Review – Zipperstein, “Pogrom”

Steven Zipperstein, “Pogrom: Kishinev and the Tilt of History” (2018) (read aloud by Barry Abrams) – “My grandmother brought that pendant with her from RUSSIA, from a POGROM, JEFFREY!” I think it was the first season of “Curb Your Enthusiasm” where Susie shouts that at Jeff after a foster child lifts a beloved family heirloom from their home. The name “Kishinev” doesn’t come up, but historian of Eastern European Jewish life Steven Zipperstein attributes the Kishinev pogrom of 1903 as the event that lodged the word “pogrom,” and certain ideas of what the word constitutes, into historical consciousness, well beyond the Moldovan backwater where it occurred.

Why this massacre, and not others, Zipperstein asks? Why did the Kishinev pogrom become this tipping point, that figures from Vladimir Jabotinsky to W.E.B. Du Bois would attach many (often more or less fanciful) meanings to? There’s an extent to which Zipperstein undermines his own point when he says that Kishinev helped lead to a false impression that pre-1917 Jewish life in the Pale of Settlement was wall-to-wall pogroms, while also asking why this one pogrom would be elevated above others… but such are the risks of this kind of cultural history. Really, any amount of pogroms other than zero is the wrong amount, as I’m sure Zipperstein would agree. And we don’t really get why Kishinev became the flashpoint for world awareness of the brutality of Russia, towards its Jewish inhabitants and towards its people in general, other than the usual answer- concatenations of historical circumstances, actors with agendas shooting their respective shots. 

The facts of the case are that one day, in 1903, Moldovan Christian inhabitants of the provincial city of Kishinev, sparked likely by an interaction between Moldovan children hassling Jewish adults and the Jewish adults rebuking them, formed mobs and attacked Jewish homes and businesses. Something like forty-three Jews were killed. Zipperstein’s investigation leaves the realm of the frankly ticky-tacky – wondering why they tagged Kishinev with the massacre, when really it all happened within a few blocks, is not that interesting of a question, in my opinion – when he gets into the process of making Kishinev and pogrom household words. It was basically a matter of contingency that as many people came to Kishinev as they did to investigate the pogrom. Zipperstein focuses on two. Hiayim Bialik came to Kishinev because his (at the time) small and beleaguered group of religious Zionists sent him to report on it. Michael Davitt, an Irish nationalist journalist who had a habit of pissing people off (more than usual for Irish nationalists, even), also made his way to Kishinev to write a report for the famously sensationalist Hearst newspaper empire. 

Davitt and especially Bialik’s writings from Kishinev had a profound impact on how the world would understand what happened there, and what it all meant, for Jews, for Russia, for Europe, for people the world over. This was a time when relations amongst disparate and unequal communities that lived with each other were under strain all over the world, and people were looking for answers. 

Probably the most notable cluster of agendas and answers hung around Kishinev were those related to Zionism, and particularly to Zionism’s depiction of the Jews of the diaspora. Cartoonist Eli Valley’s “Diaspora Boy and Israel Man” comics have only begun to explore (after decades of complicit silence in the Jewish community) this dynamic, and arguably, the poem that Hiayim Bialik produced after his extensive investigation of the pogrom, “In the City of Slaughter,” is the paradigmatic example of Zionist hatred for Diaspora Jews- for, that is, Jews like themselves, at least for those who partook of the dynamic before the first generation raised in Israel. Much of the emotional weight of the poem lies on the image of Jewish women being raped by Moldovan gentile men while Jewish men – husbands, brothers, sons, fathers – hid. This, and numerous other images of Jewish passivity, were pounded into the heads of Zionist youth from the day Bialik published the poem to the present: “In the City of Slaughter” was a standard in the Israeli literary curriculum, something like how American schoolkids are expected to memorize the Gettysburg Address, in Zipperstein’s telling. The solution to this supposed weakness and failure of Jewish manhood, in the Zionist worldview, was to start over again in Israel… and, the unsaid part, find their own people, the Palestinians, to ride roughshod over, to harden themselves through oppressing. We have seen what that means, more and more clearly as the years progress. 

From Bialik’s own notes – he was a meticulous notetaker – we know that in at least some instances, Jewish men in Kishinev did flee the mobs and leave women relatives behind (the audiobook producers made the peculiar choice to allow the voice actor to read a block quote from one of these women’s descriptions of her experience in a kind of weepy, lightly-Yiddish-accented, womanly-pitched voice, which I wish they had not done). We also know that the woman he drew much of his imagery for his central scene of sexual assault told him, explicitly, that her husband fought her attackers until he was beaten unconscious, and that she fought, too, none of which shows up in the poem or in Zionist imagery of Diasporic Jewish weakness. Neither did Bialik, or most other reporters from Kishinev, discuss how Jews organized for self-protection. There were whole neighborhoods where neither the mobs, nor the police who protected them, could enter, because there were armed and organized Jews protecting them- and organized basically ad hoc, too. Riots are some of the more chaotic, “dynamic” situations you’re ever going to encounter, so it’s hardly a surprise that different people and groups of people break in radically different ways. Anyone trying to tell the story is trying to impose order on a basically chaotic event. You can – we are compelled to – come up with something. But in that chaos is also opportunity. What began as an attempt to alter linguistic politics – “In the City of Slaughter” was a major advance for secular(-ish) Hebrew poetry, as opposed to Yiddish or gentile-language Jewish writing – turned into a major node into the self-definition of a whole people and their history, and a pretty dark one. 

The impact on the world outside of the Zionist movement was also interesting, though perhaps less revelatory than Zipperstein argued. This is roughly the Michael Davitt half of the story, though the man’s writings don’t loom over how Americans, Europeans et al reacted to Kishinev the way that Bialik’s poem does over Zionist understandings of Jewish identity, gender, and violence. Davitt was an odd duck, no one’s idea of a philo-Semite, possessed of some strange race ideas but the kind that wouldn’t go much of anywhere, given that one of them was a burning hatred of the English, who more or less ruled the roost at the time. Davitt was writing for the Hearst papers (he might have been blackballed from most papers, including Irish ones, closer to home, for being annoying and weird), and said papers did what they did and sensationalized the crimes committed there- accounts of hundreds or thousands dead, streets run red with blood, etc etc. This wasn’t Davitt’s faults – whatever else he was, he was a very thoroughgoing reporter – but Hearst will do his thing. 

The contrasts between reality and perception here are, to my mind, less stark and less revelatory than that between the world depicted in “In the City of Slaughter” and the actual Kishinev pogrom. Yes, papers reported an inaccurate number of dead, but 43 dead, thousands assaulted, many of them raped, and hundreds of homes and shops burnt is no picnic. You could argue that the attention paid to Kishinev gave ammunition to antisemites. One of the lead antisemites of Kishinev, who arguably had more of a hand than anyone in creating the atmosphere that led to the pogroms, was also one of the writers of the Protocols of the Elders of Zion, the notorious anti-semitic forgery that lays down the ways that Jews supposedly manipulate most of modern life to the detriment of gentiles. The contrast between the reality of Kishinev – which of course antisemites downplay well past what the record will support – versus the reporting, and the upswell of condemnation for Czarist authorities, seemed to many anti-semities to justify their antisemitism- obviously, the Jews run the media, why else would everyone be so up in arms about a few dead shopkeepers, Moldovans will Moldovan, etc. etc. I mean… I don’t think Zipperstein accepts this logic, but to be honest, entertaining it at all, pretending that what anti-semites do and say and really anything that Jews do have a straightforward one-to-one relationship, is an odd read to me. Though, you have to figure that media-unsavvy provincial weirdos like the Kishinev anti-semitic publishers must have been thrown for a loop by this early example of the power of global mass media…

