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e.e. in the U.S.S.R.

In America, Arts & Letters, Books, Emerson, Humanities, liberal arts, Libertarianism, Literary Theory & Criticism, Literature, Modernism, Philosophy, Poetry, Politics on August 25, 2022 at 6:00 am

This piece originally appeared here in Discourse Magazine.

Born in 1894, E.E. Cummings—poet, painter, playwright, novelist—is known for his innovative idioms, very unconventional punctuation and experimental forms. He is less remembered for his staunch commitment to philosophical and political individualism, in the tradition of 19th-century transcendentalist Ralph Waldo Emerson, which found its fullest expression in his opposition to the ascendent Marxism and communism of the early 20th century.

Cummings was raised by Unitarian parents around Harvard Yard (his father taught at the university) at a time when the chief modes of transportation were not yet by automobile. The ebullient young poet enjoyed his academic milieu with its residual transcendentalism. Even the jurist Oliver Wendell Holmes Jr., an allegedly cold realist then serving on the Massachusetts Supreme Judicial Court, acknowledged Emerson as his inspiration and wrote about “an echo of the infinite” and “a hint of the universal law.”

An urban center for publishing and speaking and all varieties of expatiation, Cambridge, Massachusetts, was at the time home to American intellectuals such as William James, Josiah Royce and Charles Eliot Norton, as well as to the nascent pragmatism that would eclipse republicanism, Unitarianism and other New World paradigms in its importance to the identity of educated Bostonians and Harvard highbrows. Burgeoning industry generated prosperity and energetic commercialism in Boston and its surrounds. The Civil War had tempered the optimism of earlier generations, but vibrant efforts to fashion a uniquely American culture and to break free from the constraints of European customs and traditions continued to shape the growing market for newspapers and books.

In this stimulating climate, under his parents’ care, young Cummings cultivated his creative talents, especially for poetry. He entered Harvard University in 1911, published his first poem in 1912, graduated in 1915 and earned a master’s degree from Harvard in 1916. As a college student he became, according to biographer Susan Cheever, “a new man, an archetypal questioner, and with this newness would come a different kind of poetry.”

Originality was the hallmark of American writing long before Cummings. The national literature, such as it was, sought discontinuity and inventiveness. The crass humor of Samuel Clemens (Mark Twain), the gothic grotesqueness of Edgar Allan Poe, the bold activism of Margaret Fuller, the caustic realism of Edith Wharton, the performative independence of Henry David Thoreau, the shocking obscenity of Walt Whitman—each contributed to the paradox of the emergent American canon: its derivative novelty and mimetic resistance to outside influences.

Strictly rhyming meter and syntax in American poetry gave way to a rebellious free verse and democratic improvisation. The ostentatious vocabulary and syntactical pretensions of upper-class Europeans were not suited to rugged American prose, which—as in Twain’s “Adventures of Huckleberry Finn”—featured common speech, plain diction and vulgar colloquialisms. But how far could writers push boundaries? How could they transcend the inescapable past or reimagine inherited orthographies? Could language exist without recognizable precedents, rules or structures? What approaches had not been tried? What poems could satisfy the endless aspiration for American ingenuity?

Stretching the Limits

Cummings may have stretched the limits as far as they could go. His anarchic, avant-garde style signaled his rogue, rollicking individualism, which, in his view, defied the dehumanizing forces of collectivism. This is not the space to examine his extensive oeuvre or undertake close readings of his thousands of brilliant poems. Yet two acclaimed examples suffice to show the lyric distinctiveness of his curious method:

when my love comes to see me it’s

when my love comes to see me it’s
just a little like music,a
little more like curving colour(say
       against silence,or darkness….

the coming of my love emits
a wonderful smell in my mind,

you should see when i turn to find
her how my least heart-beat becomes less.
And then all her beauty is a vise

whose stilling lips murder suddenly me,

but of my corpose the tool her smile makes something
suddenly luminous and precise

—and then we are I and She….

what is that the hurdy-gurdy’s playing

[in Just-]

in Just-

spring          when the world is mud-

luscious the little

lame balloonman

whistles          far          and wee

and eddieandbill come

running from marbles and

piracies and it’s


when the world is puddle-wonderful

the queer

old balloonman whistles

far          and             wee

and bettyandisbel come dancing

from hop-scotch and jump-rope and






balloonMan          whistles




In the first poem we experience a traditional theme: tender, romantic love. The second, with its evocative images, vague figures, fragmented lines and unusual, disruptive punctuation, is like the scene of an abstract painting or photograph, a rendered moment, the sounds purely imagined.

