in was dominated by what one might call “crackpot realism.” That was, and one must use the word, Veblen’s metaphysic–his bone-deep view of the nature of everyday American reality. He believed that the very Men of Affairs whom everyone supposed to embody sober, hard-headed practicality were in fact utopian capitalists and monomaniacs; that the Men of Decision who led soldiers in war and who organized civilians’ daily livelihoods in peace were in fact crackpots of the highest pecuniary order. They had “sold” a believing world on themselves; and they had–hence the irony–to play the chief fanatics in their delusional world.

No mere joke, however, but a basic element of his perspective caused Veblen to write in 1922 what might with equal truth be written today: “The current situation in America is by way of being something of a psychiatrical clinic. In order to come to an understanding of this situation there is doubtless much else to be taken into account, but the case of America is after all not fairly to be understood without making due allowance for a certain prevalent unbalance and derangement of mentality, presumably transient but sufficiently grave for the time being. Perhaps the commonest and plainest evidence of this unbalanced mentality is  to be seen in a certain fearsome and feverish credulity with which a large proportion of the Americans are affected.”

The realization of this false consciousness all around him, along with the sturdiness of mind and character to stand up against it, is the clue to Veblen’s world outlook. How different his was from the pervailing view is suggested by his utter inability to be “the salesman.”

Veblen opens up our minds, he gets us “outside the whale,’ he makes us see through the official sham. Above all, he teaches us to be aware of the crackpot basis of the realism of those practical Men of Affairs who would lead us to honorific destruction.

C. Wright Mills, “Thorstein Veblen” (1953)

This phenomenon is still very much with us, and yet these descriptions from 1953 and 1922 are better than any contemporary commentary I’ve seen.

Miscellany

  • Explicably funny: “Ah, daylight: nature’s sunlamp.” (Thanks, G.)
  • Belgian writer Hugo Claus, who wrote the striking, perplexing, and recently translated Wonder (Archipelago), turns out to have dated Sylvia Kristel for a few years in the 1970s. I found this out while watching a bit of Claude Chabrol’s film Alice, his loose adaptation of Lewis Carroll, which (a) stars Kristel, and (b) looks rather bad. Stick with Jonathan Miller’s incredible Alice, the only version (as far as I know) to have been influenced by William Empson’s essay on Carroll, “The Child as Swain.”
  • I’m very happy to see that the amazing resource Hungarian Literature Online has returned with a new redesign. I voted for Szerb’s Journey by Moonlight in their poll over Esterhazy, Nadas, and Marai, which has currently put it over the edge to lead, though I can’t imagine it’ll win.

Dante: Old Maps of Hell

Divine Comedy Map

I’m always surprised that there haven’t been vastly more attempts to capture, in a single image, the architectural entirety of Dante’s Hell, if not the other two regions. (You can see which one dominates in the above picture.) Hell is by far the most sensible (sensory, that is), visceral realm, as Anne Stevenson so well put it:

In the Museum of Floating Bodies and Flammable Souls

Anne Stevenson

Painters who painted the flights of martyrs for money,
Who filled the drapery of angels with rose-tinted oil,
Had to please rich patrons with trapeze acts of the body,
Since no one can paint the electricity of the soul.

My lady in her blue silk cowl must by now be topsoil;
She swans into Heaven, almond eyes uplifted in piety.
My lord kneels at prayer in a cassock, blade at his heel.
Not a single electron remains of his sin or sanctity.

While in Hell, for example in the water church of Torcello,
The wicked receive their desserts. Disembowelled and dismembered,
They are set upon eternally, yet their bodies alone are touched;
Unless souls, flushed out of the flesh, are the flames that torch them.

No wonder evil’s so interesting and goodness so pitifully dull.
Torture of the body symbolizes torture of the mind;
And burning in the bonfires of conscience is hardly confined
To hell for bad Italians, who, being damned, are being saved as well.

I suppose the thing is just too massive, encompassing an entire cosmos, as Erich Auerbach said in his book on Dante. Botticelli certainly did brilliantly on the massive front, but I have an affection for the more human-scale version by Bartolomeo, which replaces the vastness with claustrophobia:

Bartolomeo's Inferno

The Driftless Area Review recently posted a set of Infernal images in The Landscape of Hell, including this lovely version of Dante’s:

F.R. Leavis Remembers Wittgenstein

In this essay, literary critic F.R. Leavis recollects his bizarre encounters with Wittgenstein and how his personality was inextricable from his philosophy. That latter point should be already obvious to anyone who’s read Ray Monk’s excellent biography of Wittgenstein. I should quote some of the best bits from it. Wittgenstein seemingly generated representative anecdotes about himself at a rate unmatched by any modern writer, philosopher, or rock star.

Leavis’ agenda is more or less that philosophers like Wittgenstein should stay the hell away from literature (the dismissal of Finnegans Wake elsewhere in the collection signifies a certain protectiveness of Proper Literature), but he’s too honest to ignore Wittgenstein’s peculiar genius. The whole essay is worth reading for anyone even marginally interested in Wittgenstein (one anecdote, where Wittgenstein’s interest in Leavis is raised only after Leavis chastises him for berating a student, is both touching and disturbing), but I’ll quote some of the best bits:

The ‘influence’ represented by the immense vogue generated by Wittgenstein’s genius, which was so manifest and so potent, wasn’t in general the kind that has its proof in improved understanding of the influencer and his theme, or in fortified intellectual powers. And this is the point at which to avow that I can’t believe Wittgenstein to have been a good teacher…I can’t believe that most (at any rate) of even the mature and academically officed professionals who were present supposed that they could sincerely claim to have followed, in the sense of having been able to be even tacit collaborators (that is, serious questioners and critics), the discussions carried on by Wittgenstein.