Similarly, it’s intriguing how the reporting from Kishinev helped inspire both black and Asian activists in the US – Chinese groups were the first non-Jewish groups in the US to donate to victims of Kishinev, and the founders of the NAACP cited Kishinev as an inspiration (that must have calmed the nerves of anti-semites!) – but maybe not the mind-blower Zipperstein presents it as. There are important differences between the lynch law that many people of color and immigrants faced in the US at the time, and the pogroms of the Pale of Settlement… but there were also some important similarities! And it kind of seems like solidarity is a good thing to build? Zipperstein doesn’t condemn it. I’m not sure what he’s doing with it. Maybe, as a historian who has immersed himself deeply in the life of Eastern European Jews in the centuries before the Holocaust, Zipperstein can’t help but rue the ways in which much of global culture has reduced that whole life to what happened at Kishinev, making it the central image of a whole way of life for millions of people. I get that. I guess I’m an organizer more than a historian of Jews and Judaism, so to me, it’s a step in the right direction… anyway, this is a pretty good book with some odd turns. ****

Review – Zipperstein, “Pogrom”

Review – Felker-Martin, “Manhunt”

Gretchen Felker-Martin, “Manhunt” (2022) – This book has made quite a splash! It’s a post-apocalyptic horror novel where the three most prominent characters are all trans (two trans women and one trans man) who have to make their way in a world ravaged by “T-Rex,” a disease which causes anyone with enough testosterone to turn into ravaging mindless mutants. A lot of the reviews of this book put their emphasis on the bloodiness and violence in it. Surely, a story where two of the main characters hunt zombified men and cut their testes off to extract the estrogen they need for them and other trans women to avoid turning into said zombies (I’m enough of a dummy about endocrinology I didn’t even know you got estrogen from testes! Learning!) can be said to be pretty choice as far as violence is concerned. I’m a dude who doesn’t quail from written, or most visual, depictions of violence, especially violence in the heat of combat, so that didn’t bother me too much. Body horror does gross me out more, and Felker-Martin, herself a trans woman, does fine work with the particulars of the T-Rex disease, the semi-conscious cancers, the way it deforms men (and trans women who cannot get what they need in time).

Considerably more interesting to me than the blood-and-guts horror elements are the political and interpersonal horrors of the world Felker-Martin makes. She says she wanted to dramatize – she uses the word “melodrama” as a compliment – what trans women face in the world, the ways their bodies can turn against them in visceral, horrifying ways, and the ways others seek to harm them. With the others, there’s a quite strict gender line in terms of how the cis express that sadism: men are mindless mutants who rape, kill, cannibalize- you can almost feel bad for them, they just can’t help themselves. Women, for their part, have chosen to imitate pre-T-Rex men, their exclusions, their hierarchies, their militaries and religions, their secret police, and aim all of that towards trans women. The real villains in the piece are TERFs, Trans Exclusionary Radical Feminists, who form fascist militias who look to make themselves queens of the wasteland. Felker-Martin, in the fine tradition of Sun Tzu (and Tony Soprano’s reading of same!), has found the most choleric opponent of all time, the online “gender critical” types, and has irritated the shit out of them. They’re mad, folks! I’m not sure if we’ve heard about the book from the other type of woman Felker-Martin paints in vivid, spiteful (in the most complimentary sense of the word) colors, rich, vaguely-progressive, kind of Elizabeth Holmes-style girl-boss types, but they probably don’t read the same social media feeds that TERFs do. 

For most of the book we follow Beth and Fran, a pair of trans women who used to know each other in high school, and who now wander the New England countryside trying to survive. Beth is a big tough former jock type who’s handy with a bow, Fran is a pretty, petite gal with the medical training to help keep them alive and find the stuff they need. The body horror can be gross, the horror of being hunted is tough, but really, the grimmest stuff for me was the inter-trans interpersonal stuff, the fraught relationship between working-class Beth, who cannot pass as a cis woman, and the more middle-class Fran, who can. Everybody talks about doing the right thing, being there for each other, respecting each other’s identities until the chips come down, and then it turns into gender essentialism, heartbreak, people getting brained by falling air conditioners, and other things no one wants to think about. Things get more complicated still when Robbie, a trans man who’s been wandering around sniping rampaging cis men, and Indira, a cis woman who’s their friend and a skilled scientist (she turns the balls into estrogen), enter the picture. It’s “found family” but not in the lame Joss Whedon sense- it has all of the claustrophobia and barely-suppressed despair of real found family, found under the circumstances such families are generally found: a struggle for survival. People pair off, off and on, in ways that make some happy and some less so, all in the context of this awful situation. 

On the run from the TERFs, led by an enforcer with a bad habit of sleeping with trans sex workers, the foursome take a job with a “bunker brat,” the aforementioned girl-boss, who took her family money and built a GOOP-ified survival bunker into the New Hampshire hillsides. Naturally, the bunker turns out to suck pretty bad, but equally naturally, it also dangles the sorts of promises that such setups do to get people involved- money, safety, acceptance (for some). In the end, the characters need to battle both the bunker brats and the TERF militia for survival and for a potential future where they could thrive.

So… this is “taking the eagles to Mordor” level criticism, but my cis self did wonder the whole time… Beth and Fran are worried that if they don’t get enough estrogen, they will get T-Rex and face a fate worse than death. They’re trans women. Why don’t they remove their testes? Fran is at least partially motivated to do some bad things when the bunker brat holds out genital replacement surgery to her. Removing testes is a lot easier, people did it all the time back when before antibiotics etc. We learn that at least some people do that, and that the TERFs actually make boys who are young enough not to have enough testosterone to get T-Rex either get castrated or get killed. I figure that’s a hint- that the TERFs do it, they create a kind of caste of jannissaries out of emasculated boys, so it’s probably bad. I’m not sure I get why? I’m a cis man. I want to have my male genitalia. If it were a choice between not having them and still having them but becoming a disgusting mindless zombie, I’d choose the former! I’d straight up Thomas Aquinas the situation. But then again if I have to live in a shitty post-apocalyptic world, I’d probably just choose a quick death before either… 

So, we run into the limits of experience, here. I do not know what it’s like to be trans. And I try to learn about it without asking a bunch of specific, prying questions, so, I tend to learn things in kind of an indirect way, among other things by trying to listen to trans people (and other people with radically different life experiences) in my life. I wonder if that’s what makes people mad about Felker-Martin’s work- an unapologetically trans voice, one that conjures a world where trans people are at the center, not marginal figures for pathos or diversity points, and not needing to over-perform — to avoid tweaking the irritable, for instance, or to answer every question a dumb cis dude reader might come up with — to establish validity. It doesn’t make me mad- I like to see it. Some of what comes with it leaves me wondering, but that’s not too bad, and it’s an inevitable companion of the limits of experiential knowledge. 

We also run into the limits of horror, or, horror and me. I’m not a big horror guy! Like anime, video games, and numerous other cultural touchstones of the people around me, horror and me passed like ships in the night. At the end of the day, any type of writing is selling something. Nonfiction tends to sell a thesis. Fiction tends to sell feelings. Probably, due to a mixture of scaredy-cat-ness and pedantry, I often don’t buy the feeling of horror, at least not in a thrilling way. I’m a reasonably smart boy, dealing with this stuff at a remove, so I can say stuff like, “well, plenty of eunuchs got along just fine back in the day, I’d just lop my balls off!” A bit like a golden age scifi hero of instrumental rationality (except their authors usually were anything but- you figure a Heinlein hero would torch galaxies rather than slip that girdle over his oat tote), and ultimately just as out of tune with what anybody wants to hear… but, here I sit. 

But that’s not to say that nothing in books scares me. Maybe this is trite, but the interpersonal (and, to an extent, the political/social collapse stuff) is scary, and Felker-Martin does as well with that as the writers whose stuff in that vein makes up part of my personal canon. Felker-Martin loves melodrama more than John Kennedy Toole, Charles Portis, James Cain, Doris Lessing, and other favorites of mine who explored the impossibilities and imprisonments of communication, desire, the condition of being human with other humans… but then again, Toole and Cain surely weren’t strangers to a more grand guignol style of emotional failure and cruelty… anyway! A fine, compelling work, even if it’s a genre the offerings of which I’m less receptive to than others. ****’

Review – Felker-Martin, “Manhunt”

Review – Jonas, “The Gnostic Religion”

Hans Jonas, “The Gnostic Religion: The Message of the Alien God and the Beginnings of Christianity” (1958) – It’s a commonplace, and a true one, that a lot of the tropes we assign to villains in fiction coincide with stereotypes that Christians often hold of Jews: sneaky, treacherous, cunning, possessed of a combination of physical weakness and ugliness with danger and a certain allure. I’d add another set of villainy-tropes that map onto an essentially religious divide, and these are associated with Gnosticism, or anyway, European culture’s memory of Gnosticism. Secret cults, underground in both social and geological senses, dedicated to esoteric (but not overly complicated, so as to overwhelm the reader!) belief systems at odds with orthodoxy, intimations of weird sex and other lifestyle practices, convinced something is essentially wrong with the world and, moreover, that maybe we ought to act accordingly… we see plenty of all that in bad guys in fiction, film, comic books, etc.