Cummings famously embraced lowercase font (or, if you prefer, infamously avoided capitalization). The spatial arrangement of this poem—large gaps between words, for instance, or the swaying effect of differing line lengths—lends the impression that the wind has blown the letters and words back and forth, together and apart, and that the ominous perspective is that of a child who is unable to articulate clearly or cogently the evanescent flurry of activity he beholds.

Emerson coined “individualism” for the American lexicon to capture the “individualisme” that Alexis de Tocqueville recorded in the early 1830s in his observations while touring the United States. The individualism that Cummings developed was more than merely a youthful sense of bravado and self-importance that would moderate as his testosterone receded with age. It was deep-seated, rational and enduring—in a word, Emersonian.

Mentor. Ralph Waldo Emerson in 1857. Image Credit: Josiah Johnson Hawes/Wikimedia Commons

Lasting beliefs earn staying power through lived experience; trying circumstances force people to validate or renounce their convictions. Two pressing events reinforced Cummings’ individualism, which he exposited with an ever-maturing understanding of the dangers of totalitarianism.

One was his detainment during World War I, right out of college. He and novelist William Slater Brown had volunteered for the Norton-Harjes Ambulance service in France. Charged with espionage because of cryptic comments in their letters home, they were imprisoned for three months in holding cells at a military detention camp in the French town of La Ferté-Macé. Meanwhile the U.S. Department of State erroneously notified Cummings’ parents that he had been aboard the SS Antilles, which a German U-boat had torpedoed and sunk.

Cummings was released from confinement without commotion or fanfare shortly before Christmas 1917 and was stateside again by January. He would later portray this period in his autobiographical novel “The Enormous Room,” which biographer Richard S. Kennedy describes as a “symbolic attack upon all governmental structures whatsoever.”

Lenin’s Tomb

The other belief-affirming event was Cummings’ five-week trip to the Soviet Union in 1931, which hardened him against communism and its American supporters. During this trip Cummings kept a diary that became his second prose book, “Eimi.” The title is Greek for “I am.” In his 1958 preface, Cummings wrote, “To devotees of the Old Testament, this may suggest Exodus III, 14—‘I AM THAT I AM.’” Cummings’ signature “i,” rendered in lowercase throughout his poetry, lacks the grandeur and majesty of the Hebrew God. Yet, paradoxically, it seems mighty in its diminutive size: a sign of individuality that draws attention to itself, its power made perfect in weakness.

First published in 1933, “Eimi” abounds with bitter, biting critiques of collectivism and of its corollary, a planned economy. This diary-invective can be obscure, its plot sequencing at times difficult to follow. Guided by a derisory version of Virgil, Cummings—the mocking and mythical narrator, a 20th-century Dante—undertakes a depressing, disturbing passage through the “unworld,” Stalinist Russia: a nightmarish hell of senseless bureaucracy, unimaginative ideology and brutalizing oppression.

His first stop on this journey: “A singularly unbanklike bank:outside,mildly imposing mansion; inside,hugely promiscuous hideousness—not the impeccable sanitary ordered and efficient hideousness of American or imitation-American banks,but a strictly ubiquitous whenwhere of casual filth and aimless commotion and profound hoping inefficiency.” Such bleak, odd imagery and frank disgust anticipate the surreal, satirical episodes he later sees and records: propaganda plays, indoctrination speeches, a plethora of comrades, secret police, a socialist jail. The neologism “whenwhere” emphasizes the managerial pointlessness of Soviet administration, which homogenizes society into a monotonous, mechanistic mass of inept, brainwashed automatons.

