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19 Sep 2023

Is it too pat a thing, where we are today, to observe that religion isn’t really so simple a category — that, say, religion isn’t ever at any point in history, past or present, something that can just be cleaved off from prevailing accounts of the political existence or the economic, &c.? My feeling is the contrary. We’re a long way yet from hearing this observation expressed often enough or widely enough.

I don’t mean to suggest that attempts, in Christian Europe and its colonial excrescences in the wake of Reformation and conflicts of the era, to restrict religion by definition, to designate for religion its own (receding) place and lines in the interest of achieving rationalistic re-founding of the whole of social and civil order, are so much mere deprecable bunk. Not at all.

But this is not a post for sorting all that out! Below, a lecture given at venerable (by U.S. reckoning) Jesuit institution Boston College last week. One thing usefully illustrated in it is the thorough dependence on Arab-Islamic civilizational attainment of what with us today it’s still all too common to think of as global culture whose arrival in our time is just Western evolution manifest, ‘Judeo-Christian’ at stem. That prior and accompanying Arab-Islamic world civilization is where much of what’s most potent in Jewish life and thought, continuous from the early medieval into the modernity we struggle to make sense of around us, was first nourished and able to flower. Central chapters of the ‘Judeo-Christian’ story are written in Arabic.

[UPDATE: Adding below a link to quite a different listen featuring Decter, a Theatre Dybbuk podcast interview throughout which voice-actor readings from translated medieval verse narrative are woven in. Something for getting perhaps a little of the flavor of the distant time and place Decter studies.]

Aaron Henne w/ Jonathan Decter, ‘The Book of Takhemoni’ (39 min.), The Dybbukast, 12 May ’23
9 Sep 2023

Two years ago I added a ‘brief item’ here mentioning Pete Beard’s ‘Unsung Heroes of Illustration’ videos on YouTube, in which he profiles people who worked for print during what many of us are accustomed to think of as a recent western-European and Atlantic-anglosphere golden age in popular media, late 19th century to mid 20th, parts of whose bodies of work remain with us but whose names generally don’t any longer enjoy whatever recognition they may once have. This week, five and a half years since he posted the first, Beard’s series under that heading has hit its 100th episode. It’s quite a collection. And he says there’s more coming!

Pete Beard, video series ‘Unsung Heroes of Illustration,’ YouTube
17 Aug 2023

I’m working part-time at a retail chain location in downtown Chicago this year. One thing that means is that I get a little bus-commute time for semi-focused reading each week. (John Berger’s About Looking is commute reading I got into a bit in May and June — and hope to return to.) With me on the bus at present is David Flusser’s Sage from Galilee, the 30-years-on revision of well-known work titled simply Jesus as it first appeared in English translation in 1969.

Appreciated in its time as Flusser’s Jesus may be, I’m from the wrong part of the Christian world to have been exposed to it in younger years. Indeed I’m only recently acquainted with Flusser at all. I encountered him, I believe, in listening to talks by Boston U. emerita Paula Fredriksen last year and coming, eventually, to the one given at the Israel Academy of Sciences and Humanities’ 2017 Flusser centenary conference, Judaism and Christian Origins. That event was helmed by Shaul Shaked, a conference remembering whom, held just five years later, I posted something about in January. Below, Shaked opens the 2017 event, recalling briefly Flusser’s large personality and legacy. (Followed by very interesting Loren Stuckenbruck lecture, the greater part of the video.)

Israel Academy conference ‘Judaism and Christian Origins,’ YouTube, 6–7 Dec ’17
5 Aug 2023(3 Comments)

Olivier Coipel’s Captain America cover art

From following French comics illustrator Olivier Coipel on Instagram, I learn that Marvel has a retelling of Captain America origins by J. Michael Straczynski set to launch next month.

Besides standing apart for quality of work, simply, among the ‘variants’ (in N. American comics-market jargon) the issue’s getting, Coipel’s cover art is remarkable for a couple of things. One is exceptional accuracy in calling forth the spirit not, plainly, of the cheap-labor illustration used in comic books among which Captain America first appears in 1940, but rather of much mainstream magazine and advertising illustration — or, say, of murals decorating public building interiors — of the century’s pre-WW2 decades. (Jack Kirby couldn’t do the kind of high-end illustration dominant in the world of his childhood. What he would do instead as a mature graphic artist comes to belong profoundly to America’s second half of the century.) The other, unusual in Coipel’s comics work, is how distinctly (if understatedly) this cover evokes the kind of homoerotic matter his own ‘NSFW’ alternate Instagram account is devoted to — which in turn perhaps recalls from a different angle aspects of the environment of America’s pre-WW2 graphic art for mainstream audience, suggested e.g. by the life of celebrated painter J. C. Leyendecker.