We don’t know that much about Gnosticism because its opponents, the Christian Church (this was before it split off into Catholic and Orthodox branches and well before the Reformation), eradicated pretty much all Gnostic groups from the face of the Earth. For centuries, most of what we “knew” about them came from whatever inquisitors chose to jot down about their victims before destroying them. About a decade before philosopher Hans Jonas began writing this book, the Nag Hammadi corpus, discovered by archaeologists in Egypt, had started filtering out, providing us with almost all of the direct primary sources on Gnosticism we have. Seeing as Nag Hammadi was just one respectable cache of documents, it was a huge find but not comprehensive. We’re still missing a lot, texts but also, crucially, context to a lot of what we do have about Gnosticism. 

Arguably, the whole category of “Gnosticism” is more of an artifact of orthodox Christian persecution, the ideas and practices they lumped together as they proscribed them, than of anything having to do with the beliefs of those they persecuted. Indeed, the literature these days seems to be in a place where they almost regard the term “Gnostic” as more trouble than it’s worth, a lump where there ought to be splits (admittedly, I get this impression mostly from one (1) podcast, but hey, I’m a modernist). 

Well… I gotta admit… there is a part of me that thinks that the “reception history” of the Gnostics is almost more important than whether or not they were truly a unitary group. Note, I do think it’s important to try to understand what they actually believed. But… they’re gone. Gone, gone, gone. All those sects with all those odd and vaguely sinister-sounding names – Valentinians, Basilideans, Sethites, Marcionites, Manicheans, on and on – are gone, and even if some internet weirdos say they’re going to adopt their beliefs, get the band back together again, it’s not the same. In most respects, Gnosticism is more important as a shadow of Christianity than it is in its own right. 

Hans Jonas was a student of Heidegger’s in pre-WWII Germany, one of a group of Jewish students of the loathsome dwarf master and who went on to big careers, including Hannah Arendt and Herbert Marcuse (I read a book by a skillful but pedantic intellectual historian yelping about how they were illiberal, illiberal all, tainted by the master! “Well, duh! Who cares?” It was the nineties, or anyway the eternal nineties of the liberal mind…). He left when the Nazis took power, swore he’d only come back to Germany as part of an army to defeat them- and lived up to his promise as part of the Jewish Brigade in the British army. He may have denounced Heidegger, but he didn’t denounce all of the dimensions of the philosophical explorations Heidegger called for, encouraged his students towards. 

Practically speaking, this means that Jonas makes much broader analyses than is common in ancient history today, and one gets the idea was becoming common back then, too. Thank god! Yes, there’s a need for the cautious, carefully source-bound histories that are now de rigeur, the more so the further you get from the presence. But there are readability and relevance questions involved, and history that’s too tightly tied to primary sources — especially when there’s not a lot of them in a given area, and some of them of indirect relevance — risks turning into pointless antiquarianism.

In my mind, that impassioned but rigorous — really, more impassioned and rigorous, in the best of this sort of work, the two don’t detract from each other — multidimensional analysis that characterizes the best German (and German-inspired) historical thought is probably the best approach we moderns can take to the history of Gnosticism (outside of straight up fiction approaches, maybe). Jonas begins with a discussion of the Greek Mediterranean in which Gnosticism arises, a meeting place of cultures from India to Spain and which participants reached well beyond. Among other things, the Greek Mediterranean became the cockpit where competing ideas not just about religious content, but what religious form — what religion constitutes, how it regulates action and thought — would look like for vast swathes of the human planet going forward.

Christianity was one product of this setting. So too was its shadow, Gnosticism (Gnosticism deserves to be seen as Christianity’s shadow, much more than the bad joke of Satanism, half of which is just misappropriated, garbled Gnostic ideas and tropes anyway), even as Gnostic movements would become important in places well away from the Mediterranean. Beyond whatever errors antiquarians might ding him for, Jonas comes closest to intellectual traps when he ascribes ideas as uniquely belonging to given cultures- this a Greek idea, this Persian, that Babylonian, etc. But by and large, he avoids essentializing, which you’d fucking well better in the insane stewpot of peoples and cultures that was the eastern Mediterranean and the Middle East at the time. Rather, better to think of these ideas as forms, structures of thought molded in given environments that came into contact with each other, combined, re-formed.

Then we get that favorite German intellectual pastime: classification. We go through the various Gnostic subgroups based on their attitudes towards where their central concern — error, imperfection, evil — comes from. Persian-inflected Gnosticism, like Manichaeism, which understands evil as primordial, a darkness always coexisting with good, what Jonas sees as Syriac Gnosticisms which hold that a germ of imperfection comes from iterative layers of creation by increasingly imperfect spiritual creators, Marcion’s Christian-ish Gnosticism, etc etc. 

Jonas doesn’t stint from showing off what primary sources were available, giving us bits of Gnostic poetry, scripture, and lore from Nag Hammadi or from Christian polemicist accounts. And what lore it is! Alongside the questions the Gnostics asked — pretty fundamental ones that Christian apologists, to my mind, really don’t answer that well — it’s the lore that has attracted such figures as Jorge Luis Borges, whose essay on Basilides the False probably helped launch more interest in Gnosticism than any other document of the twentieth century. What Jonas calls “Syriac Gnosticism” especially had colorful, strange, uncanny stories attached, made all the more dreamlike by how fragmentary they, and our knowledge of their contexts, are and is. Multiple layers of creation guarded by the spawn of a blind idiot god, where you needed to memorize thousands of passwords to let your soul ascend to its true home beyond anything like the ken of this world; the incarnation of Wisdom as a woman tempted into creating a fallen material world out of a desire to imitate her impossibly remote, perfect father, only to fall further and further into the world’s degradation (including incarnations as Helen of Troy and as a Tyrian sex worker) who must be rescued and restored to free humanity from this false, wicked world…

Because, let’s face it- how the Gnostics fit in to the world of late antiquity, what happened to them, all the ins and outs and specifics… they’re important, no doubt, and we should encourage work that is more granular than what Jonas does, attentive to material culture, linguistic analysis, etc etc, stuff that Jonas either didn’t have access to or care to do in his broad analysis of Gnosticism. But unless we’re gonna invent time travel any time soon, those gritty details are less important for the general historical writer than the things the Gnostics represent. There’s the aspect where they represent the dark, the shadowy, the other, the villainous, all those tropes we talked about earlier… but there’s also a way in which they articulate, arguably more than any other cultural force in western, maybe in human, history something important. Common to all Gnostic faiths is the idea that this world is not our home- that there is something essentially wrong not (just) with people, but with Creation. Christianity puts original sin on a lady, an apple, and a snake- Gnostics ask the obvious question: why ladies, snakes, apples, etc., if an all-powerful all-good being had a say in the matter? Why any of this? Something stinks. 

To me, this suspicion is an ineradicable part of the human inheritance. We can imagine other worlds, and we can reflect on this world, and we can see gaps between the two, for better and for worse. Gnosticism is, whatever else it is as a specific phenomenon of Mediterranean antiquity, the expression of that gap… and you can argue that Christianity was the channeling of the thoughts that result from the gap into a set of channels that various people understood as theologically and, dare I say it, socially and politically acceptable, shutting off dangerous lines of enquiry. It’s way too much of a stretch to attribute real revolutionary potential to Gnosticism. As it existed, it seemed to oscillate between ascetic withdrawal and hedonistic excess. Google contemporary Gnostics and you’re in the world of new age nonsense, a notch or two away from QAnon, complete with online grifters- and there was always a carnival barker element to Gnosticism, as seen in the career of Simon Magus. 

