Thursday, August 25, 2005

The Overpowering Angel

I hate to drag GFW down to the level of politics, but perhaps my fellow blogmates will indulge me if I give a few thoughts.

Possibly the strangest thing about America at the moment is the growing consciousness of a peculiar kind of drift. In the media, many complain automatically of an overabundance of ideology or "partisanship." Perhaps the pundits are right, at least on the latter: anyway it seems as though party loyalty is one of the few anchors left. Certainly the old issues remain very real: we social conservatives continue to rally around grassroots causes. Supreme Court appointments provide us with motivation to continue (for reasons of realpolitik if nothing else) supporting Bush, Rove, the GOP and apple pie.

But something else is in the air: here in particular I am speaking about the world stage. What is suprising is not how much ideology there is concerning Iraq, Afganistan, etc., but how little the existing political diction seems to fit the situation. Old words such as "hawk," or new(er) ones such as "neoconservative" make an admirable effort, but in the end are still too vague to prove convincing. America is usually genuinely able to sum up everything in a few sound bites: it can be a liability, but its also the way we get things accomplished. Language is meant to "map" onto reality, to reduce complexity while communicating dividing lines and important content: but now our political dialect seems thin, like (if I can borrow from what I consider an auspicious source [Tolkein]) "butter spread over too much bread."

What I increasingly wonder is if there is any driving ideology, whether anyone or anything at all is in the drivers seat. By now its a very old story, cited in a number of blogs--- still, when thinking about these things, I always come back to the Ron Suskin (of the nytimes) anecdote about his conversation with Bush's aide:



The aide said that guys like me were ''in what we call the reality-based community,'' which he defined as people who ''believe that solutions emerge from your judicious study of discernible reality.'' I nodded and murmured something about enlightenment principles and empiricism. He cut me off. ''That's not the way the world really works anymore,'' he continued. ''We're an empire now, and when we act, we create our own reality. And while you're studying that reality -- judiciously, as you will -- we'll act again, creating other new realities, which you can study too, and that's how things will sort out. We're history's actors . . . and you, all of you, will be left to just study what we do.''



The story, of course, (I am sure) does not capture the full spectrum of reasons and rationales. anyway, I find many neoconservative ideas intriguing, even admirable. But I also find myself wondering where a philosophy of action will take us. What wills when the will alone triumphs? Some of us observed the fact that responsibility for a certain decision can travel up and down a hierarchy: all might be responsible, and no one (one example being Abu Ghraib). Hans Freyer, in his "Revolution from the Right" (1931) declared that (and here I quote from memory) "what unites us... [the revolutionary right] is that [we all] have a guilty conscience." Something is drumming on our blinders from the outside: for us, as well as for Freyer, reality is reforming itself. The possibilities and the dangers of this new freedom have, at the moment, overwhelmed conventional rules and rationales. Who can blame the anti-Bush lobby for their conspiracy theories, or their hatred? They are looking for something familiar to cling to. [Paul Weyrich has, for similar reasons, begun a series of posts on the substance and direction of conservative policy: they are titled "The Next Conservatism," and are available on the Free Congress website.] In the face of terrorism, war, and the new conservatism, all we can do is remain open-minded, alert and wary.

Friday, August 19, 2005

I'm a big fan of Bill Murray's work--and not only the earlier crowd-pleasers, also the current crop of more idiosyncratic "blue" pictures--so this New York Times article caught my eye.

Pop culture is nearly always "important": if not for the art objects it produces, then as a cultural barometer. Of course, there is always the question of how much "pop" reflects, and how much it directs; and the answer to this question, depending on the times and the climate, often varies with the political sensibilities of the questioner. At the very least I think almost everyone would concede there is no such thing as a completely "unmoved mover" in terms of culture. (The Godless Hollywood of many conservative commentators may be real, but not in its role as a puppet master or an epicenter for our decadence: decadence has no center, or otherwise it is ideology and not really decadence. The "cultural Marxism" cited by Paul Weyrich and others may be a more effective scapegoat, but then I am not convinced that it is possible to narrow the problem in America down to one or several opposing (organized) sociopolitical currents. The attempt to do so summons up countless "phantom menaces," but it does precious little else.)

Anyway, though, I saw "Wedding Crashers" recently, in part because of the article, and in addition to being funny, it struck me (ridiculously enough) as a suprisingly apt commentary on a whole host of issues (homosexuality, for one: the solitary gay character is told by Vince Vaughn in a throwaway line [throwaway because in context it is meant in its literal sense] to "stay in the closet till its a convienent time for you to come out"). Many reviewers seem to have disliked the film's "inevitable" turn from an above average male wish-fulfillment movie to a more responsibly-minded romantic fantasy. (For example, the New Yorker's Anthony Lane, after celebrating the "simple pleasure[s]" and energy of the opening, snaps in disgust that in the end after all "this is a dumb-ass picture about dumb-ass men. it even looks dumb...", etc, etc.) The part of the whole thing that impressed me as most genuine, however, was not the pleasure trip but the fatigue following it. Owen Wilson's conversion from hedonistic bachelorhood comes when, depressed and disillusioned, he meets the "pioneer" wedding crasher (Will Feral in a suprise cameo as a mildly creepy man/child), who persuades him to "crash" a funeral. The moment that follows is a forgetable but fluent picture of maturity gone wrong: manhood as a kind of permanent boyhood, a parasitical existence eaked out by feeding off the real menschs.

Saturday, August 13, 2005

Discussion Group: Orthodoxy

Post any thoughts you have on G. K. Chesterton's "Orthodoxy" as "comments" to this post.

Thursday, August 11, 2005

Discussion Group: The Philosophy of History

Post any thoughts you have regarding Hegel as "comments" to this post. (The blog is configured to allow anonymous users).