Shouldn’t be too quick to judge without having seen it, but I’m doubtful, frankly, about the forthcoming Marvel series. It’s one thing for Jewish kids Joe Simon and Jacob Kurtzberg to offer comics readers in their own day the idea of a United States arisen to fight back the fascists. It’s quite another for us, now especially, to be telling the story of the America of that time as though anti-fascism indeed somehow was ever or enduringly rooted in the national character.

30 Jul 2023

. . . You’re talking about the dissidents of eastern Europe in the sixties, seventies. Um, is the whole question of exile, of Russian exile right now, is it closer to the Russian exile of the Revolution, of the Bolshevik Revolution, where you had a bunch of people who left, and finally it’s their children who went back to Russia . . . . So is the comparison better with the exiled of Russia of the twenties?

Well, actually, I don’t think it’s a great comparison, because I think that the huge difference between people who left Russia in 2022 and the people who left a hundred years earlier is that the people who left in 2022 had the experience of the people who left a hundred years earlier to look at, and to learn from. And I think that — I mean, this is anecdotally, but I think that one of the biggest lessons that they learned from it was that, Don’t hold out hope that you’re going to go back in a few years because the Bolshevik regime is going to collapse. Um, I think, you know — and I, you know, and Andrei may be different in this, but I’m not making an argument for believing in a wonderful Russia of the future. Um, and that’s really not what the whole, sort of, this idea of political hope, is about. Uh, because that is, that is an exercise in faith, right? And I’m not kind of interested in exercising faith, I’m interested in the idea that you build something in the present. And you measure it by the criteria of the present. And if you haven’t — you know, if the regime doesn’t collapse: you at least have had the political experience of living in an actual, you know, situation of cooperation and doing good in the world. Um, and that’s all that any of us can ask for.

(Part of) an audience member’s question and Masha Gessen’s reply, from a conversation held in Tbilisi earlier this month on the subject of a book Gessen has had in the works for a little while now, apparently to be titled ‘The Certainty of the Reality of the Possibility.’ The video embed below is set to jump to the Q & A bit quoted above, but you can scrub back to its opening for some intro on the book project. You can also listen to earlier talks about it I’ve given links to here, from 2019 and 2021.

If you’re looking to read Václav Benda’s original 1978 essay ‘The Parallel Polis’ and having trouble finding it, send me an email.

Adam Gopnik with Masha Gessen, ‘The Promise of Parallel Polis’ (47 min.), Aspen Ideas 2019
Masha Gessen, Hannah Arendt Center 2021 Revitalizing Democracy Conference talk ‘The Parallel Polis’ (88 min.), YouTube, 14 Oct ’21
19 Jul 2023

The View from Somewhere: Undoing the Myth of Journalistic Objectivity is work I’m getting to a couple of years delayed from when it was doing the rounds online. Lewis Wallace, the author-activist behind it, I’m only newly acquainted with moreover. I haven’t yet had a look at the book.

I have, however, started in now on the 16-episode podcast that attended publication in 2019 and ’20. For me it isn’t easy listening, at least at the outset. It is something I’m ready to recommend even so.

Lewis Raven Wallace, Ramona Martinez, serialized podcast ‘The View from Somewhere,’ 27 Sep ’19–30 Sep ’20
21 Jun 2023

I’m wondering if you can talk to us about why this book, and why now, and also what you think that feminists can or should learn from this about politics today.

Well, the reason I wanted to write this book was — as I was saying earlier — when I wrote Inferior I had a chapter in there on male domination. And, you know, anthropologists would repeatedly say We haven’t always been male-dominated like this, there are matrilineal societies, there is more variation. And the question that readers kept asking me in 2017 was, Well how did we come to this then? If we weren’t always male-dominated, then why are we male-dominated now? And I did not have a good answer to that question. Because, remarkably, the literature isn’t very big on this question. You know, the last big historical text looking at the creation of patriarchy was Gerda Lerner’s, um, The Creation of Patriarchy, which was about 40 years ago. And we know a lot more since then, we’ve learnt so much more, especially through archaeology. And also through genetics — we have some really good evidence from ancient DNA. So this is a kind of holistic question on so many fronts; so it wasn’t the political moment that wanted me to write it, it was just that I was so bothered by that question — that I didn’t have a good answer to it, that even when I googled it, it was so little that, we have these piecemeal, you know, we have Engels and we have feminist literature on capital, on the state, on, you know, bits of it, little bits of it, but not bringing it together. And I’m not pretending that I’ve brought everything together, I haven’t. But I just wanted to at least start to answer that question for myself, and start to get a handle on it. And it really has changed how I think about power now.