Amusingly, one major right-wing thinker of the twentieth century, Eric Voegelin, did try to attribute the rise of more or less every ideology to the left of, say, Alexis de Tocqueville, to a sub rosa embrace of Gnosticism! But pay any sustained attention to what actually successful revolutionaries are like, and you don’t see much Gnosticism there- which, indeed, seems to disappoint some of my more… aesthetically-inclined friends. For the revolutionary, like it or not, we’re stuck with this world. And part of this world are the feelings and thoughts Gnosticism expressed, and a truly ruthless criticism of all existing has to take it into account. You’ll find few better ways to take it on board, in my opinion, than reading Jonas. *****

Review – Jonas, “The Gnostic Religion”

Review – Chatelain, “Golden Arches”

Marcia Chatelain, “Franchise: The Golden Arches in Black America” (2020) (read aloud by Machelle Williams) – This is a fucker of a sad story. If there’s one thing I’m not going to moralize about, it’s eating “bad” food. I actually think fast food is a good concept with godawful externalities in terms of ecological damage, labor practices, and health. I don’t think whatever kind of vaguely-elven/hobbit-ish “slow food” vision some people have for a better food world should be the only one available in a better future (and how many farm-to-table, slow food type restaurants also have terrible labor practices?). And I think people have the right not to optimize for physical or mental health- they have the right to pursue experiences that might harm them, up to and including eating unhealthy food.

People have the right to eat unhealthy food- but they also have the right to healthy, wholesome food, and McDonalds, and other fast food companies, are what many black communities in this country have instead of that. Fast food is so ubiquitous it can fool us into thinking it’s always been there- I’ve lost count of the number of medieval fantasy novels I’ve read where the author treats eating at a roadside inn as structurally similar to Denny’s, if not quite up to McDonald’s speed and efficiency. The most relevant differences between the fast food giants that grew to prominence in the US after WWII and other eateries were that fast food chains were labor-intensive, highly standardized enterprises, run by out-of-town corporate giants but dependent on local buy-in, from customers, workers, and key to the growth of McDonald’s and other chains, franchisees. 

Drop something like that in the cities that were soon to roil and burn with discontent and there was bound to be an interesting situation. Black communities had a bifurcated response to McDonald’s at first. Most McDonald’s franchises, early on, went into suburbs and other areas black people often didn’t or couldn’t go. McDonald’s obeyed the usual segregation customs, and at least once dozens of sit-in participants were trapped and brutalized in a southern McDonald’s. But, and this is a dynamic that historians of consumer capitalism have identified elsewhere, there was one special appeal that chains like McDonald’s had for black customers: unless something went wrong, culpably wrong, with the process, when you ordered something at McDonald’s, you got the same thing, at the same price, everyone else got. This is a similar logic to why black customers were early adopters of packaged food and chain supermarkets- you weren’t going to get cheated buying a box of corn flakes like you would be by a racist small shop owner who has to weigh you out your flour or whatever. 

Moreover, once McDonald’s got somewhat less racist, both black entrepreneurs and the Chicago-based company saw another appealing facet to establishing the chain in black communities. It did not take that much money, in the grand scheme of things, to buy a McDonald’s franchise, and the company would help you set up, without banks or whoever else involved. McDonald’s quickly noticed that franchises with black owners often did better in black neighborhoods than if they were owned by white people. Moreover, in the wake of the ideological conflicts within the black freedom struggle and the exhausting round of riots, assassinations, and recrimination that happened around the same time, McDonald’s lucked into an ideological fad- black capitalism was, for a little while, on everyone’s lips, even people like Ishmael Reed, who should have known better. 

Richard Nixon knew what he was doing when he promoted black capitalism as a solution to black America’s woes, even as the fulfillment of “black power.” It’s a placeholder idea, a vacuous non-concept that can still effectively stand in for where an idea might otherwise be, if no one kicks the tires (not unlike a McDonald’s meal is a placeholder for something better, come to that). Nobody — not Nixon, not such movement veterans as Floyd McKissick who embraced the concept — articulated how, exactly, you were going to get black capitalism without a critical mass of capital in black hands, without some kind of massive redistribution program. That wasn’t on the table. What was on the table was a certain amount of grant money, much of which went to businesses who could prove they were promoting black business ownership and job growth. In a period of deindustrialization, McDonald’s, with its franchise model (you’re hardly going to franchise steel manufacturing plants), was poised to take advantage, massively increasing its footprint in black America and posing as a community investor.

McDonald’s proved skillful at playing the cultural games that grew in importance in the late twentieth century as the possibilities for material change receded. In this, an earlier investment paid off- those black franchisees, some of whom moved into senior corporate positions, proved vital to McDonald’s efforts to adapt. This involved both learning marketing targeted at black people and figuring out how to defuse challenges from local community organizations who either wanted a bigger slice of the profits McDonald’s was extracting or else keep the company out in general. McDonald’s was also helped by the times- it “fit right in there,” as Sam Elliott put it in another nineties classic, The Big Lebowski. Vague aspirationalism, cheap products produced by increasingly globalized supply chains and taylorized workforces from the farm to the cash register, relying on people not to look too close… the eighties and nineties, despite some academic trends, poor times for close criticism.

Really, it was just sad to watch these communities, with leaders who had struggled so hard and done so much during the course of the black freedom struggle, reduced to slinging slogans about burger restaurants, whether they’re good or bad or whatever. It’s sad to see the hopes people invested in black franchising, and not just McDonald’s either- a chain named after Chicken George, from “Roots,” was in fact black owned and was doing pretty good… before it got poleaxed by market changes. That’s what happened to the numerous chains opened up by black celebrities during the black capitalism fad, too, when they weren’t just vaporware to begin with. That’s what the kind of deep fundament of capital that established — read, white — firms have, their relationships across the web of capitalism from banks to suppliers to media, can get you. McDonald’s could afford to screw up everything from its initial introduction of chicken sandwiches to avoiding lawsuits for discrimination, because they’re established and backed by other established players. None of these black enterprises had that. Black capitalism can’t replace black power because you need power to do capitalism. 

And so, McDonald’s grew omnipresent in black America. As black communities continued their slide into immiseration, fast food places are often the only places to affordably feed a family with the kind of time people scrambling to make a living have, so the worse things got, the more McDonald’s was in demand. A franchisee conman who got his start using black pride sloganeering to boost his McDonald’s franchises stood behind Bill Clinton as he signed the welfare reform bill, further cheapening McDonald’s labor pool and encouraging people to spend their dwindling food budget there, in case the ironies involved were too subtle. 

It’s sad, but also hard to blame the individual black people involved. Capitalism in general, and consumer companies like McDonald’s in particular, does everything it can to obscure what actually makes the machine go, to impersonate natural forces or acts of god. And anyone who knows anything about the struggles of the sixties knows the profound exhaustion that came after a decade of fighting seemed to fall short of tangible goals. You can’t blame drowning people for scrabbling at any kind of driftwood they can lay their hands on. And it’s not like the opposition — Chatelain begins the book with the kind of sneering, “junk food” criticism of fast food that misses a lot of the point — was great, either, immersed in whatever spell seemed to stop Americans, especially but not exclusively white ones. from taking anything structural into account until, maybe, 2010 or so in their understandings of the world. All in all, a discouraging picture, well painted. ****’

Review – Chatelain, “Golden Arches”

Review – Smallwood, “The Life of the Mind”

Christine Smallwood, “The Life of the Mind” (2021) (read aloud by Allyson Ryan) – Here’s what I can say for this book: I do not think Christine Smallwood is actively lying to us. This is a marked distinction from her cohort of literary fiction writers. I’m not sure if I’d say that Jonathan Franzen, Lauren Oyler, Patricia Lockwood, Bret Easton Ellis, Sheila Heti, Tao Lin, the rest of the grubby crew and, hovering above them all, the ghost of David Foster Wallace, necessarily lie more habitually than literary fiction writers of old. Their lies are more boring than any other cohort that comes to mind, I’d stake that claim. Their capacity to tell the truth, even by accident, to comprehend anything outside the very small worlds that they have collaborated in constructing, is probably less than that of any other generation of prominent writers, probably since the Enlightenment period, if not before. And this despite (because of?? the hacks would ask with an arched eyebrow, because they’re stupid) their unprecedented access to the world, it’s people, it’s learning, through travel, information/communication technology, etc. 