Wittgenstein’s discussions were discussions carried on by Wittgenstein. I say this with confidence, deriving from my own experience of him, and my own very positive sense of the nature of his genius. I don’t question that now and then some especially gifted, well-equipped, and determined person did succeed in breaking into the battle and maintaining for a while something in the nature of an exchange. But…the wonder and the profit for the lecture-audience lay in the opportunity to witness the sustained spontaneous effort of intellectual genius wrestling with its self-proposed problems.

Wittgenstein is far, far from the only person who falls under the rubric Leavis gives in the first paragraph, but the particular dialogic nature of his incomprehensibility seems to have been iconically his.

Leavis reads William Empson’s “Legal Fictions” to Wittgenstein, who has never even heard of John Donne before. (He preferred detective stories.)

Wittgenstein went to the point at once: ‘Where’s that anthology? Read me his best poem.’ The book was handy; opening it, I said, with ‘Legal Fictions’ before my eyes: ‘I don’t know whether this is his best poem, but it will do.’ When I had read it, Wittgenstein said, ‘Explain it!’ So I began to do so, taking the first line first. ‘Oh! I understand that,’ he interrupted, and, looking over my arm at the text, ‘But what does this mean?’ He pointed two or three lines on. At the third or fourth interruption of the same kind I shut the book, and said, ‘I’m not playing.’

‘It’s perfectly plain that you don’t understand the poem in the least,’ he said. ‘Give me the book.’

I complied, and sure enough, without any difficulty, he went through the poem, explaining the analogical structure that I should have explained myself, if he had allowed me.

This, I think, almost perfectly illustrates Wittgenstein’s Ramunajan-like savantism, and its strengths and drawbacks. Strange to see it applied to natural language, however, and perhaps the entirety of Wittgenstein’s project derives from this tension, the obsessive need to seek clarity where none exists, sinking deeper and deeper into quicksand (but throwing up endless clarifications) in trying to formulate the issue precisely. Maybe this makes him the most honest positivist of all time, the one who takes the positivist’s maxims so seriously that he can never be positive about anything, even the maxims. I think the understanding of his philosophy as therapeutic or Pyrrhonist only goes half the distance–if that was the whole story, he really would have quit philosophy, as he urged others to do.

Update: Since the fancy “Related Links” thing at the bottom does not seem to be smart enough to decide that a post entitled “Wittgenstein’s Confession” is more relevant than the links it has chosen, I here offer this link to Ray Monk’s gripping account of Wittgenstein’s Confession.

Osamu Dazai and Masuji Ibuse

Ibuse-san wa akunin desu. [Ibuse is an evil man.]

Osamu Dazai

Osamu Dazai is considered one of the greatest 20th century Japanese writers. I’ve read the two of his novels that New Directions published in English, The Setting Sun and No Longer Human, but got the sense that as with many other East Asian writers, way too much was being lost in translation. Like Mishima and Kawabata, Dazai committed suicide. Dazai’s death seemed to stem from much more evident instability than Kawabata or Mishima’s (though attempting to reinstate the Emperor by coup, as Mishima did, certainly qualifies as some sort of eccentricity), but he left a mysterious note shortly before his death proclaiming that fellow writer and mentor Masuji Ibuse was an evil man.

Ibuse is best known for writing Black Rain, a miserable tale of atomic bomb survivors who were wounded and poisoned and mostly abandoned by their country. (It was later adapted by Shohei Imamura, for whom the material was a perfect fit.) Ibuse was about ten years older than Dazai and far less troubled than him. His writing was far less confessional and performative. They met after Dazai fell in love with a book of stories by Ibuse and struck up correspondence with him. Dazai threatened to commit suicide if not granted an interview with Ibuse, and so they met and Ibuse became his literary and personal mentor. Dazai fell into drugs and womanizing and suicide attempts, while Ibuse helped him out however he could–or else he enabled Dazai, depending on one’s interpretation. And then Dazai died, drowning along with his mistress in a double suicide (or possibly a murder-suicide). And then there was the letter with the above phrase, apparently with no explanation. (I haven’t been able to find a translation of the entire letter.)

Ibuse was devastated. In his book on Ibuse, John Whittier Treat says that Ibuse came to write over thirty tormented works about Dazai after the latter’s death. One begins “I have no idea why Dazai died.” Evident guilt, evident need to make sense of what had happened. To be named in the note and then have the only person capable of explaining the accusation permanently disappear: for Ibuse it seems to have been hell. I’d like to know more about it. From what little I do know, it seems that Ibuse felt a double rejection: first when his pupil abandons the path of life that Ibuse was trying to lay for him; and second when his pupil turns on him and makes him out to be the bad influence. I can’t imagine that Dazai possibly calculated the effect that the rejection would have on Ibuse, but the circumstances made it brutal.

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