An audience member’s question to Angela Saini, visiting the London School of Economics last month to talk about The Patriarchs, her book released in February, with Saini’s reply relating consciousness of her participation in historiographical shift that seems to be under way in our time. Her book is billed as a sort of companion to 2021’s The Dawn of Everything by Davids Graeber and Wengrow.

H/T Annalee Newitz — whose post is a couple of weeks old, but I’m just catching up.

11 Jun 2023

The treatment of animals in 19th century romantic painting was already an acknowledgement of their impending disappearance. The images are of animals receding into a wildness that existed only in the imagination. There was, however, one 19th century artist who was obsessed by the transformation about to take place, and whose work was an uncanny illustration of it. Grandville published his Public and Private Life of Animals in instalments between 1840 and 1842.

At first sight, Grandville’s animals, dressed up and performing as men and women, appear to belong to the old tradition whereby a person is portrayed as an animal so as to reveal more clearly an aspect of his or her character. The device was like putting on a mask, but its function was to unmask. The animal represents the apogee of the character trait in question: the lion, absolute courage; the hare, lechery. The animal once lived near the origin of the quality. It was through the animal that the quality first became recognisable. And so the animal lends it his name.

But as one goes on looking at Grandville’s engravings, one becomes aware that the shock which they convey derives, in fact, from the opposite movement to that which one first assumed. These animals are not being ‘borrowed’ to explain people, nothing is being unmasked; on the contrary. These animals have become prisoners of a human / social situation into which they have been pressganged. The vulture as landlord is more dreadfully rapacious than he is as a bird. The crocodiles at dinner are greedier at the table than they are in the river.

Here animals are not being used as reminders of origin, or as moral metaphors, they are being used en masse to ‘people’ situations. The movement that ends with the banality of Disney began as a disturbing, prophetic dream in the work of Grandville.

From John Berger’s ‘Why Look at Animals?’ — published first, it seems, in 1977 as several short pieces in the UK’s New Society and then in combined form as opening of the 1980 collection About Looking, which PRH still has in print 40+ years later.

31 May 2023

You know, some of these centers indeed emerged in the 1970s, like at Columbia and Notre Dame. But many others, like this one, came when human rights were the morality of the End of History in the 1990s, and they have been defined by the realities of the last 25 years — of that moment when there was an open acceptance of unipolarity and an implicit acceptance of neoliberalism. And human rights were about global justice within the terms of those two facts. Uh, but they’re not facts for long!

Uh you know, in the haze of insanity that has marked many of his statements, Vladimir Putin remarked the other day that the Ukraine war is about whether the West accepts that the unipolar reality is passing. And I think he’s right about that.

And when it comes to neoliberalism, it’s under unprecedented challenge — Liz Truss fell from power today because she tried to restore it in its pure Thatcherite form. And it’s not by any means dead. But we don’t know what the terms of struggle over its succession will be like. And what’s the relation of the human rights idea to these changes? Well I’m not sure that it’s going to have a major role . . . .

Sam Moyn speaking as member of the large stage panel assembled for an evening of celebration of the 25th anniversary of the establishment of the University of Chicago’s human rights center last year — held the same day Liz Truss’ brief tenure at 10 Downing ended, in a coincidence of perhaps no great significance.

5 May 2023

‘Do I have an opinion on Tim Snyder’s analysis.’

I’m going to be sharing an opinion because — Tim is very beautiful, but Tim is doing a fascinating balance between being a public intellectual and historian and being an activist. And we’ll be exploring that balance of his.

He is getting — what you’re not seeing, ’cause everybody loves Tim in the public sphere — but he’s being eviscerated in the academy. A lot of people are very mean about him at the moment for over-generalizing, for jumping too quickly to conclusions.

So we’ll try to parse that out, actually, by clarifying, always, What hat is someone wearing, right? ’Cause you don’t want to criticize somebody, right, for not cooking good mashed potatoes when they’re trying instead to do a parsnip purée.

That’s Vlad Vexler replying to a livestream attendee’s question this week and promising, in a video to come one of these days, to give Tim Snyder a closer critical look.

(To follow Snyder’s every word would be a full time job. I do think his whole fall Yale Open Courses series on Ukraine a solid recommendation and also, at the same time, am taking interest in cautions about his material as I have opportunity to consider them.)

[UPDATE: Vexler delivers at some length, about 45 min. It’s a pretty good listen, a thoughtful analytical performance. He, too, encourages you to give Snyder’s Ukraine lectures a try, I want to note.]

Vlad Vexler, ‘Attack on the Kremlin – Live Q & A’ (92 min.), YouTube, 4 May ’23
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