So… Smallwood is ahead of the game, here. Whether or not the experience of her narrator, who like Smallwood herself is an English PhD in contemporary New York, trying to make a living as an adjunct professor, reflects Smallwood’s own material circumstances isn’t really the point. Whether she knows adjunct hell personally or not, Smallwood can get the experience across honestly. Constant, niggling insecurity and doubt, watching friends move on with their life while you’re still scraping a living, the knowledge that luck and independently acquired wealth are the main tickets to success, even more than schmoozing or playing the game or whatever, the knowledge that you’re barely a deckhand on a sinking ship, a garnish that our system allows to exist — or not — mostly because there has always been humanities instructors… yeah. She’s not lying about that. This is not a dishonest book. That’s something, all things considered.

But it’s not a good book, either. Some of you may be familiar with my Hook test: does a contemporary work “exploring” identity and authenticity say anything that mediocre nineties jam band Blues Traveler did not say – in under three minutes! – in their hit 1994 ditty “Hook”? Well, “The Life of the Mind” I think does pass the Hook test- it gets across that the titular type of life is, at this point, not a life fit for a cur dog. Blues Traveler, being in the nineties, was reasonably sanguine about the material circumstances in which people compelled to sell their authenticity would live, but Smallwood doesn’t have that going for her. And authenticity is fairly low down on her list of problems, compared to career stagnation, depression, impending climate catastrophe, etc. So she passes the Hook test. Hooray!

She doesn’t pass the “why isn’t this an essay?” test, or the “why is this a book at all?” test. It’s boring. The closest thing to interest we get are the variety of ways Smallwood finds to describe her heroine’s gynecological problems after a miscarriage that she keeps a secret from everyone. She can’t produce life in much the same way she can’t produce thought, can’t get students to meaningfully engage with literature, can’t have real relationships! Get it?! Again- not offensively stupid, like a lot of what you get in contemporary literature, not a contemptible, transparent lie, but… I get that boredom is part of reality- believe me, I lived low-level academic life, I get that. I get that it deserves to be depicted in literature. I think there’s been some decent examples, even. Charles Portis gets boring across in a way that is not boring itself, for example. Prison literature often does, too. Among other things, Smallwood does not write in interesting English prose. She doesn’t write as catastrophically badly as a Sheila Heti, but in a way that just makes the experience duller than if she did. 

Let’s put this in the context of two things I’ve heard about literature. One is a common lament from people who bemoan its current state (does anyone really think we’re in a good place right now, in terms of literature? I have a friend who tells me they disagree, when I bemoan it in a group chat we’re in, but who has never once elaborated and doesn’t seem likely to). It’s an equation between boredom, dishonesty, and privilege. Our literature is boring, cheaply derivative, dishonest, and irrelevant because it’s written by people with immense amounts of privilege. Even the writers who come from marginalized backgrounds still, usually, have the privilege of wealth, or education, or connections, or failing that just plain good luck- they have the privilege of getting published, getting paid to do this stuff at all. The idea here is usually that if contemporary writers were a little more “real” – if they weren’t gilded brats gazing determinedly into their own navels, and if they didn’t write about same – then literature today would not be as bad at it is. 

But the thing is- this isn’t dishonest, or entirely irrelevant. It’s just boring and doesn’t say anything especially original about its subject, and doesn’t do anything else interesting, like have a good plot or subplot, or do anything unusual or notable with language, either. In some ways, that’s even appropriate to its topic- humanities academia generally doesn’t reward or encourage originality or anything that might fascinate, either, on its low levels, though it dangles the idea you might get to do something like that, eventually, if you burn a few decades and get tenure (the most boring Black strategy in Magic: the Gathering ever conceived?). That doesn’t make it any better to read. It turns out that being real, and considering the lived reality of people who have to work for a living, is not some royal road to quality literature! 

Here’s the other thing said, specifically said by my dad, a number of years ago, when he read “Blood Meridian.” He didn’t like it – Dad is a pacifist who avoids movies where the dog might die, so the bloodiness of McCarthy’s masterpiece wasn’t for him, and he was never a Faulkner guy and whatever else he was doing McCarthy was doing Faulkner there – but he was intrigued by it. He said something like, by borrowing from such sepulchers of our language as Faulkner, Shakespeare, and especially the King James Bible, McCarthy was trying to say that even this, this violence and depravity, deserves a cathedral of words. I’m not sure that’s what McCarthy was going for- I’m not sure McCarthy is sure, my theory has always been he lucked into “Blood Meridian” and never accomplished anything remotely like it before or since. But I’ve often thought about this concept. 

It’s a bit too much to say that Smallwood constructed a word-cathedral for adjunct life. You could say that makes sense- even if we think every experience deserves some sort of word-construction, adjunct life is low church, it deserves a chapel, at best, and even if you don’t like that ecclesiastical metaphor, adjunct life is surely smaller than the conquest of the American West. So- is this an appropriate word-chapel for the life of an adjunct in the early twenty-first century? Maybe! Maybe it is. Does that mean I have to like it? Or honor it? Like Dad gave some honor to Charlie “Cormac” McCarthy of Providence, Rhode Island for his giant gnostic punctuation-lite cowboy epic? 

The hell if I know. Maybe I should! Maybe I’m just too close. Maybe those of you who did not make the curious life decision to subject your one and only youth to the rule of graduate-level education in the humanities will find “The Life of the Mind” to be new news. But I don’t think that’s it. At a certain point, and maybe I’m old-fashioned or small-minded or a bad reader or whatever, but I think something has to sustain the reader’s interest. People across the critical spectrum try to isolate that “something” – there’s been a “plot versus vibes” debate in some areas of critical social media that, even at my remote distance, makes me want to get a lobotomy – but I don’t think it’s a simple variable. And whatever it is, I don’t think it’s here. Sorry for my vagueness. Sometimes, the closest you can come to describing a vague, poorly-illuminated object is to describe what it isn’t, it’s negative, the hole it leaves in the picture, and that’s all I got for you today. Your mileage may vary. **’

Review – Smallwood, “The Life of the Mind”

Review – Leonard, “Get Shorty”

My adulthood was not like this, it turned out

Elmore Leonard, “Get Shorty” (1990) – I remember seeing ads for the movie adaptation of this as a child! “This is what a certain kind of grown up is like,” I thought, looking at the posters with John Travolta and company in their matching black clothes, sunglasses, and cool expressions. “This is what I have to look forward to,” I thought with a certain ambivalence. I have not seen the movie.

They say Elmore Leonard is a master of tight plot. Split the difference- there is a pretty neat pinballing character to the action in the two books of his I’ve read so far, as the action sets various colorful shady characters in motion, colliding them against each other and a variety of plot elements. To me, a lot of Elmore’s strength (again, in two novels, this one and “Maximum Bob,” out of his massive oeuvre) is in the moments where his characters breathe, chat, establish themselves. I think he’s a better master of scene-setting and characterization than of plot. In fact, I think sometimes his passion for the one detracts some from the other. The plots may be tight, but the pacing generally strikes me as somewhat “off.” 

Anyway! Chili Palmer is a loan shark out of Miami. He goes to Las Vegas and then LA to chase down a debt. It’s a funny kind of debt, because the guy who accrued it faked his death, with the help of the crash of an airplane into the Everglades- he was supposed to be on it. He stays underground, gets his wife to get the settlement money, then runs off to nurse his gambling problem and delusions of grandeur. Chili goes out after him- not only can he get his relatively small debt back, but he can get some of that settlement money. Chili’s an entrepreneurial type, so while he’s not quite nailing his mark in Vegas, a casino owner contracts him to collect a debt from a b-movie director in LA. And from there, Chili gets into some shenanigans involving the director, the director’s attempts to break through to respectable filmmaking via a good script, some drug dealers who had been funding the director who now want in on the script, a thespian they’re trying to get to act in it, some horniness for a scream queen, an old mob rival of Chili’s coming to town, etc. 

Lots of ingredients in the stew! It comes out pretty well, but one weird thing with Leonard – or, again, the two I’ve read of him so far, both from the same era of his long career – is that it never feels that tense. Sometimes that’s a good thing- that sort of “lived in” quality to the books I mentioned. Chili, especially, likes to wax expansive. Sure, he’s a loan shark, but he’s not an animal. Mostly he makes his way with confidence and a refusal to take bullshit, and he helps people get credit who couldn’t otherwise! An interesting look at the era immediately before decades of cheap money and the expansion of credit card usage. Also, it’s always interesting to see the ways in which given eras depict criminals as heroes. The sixties and seventies went in for criminals who really were at odds with social norms, like Bonnie and Clyde just spraying bullets everywhere and crowds of arthouse viewers applauding every shot. By the nineties, you have the idea of the good criminal as, essentially, a better upholder of social codes – not necessarily the social codes most people live by, but some kind of code – than hypocritical straight society. Chili Palmer is that kind of guy. His main criminal rivals are a little less honorable but not awful, and his criminal foils are the two kinds of bad criminals, as far as crime writing then (and, basically, now) are concerned- psychos and phonies. 

Truth be told, I was more invested in thinking about how Leonard thought about character, place, crime, etc than I was in the plot. This is often the case for me and crime writing, but the gap is usually a little smaller. Still and all, this was a pretty enjoyable book. I’m still waiting for Leonard to really rock me with one of his books, but I don’t mind going through them until that happens. ****

Review – Leonard, “Get Shorty”

Review – Vachss, “Strega”

Andrew Vachss, “Strega” (1987) (read aloud by Phil Gigante) – Andrew Vachss died last November. He was a weird, interesting guy. In some ways he had a personal story more interesting than the stories in the two novels of his I’ve so far read. He worked as a community organizer with Saul Alinsky, then went out to Biafra to try to deliver relief to the rebels that the Nigerian government was then starving out. Some point after that, he made child protection his great cause- he ran a facility for juvenile offenders (no abolitionist, he), eventually becoming a lawyer who only took on cases for children, and wrote numerous novels, including the best-selling Burke series. He swanned around with an eyepatch like Moshe Dayan, and was given to proclamations like “I only have one god: revenge.” He was obsessed with karate and menacing dogs. As my friend and podcast cohost pointed out, there’s more than a little of what would go into QAnon here… but as listening to this book helped bring home for me, it’s a flipped QAnon, not quite a left-wing QAnon (as I know some very online leftists seem to pine for, a way to “get the shit-munchers on side), but a worldview based on the centrality of evil, represented by the sexual exploitation of children, with many of the valuations of QAnon reversed.

But that’s getting ahead of ourselves. This is the second installment in Vachss’ flagship series depicting the deeds of unlicensed private eye/child avenger Burke. Burke and his chosen family of renegades work the streets of pre-Giuliani period New York, doing scams and stick-ups targeted at other low-lives and “freaks.” While Burke has contempt for the milieu in which he works, he has even more for the square world, which threw him into the maw of the system as a baby and made him, and most other “freaks,” what they are- all while piously denying the impulses that drive squares to take part in the freak world’s illicit pleasures. . Burke’s crew includes a homeless guy, a deaf-mute Mongolian martial arts master, a reclusive Zionist genius junk-tinkerer, and what is, for the time and the genre, a really sensitively-portrayed trans woman. Burke doesn’t mess up the she/her pronouns of his friend Michelle, who specializes in surveillance, sleight of hand, and taking care of kids! What’s your excuse? That alone inverts a major contemporary reactionary value, hatred of anyone who challenges gender norms. If a QAnoner might be along for the ride of violently punishing “freaks,” they’ll be outright shoved out of Vachss’ moving car by his violent disregard for the sentimental version of suburban normalcy at the heart of their worldview. 

Alas, as yet, the actual stories Vachss tells are generally less interesting than the world he builds. Burke gets contacted by a Mafia don he knew in jail to help the don’s niece, a femme fatale who wants to find a dirty picture of a friend’s kid getting sexually assaulted by an adult. There’s a lot of child psychology here, and I don’t really know anything about that- would it make sense that a kid would feel better about getting molested if a grown-up tore up a picture of the child’s abuse in front of him? That’s the kind of question you have to think about, reading a Burke story. Burke doesn’t really want to take the case, despite his feelings about protecting kids. He doesn’t want to get in hock to the Mafia (he occasionally rips off their couriers with his friends for quick cash), the femme fatale gets on his nerves, and it seems like an impossible case, finding one picture (likely reproduced!) in an ocean of filth. But they get to him, so he and the team get to work. He works various underworld connections, with varying degrees of success. His best lead is with a prison gang clearly meant to be the Aryan Brotherhood, but not given that name, which allows flashbacks to the time Burke and other characters have spent on jail, and the indulgence of that peculiar queasy fascination people have with white gangs. 

It’s not terrible and it’s plotted a lot better than the first installment. But Vachss still spends way more time on the details of Burke’s lifestyle — the minor schemes he does to make money outside of “the system,” his various personal security measures, stuff he does to avoid search and seizure issues, etc. — than I found interesting. Crime stories like this, with little in the way of “whodunnit” mystery, rely on conjuring a world defined in part by the interesting techniques of people from the other side of the legal divide from the standard square reader. Think heist movies- they can be fantastic (the Oceans movies) or (pseudo)realistic, like Michael Mann’s crime dramas, but they always focus on the ways and means. But Vachss does too much of it, too unrelated to the story, and it’s usually too low stakes. Similarly, many of his characters are such ludicrous stereotypes that the emotional weight they are meant to carry falters. This is especially true of Max, the deaf-mute borderline superhuman karate master, and the femme fatale. You see the big reveal about her miles away, and while her relationship with Burke is grimy and scummy in a way that does help drive the plot (and guarantees she goes away in time for a new girl in the next installment, ala Bond), it’s also hard to wring that much of it at this late date. Still- there’s enough here to sustain some interest. ***’

Review – Vachss, “Strega”

Review – Gottfried, “After Liberalism”

Paul Gottfried, “After Liberalism: Mass Democracy in the Managerial State” (2001) – I am, once again, behind on reviews. I finished this a while ago. Paul Gottfried got my attention, and that of other antifascists, when journalists pointed to him as a substantial influence on Richard Spencer and the altright, including, possibly, coming up with the term “alternative right,” as in alternative to the neoconservative ascendancy that was just about to reach its peak around the time this book came out. It’s murky, how much Gottfried actually knew Spencer, but they traveled in similar paleoconservative circles before Spencer became briefly prominent. Gottfried has gone on record abjuring the altright, saying their project is not his.

Unlike most of these distancing maneuvers, this one comes off as reasonably legitimate. There are two main reasons for this. One is that Paul Gottfried is a Jew. There’s no shortage of right-wing Jews out there, and I’ll talk about the antisemitic cast of Gottfried’s main argument, but I don’t think Gottfried is the particular kind of craven that would cause a Jew to make common cause with Nazis, and he’s not the sort of Jew Nazis would necessarily let in (Spencer might, but he’s a fancylad with a following he can count on the fingers of his hands, at this point). The other, more substantive, reason is that Gottfried seems to come from the branch of paleoconservative that is deeply and sincerely opposed to the sort of mass political mobilization and rapid sweeping political changes that help distinguish fascism from more normative conservatism. 

Among other things, Gottfried sticks to something more closely resembling the historical and the empirical in this book than is common on the contemporary right (or, for that matter, among ideologues across the spectrum). As far as Gottfried is concerned, by the turn of the twenty-first century, the verdict was in, and the more pessimistic predictions of the founding fathers and assorted classical liberal figures were correct: let the mass of people participate in politics, and they will just vote rich people’s money into their pockets. Race enters into it less than one might think, except as something to potentially break the spell of welfarist lassitude- more anon. This is just democracy, Gottfried sighs, it’s the role of the statesman to see his way forward despite it. 

So, unlike fascists, Gottfried doesn’t really believe in the volk. There’s a little bit of that thing you see in right-wing writers ranging from Nock to Kirk to Rothbard, a certain nostalgia for simple folk and their (supposedly) unquestioned hierarchy, but like those three, that nostalgia is also a nostalgia for the (again, supposed) quietude of that past. But at the same time, Gottfried speaks well of populism. This is where Gottfried does, in fact, link up with fascism, and why Spencer et al would have found his work useful to them. 

What’s his motivation, you might wonder- if the volk aren’t noble, and in any event the damage is done, what is Gottfried bothering with? It’s because he hates the managerial elite who supposedly brought this state of affairs about. He spends almost half of the book trying to definitively delink the liberalism of most twentieth century figures from “classical liberalism,” and I tend to think that he did this less because it mattered so much — he resignedly calls the likes of John Dewey, Herbert Croly et al “liberals” in spite of all — but because it lets him obsessively pore over the rhetoric of the progressive movement, the new dealers, the great society types, and social liberals of his own time, and the awfulness and strangeness of their creed(s). The managerial elite overthrew the old capitalist elite, and with it the latter’s (notionally) purer liberalism. They bribe the volk with welfare and sap their values and vitality, in the name of their odd cosmopolitan value set, somewhere between antinomianism and Gnosticism. We know this story. 

What little hope Gottfried sees — and where he links up with fascism, where he really did influence or at least prefigure how the altright and numerous other far right formations today understand and pursue their project — is in hitting the managerial class where it is, supposedly, weak: culture. The cultural rules of the managerial elite become more important and more flagrantly arbitrary as their power grows, Gottfried argues. The real nature, the kind of Fabian/gnostic elitism of our educated credentialed elites, comes to the fore, and as Pat Buchanan showed, you could rally the good salt of the earth folks to object to…

The funny part is, the thing that impelled Gottfried to write this was the defeat of Bob Dole at the hands of Bill Clinton in 1996. Talk about distinctions with little difference! I guess Clinton was “more PMC,” to be reductive, a baby boomer, a philanderer, an erstwhile protester with an ambitious wife. What were the good right-populist folk supposed to be objecting to, then? What were the secretly radical managerial elite foisting on them? Meaningful advances even in bourgeois assimilationist gay rights, like marriage equality, were years away from being on the table, and the black freedom movement was an increasingly bitter (and bowdlerized) memory. The late nineties were not a time for the coddling of criminals, so we don’t get the kind of panic around that reactionaries made use of before and after. Gottfried grumbles some about how “government” never shrinks, employs too many people even as Clinton is gutting social services, but you can tell his heart is barely in it, compared to undoing the social and cultural power of the managerial elite.

No, it’s the usual peccadilloes that make it impossible to fully respect paleocons, even when they make a positive contrast with neocons in some areas. Gottfried is offended by the idea of civil rights, and raises the specter of hate crime laws. Beyond being wrong (and wrong-headed- “law and order” types should beg for hate crime legislation, especially if they’re also traditionalist conservatives ie people who want to legislate affect and feeling, but we know why they don’t), it’s honestly just kind of lame. What kind of pathos are we expected to take from business owners no longer being able to legally visit police and/or personal and/or mob violence on customers for being the wrong race? Why is that a “freedom” we should give a damn about, even in the most abstract way? 

Well, bigotry is certainly a part of it. I don’t know how personally bigoted Gottfried was or is (I believe he is still among the living). He doesn’t go on as much about the behavior of black people, sexual minorities, immigrants etc as you might expect. Bigotry, and the enforcement of a world defined by personal and sectarian ascriptions, was part of the power displaced by the professional managerial elite that serves as Gottfried’s great bugbear. The lord of the manor, or the planter, or the ward heeler, or whoever, should be allowed to enforce his bigotries and make use of the bigotries of his underlings to enforce his rule. Take that off the table, and you get the rationalism of the H.R. manager (which most often serves to sweep subtler, but ubiquitous and powerful, bigotries under the rug). The way to break the power of these managers is to mobilize these bigotries — often channeled against the openings that liberal managerial hypocrisy leaves wide open and unguarded — which are held to be the true feelings of “the people.” People power, if you will.

And this is where the antisemitism that Gottfried doesn’t deploy, but which is endemic to the far right and which his epigone Spencer has put so many chips on, comes in. You need to have a super-group to explain why the “naturally” superior, however defined — the aryans, the aristocracy, the landowner/industrialist/capitalist elite that the likes of Gottfried and Nock seemed to prefer — ever lost power. For most of them, it can’t be the real agency of the subordinate classes, otherwise they’d have to admit that the subordinate are powerful, capable of making their own decisions, and therefore do not deserve to be subordinate. There has to be some counter-elite. Because they are, in some sense, white, and because of longstanding prejudices and myths, Jews fit that role almost uniquely. Eric Voegelin, and a small school that follows him, puts Gnosticism in that same role. Gottfried comes close to that, not exactly summoning Basilides the False but basically making contemporary liberalism a sort of semi-esoteric cult, working in secret. But that’s usually several degrees too complex for people, especially because even a madman like Voegelin couldn’t bring himself to say that progressives were literally gnostics, with a lineage going back all the way. So, Jews it is, and even if it starts out targeting someone else, the Jews invariably get dragged in.

The version of this Trump, numerous right-populists the world over, and the altright has been pursuing is generally less well thought out than Gottfried’s version. You have to figure the old fucker probably furrowed a brow to see that one of the earlier instantiations of this dynamic involved a fight about video games and how many boyfriends a lady game designer had or did not have. But for all Gottfried’s erudition and delves into the history of liberal ideology, the whole edifice was always in the service of things just as stupid and small — petty bigotry, the personal domination of small-scale tyrants, silly grudges, pedantic rules-lawyering, the martinet’s dread of liberation — as “ethics in video game journalism.” As above, so below, or something. ***’

Review – Gottfried, “After Liberalism”

Review – Schulman, “Let the Record Show”

Sarah Schulman, “Let the Record Show: A Political History of ACT UP New York, 1987-1993” (2021) (read aloud by Rosalyn Coleman Williams) – Behind on reviews again! What to say about this? I haven’t read any of her novels, but it looks like Sarah Schulman leads the pack in terms of being a bona fide person of letters, a novelist, playwright, political organizing strategy writer, and historian. She writes the history of ACT UP New York as a participant, just one of numerous interesting things she’s done in her life. She’s no navel-gazer (not to say she doesn’t write about herself and her life sometimes), no ponderer of boredom and fecklessness like a lot of our writers, and she isn’t the (supposed) opposite side of the coin, either, a reductive popularizer. She just writes, clearly and forcefully, about what matters to her.

ACT UP is legendary in contemporary leftist organizing circles, and a fair few practices pioneered in the organization remain with us today. Especially coming when it did, when it looked like not only was militant organizing dead, but unmourned, it’s like this wild bolt from the blue. It wasn’t that, of course, as Schulman shows. ACT UP (AIDS Coalition To Unleash Power- it’s something of a backronym, apparently) was the product not just of spontaneous rage and grief but of seeds planted by generations of patient organizing in the feminist, pro-choice, and gay rights movements. Older organizers, who thought they had been bypassed by the Reaganite quietist zeitgeist, and completely new participants radicalized by the crisis, combined to make ACT UP what it was.

ACT UP leveraged what it had — angry, dedicated people willing to try anything — against some of the biggest targets conceivable: the federal government, the Catholic Church, the pharmaceutical giants. They did this by throwing themselves bodily against these institutions through nonviolent direct action. The phrase “street theater” makes people — I’m one of them — roll their eyes these days. But despite the theatricality of ACT UP direct actions (and let’s face it, the people who might make us derisive towards street theater are neither good at theater or at home on streets, any street, unlike the ACT UP people), there was always a direct goal, even if there was also an eye cast towards media attention- the disruption of business as usual. If our worlds end, then your world doesn’t get to go on business as usual, either. 

They didn’t do direct actions — not just protests, but disruptions, occupations, die-ins, etc — just to make statements, or against just anyone. ACT UP calculated for strategic effect. Much of the book is taken up with ACT UP’s most concrete achievements, largely accomplished through direct action targeted at the Food and Drug Administration, and at the pharmaceutical companies. They essentially forced those groups to take treating AIDS as a serious matter and an urgent one. They got testing protocols changed so doctors weren’t giving placebos to people dying of AIDS and desperate for any kind of treatment, even experimental ones. They forced the medical profession to take AIDS in women seriously enough to expand the definition to include them- for years of the AIDS crisis, women with AIDS were brushed off basically as incidental, which is wild to me. Along with these groups, ACT UP targeted politicians and institutions who instantiated homophobia and stood in the way of teaching safe sex and other necessary measures. This led to one of their most controversial and memorable actions, disrupting a mass said by the Cardinal Archbishop of New York at St. Patrick’s Cathedral. 

As a former member, Sarah Schulman had substantial access to ACT UP’s membership, and so a lot of the book is made up of direct testimony from members. None of the stories she tells through these testimonies are undisputed. This was an important element of ACT UP’s culture, and one that carries through into leftist organizing to this day- a great deal of disputation occurred within the organization, and there was an emphasis on independent action. If you wanted to take an action under the ACT UP umbrella, and you were willing to organize it and get informed consent from everyone involved, then you did it- the flip side of which was, everyone would have an opinion about it, and be less than reticent about sharing. Some of the people Schulman interviewed still felt bitter about arguments within ACT UP, even thirty years on. People fighting a plague tend to have less time for niceties.

It’s impossible to tell all the stories Schulman tells here, or give all of her analysis, of things like the experience of different groups — women, people of color, drug users, artists, etc — within ACT UP, of fault lines in the group, influences on its organizing and style, and so on. The stories are thrilling but with an undertone of sadness. These were people dealing with their own deaths, and the deaths of numerous friends, lovers, family, and comrades, horrifying deaths that sapped the lives from vital people with a lot to give. They did this in a context of ignorance and bigotry, the backwash of generations homophobia swirling in the currents of the me-first ethos of ascendant neoliberal late capitalism. People didn’t want to give a fuck. Say what you want about actions like the one at Saint Patrick’s Cathedral — personally, I would have been up for giving that lousy god-bothering politician in red a pink belly, but ACT UP didn’t do violence — but they made the needs, deaths, and lives of people with AIDS impossible to ignore of dismiss, even more than the FDA stuff.

Along with just the sorrow of the dead, there are the ways in which ACT UP fell victim to, in part, the success of its model. Ideologically, it was impossible to see the AIDS fight as done in 1993, when the group split apart- it’s wrong to see it that way now, pace Schulman’s new-gay-conservative bugbear Andrew Sullivan. But between the decentralization and the concrete/tactical orientation of the group and the many personal and ideological conflicts within it exacerbated by most of a decade of intense struggle, it was impossible to keep the group together. There was enough success that a critical mass of the movement —

most notably white gay men who worked in professions that allowed them access to good health insurance — would not take the fight further. Many ACT UP organizers assumed the next step would be single payer. Their goal was to save the lives of people with AIDS, and if they were going to do that, everyone with AIDS needed health insurance, otherwise many would die from lack of treatment. What a what-if! That would have taken more than die-ins, more than ACT UP could have brought to the table on their own, but if they could have held together a little longer… but it wasn’t to be. 

Well. I don’t think it was ideological, necessarily, but organizational. ACT UP was dedicated to the principle of militant self-organization led by the most affected- in their case, by people with AIDS. There are many good reasons for this. But when you run up against things that aren’t just “systemic,” to use the increasingly vague and overused word, but fundamental, the way that capitalist control of the healthcare system is fundamental to how our society operates, there’s a question of mass. It might not be enough to be dedicated, brave, to have the right answers. Quantity has a quality all its own. ACT UP wasn’t bad at working in coalition, but that really wasn’t it was built for, certainly not the kind of disciplined mass campaign socialized medicine would have taken…

The point here isn’t to slam ACT UP, though Schulman and the people she talks to say plenty more inflammatory things about the organization than that. The point is that the experience of ACT UP, and its legacy on the contemporary organizing scene, is complex. It’s not a simple story, the sort in which Hollywood loves to put handsome white heroes in leading roles (Schulman, one of whose novels probably got ripped off by mega-hit “Rent,” has a lot to say about media representations of the AIDS crisis). To my mind, it’s something both sadder and better than that. It’s a human story, of human weakness but also of incredible dedication, courage, and the love we call solidarity. We can’t just formulaically copy ACT UP, and I tend to doubt those ACT UP veterans still with us — and there is a heart-rending roll call of beloved dead movement veterans throughout the book — would want us to. But we can learn- and we’d better. *****

Review – Schulman, “Let the Record Show”

Review – Herbert, “Dune Messiah”

Frank Herbert, “Dune Messiah” (1969) – I like Dune! It’s ridiculous, but good. This is the first time I tried the first sequel. Different friends of mine say that different of the sequels are good, but disagree on which, and no one I know seems to think that all of the sequels Frank Herbert wrote are good… or that the many more written by his son, Brian, are any good at all. But I figured the only way to do it, if I was going to do it at all, was to begin with the beginning, so when I found “Dune Messiah” on a free pile, I picked it up.

It’s twelve years after the end of “Dune,” and Paul Atreides rules most of the human-inhabited galaxy (and if there are aliens, we don’t see them, though some of the humans get freaky enough). The Harkonnens, the evil clan that killed his dad, is foiled. The imperial family has been thrown down and forced to give one of their princesses to Paul in marriage (not that he does anything with Princess Irulan, only having eyes for his Fremen lover Chani). Paul’s Fremen warriors, the baddest dudes around, have spread the word of the Maud’dib in a jihad that has killed around sixty billion people. Most of the remainder worship Paul as a messiah, the Kwisatz Haderach (say what you want about Frank Herbert, he comes up with cool names for things and people), and he has some pretty cool powers, like being able to see into the future. His sister, Alia, can not only see into the future but also has had full knowledge of the lives of all of her ancestors she was in the womb! So she’s fourteen but, you know, more or less omniscient except when the plot dictates she not be.

The previous power players in the galaxy are upset by the rise of Paul. The Bene Gesserit sisterhood, to which his mother belonged (and she’s just in the wind somewhere), had put the pieces into place to make Paul the Kwisatz Haderach, but he refuses to do what they want. The old noble families, including the imperial family through his wife Irulan, feel dissent for obvious reasons. Less obvious are the motivations of the freaky specialized mutants, the Spacer’s Guild, who are like weird spaceship fishmen who take the Spice drug to steer ships through hyperspace, and the Tleilaxu, weird biotech people who make zombie-clones and often “bio-hack,” as people now say, themselves. I guess the Spacers want an independent source for Spice, rather than letting Paul keep his Arrakeen monopoly, but Herbert both makes them a pivot of the plot, but they’re also definitely the bad guys he respects the least.

Between them, these players hatch a plot to do in Paul and Alia. The plot is really complicated, and moreover, to the extent it plays out at all – to the extent that the good guys don’t use their prescience to see through them, and all the measures they took to prevent the prescience from doing just that – it mostly does in drawn-out, boring conversations. Paul is in a snitty little mood throughout. It turns out he doesn’t like being the Maud’dib that much. He doesn’t like being worshiped, or constantly having to deal with conspiracies, and is less than thrilled over how many people have been killed in his name by his followers. He doesn’t want to just let the noble houses/Bene Gesserit/Spacers and whoever win, especially because they want to kill him and others close to him. But in many ways, he wins via the expedient of staying alive long enough to walk away, and become a different kind of legend. 

But like I said, until some assassination attempts towards the end – which themselves are repeated, almost beat for beat, with different zombie-cyborg-assassins made out of friends of the family, if I remember right? – a lot of what happens in this book is conversation. The original Dune was also a bit slow and wordy. But there was more going on, and everything felt fresher. The strings show more here, the strain of a decently smart guy trying to depict a story of epochal geniuses with minds expanded beyond where humanity could go. In Herbert’s mind, that involves a lot of circular conversations made up of declarative sentences and high-nonsense philosophical aphorisms about power, fate, etc. Herbert had a better bag of tricks than others purporting to depict genius – Isaac Asimov, Orson Scott Card, Tom Harris from the thriller side of things – in that he stocks a lot of the genius less in what people say and more in how they observe things due to their super special vaguely-cybernetic training… but that can get a little old, too, especially when the plot does not move at the sort of pace you’d like. So this is a sort of middling effort. I’m thinking about whether it’s worth continuing, or just reading the wikipedia entries. ***

Review – Herbert, “Dune Messiah”