Henry Wadsworth Longfellow “Harry” Dana (grandson of the renowned poet Henry Wadsworth Longfellow, who had died in 1882), a union-loving advocate of labor causes, a Harvard habitué and a lively expert on Russian drama, happened to be in Russia when Cummings arrived there. With entrée into Russian cognoscenti society, Dana was Cummings’ Virgil, introducing him to the glitterati, the literati and local theater. Anti-authoritarian to his core, Cummings was unimpressed. He “went to the Soviet Union with his eyes open and without an agenda,” explains biographer Christopher Sawyer-Lauçanno, but “his experiences there, in which he witnessed first-hand the privation and sadness of the Stalinist state, certainly helped him develop an agenda.”

In “Eimi,” Cummings allegorizes his haunting visit to Lenin’s mausoleum, calling it the “Vision of Satan.” The revulsion with which Cummings illustrates the procession of bodies to the grave is palpable. Too lengthy to quote here, these lines scramble with intensity in the manner of the mourning throng—a “number of numberlessness”—which mobilizes toward “the Tomb of Tombs,” toward “Lenin our life!” and “Lenin our hope!” The tomb, discussed much earlier in the narrative, is “a rigid pyramidal composition of blocks; an impurely mathematical game of edges.”

The picture here is religious, or irreligious—the hallowed Lenin in his sacred space, wholly consecrated, absolutely revered. If Lenin is God, then his state—his government—is holy. Nothing could have been more frightening or distressing to Cummings.

Kennedy asserts that the concluding lines of “Eimi” attempt to “express something similar to an Emersonian transcendental experience, a mystical union with the creative force”:

silence is made of

(behind perfectly or

final rising


more dark

most luminous

whereless fragrant whenlessly erect

a sudden the!entirelyblossoming)







Notice the emergence of sound from silence: the voice a mode of agency, a source, a genesis, a conception. The result is as if to say, “You, reader, are now released from Soviet censorship, restraint and restriction; you have ended that chapter and may close this book; the future is yours to make.”

Standing Alone

Kennedy explains that the self-celebrating and increasingly embittered Cummings sometimes “felt isolated from other literary contemporaries, mostly leftists who shunned him because of his strong anticommunist views.” True Emersonian self-reliance means standing alone, if necessary, in the face of hostility and to the chagrin or ire of the naysaying multitudes. Cummings, “no base imitator of another,” struck out on his own, taking great risks with his poetry despite harsh charges that his writing was indecipherable, esoteric or impenetrable.

His acrobatic, often puzzling techniques represent aesthetically the prevailing motifs of his romantic, nonconformist individualism: imagination, life, emotion, instinct, spontaneity and love. His liberating eccentricity contrasts with the crushing, repressive and absurd Soviet system. “Eimi,” a sustained indictment of Marxism and communism, depicts the all-encompassing despotism of mobs as well as a cruel and implacable government run by myriad comrades who lack character or personality because they are subservient sycophants: dispensable units within an indiscriminate superstate of interchangeable agents and functionaries.

When the idiosyncratic Cummings died of a stroke in 1962, he was a household name, his stature secured by the blooming hippie, hipster subculture that, dissatisfied with current affairs, followed his lead in rejecting establishment standards and submission to authority. His obituary in The New York Times, published the day after his death, commences on the front page and, because of its length, extends to another section. He was a force, a giant of his time, a modernist trendsetter whose trends were insuperable, a transparent eyeball, the “i” and the person he decided to be, the Whitmanesque “me myself” who would not capitulate to badges, names, large societies or dead institutions. He was e.e. and E.E., living truly, seeing truly, acting singly. There can never be another.


El Why Liberalism Failed de Deneen ataca una versión falsa del liberalismo

In Arts & Letters, Book Reviews, Books, Christianity, Conservatism, Historicism, History, Humanities, Liberalism, Modernism, Philosophy, Politics, Scholarship, Western Civilization, Western Philosophy on October 2, 2019 at 6:45 am

This post originally appeared here at 

Sólo los audaces titulan un libro Why Liberalism Failed. Patrick Deneen, el Profesor Asociado de Ciencias Políticas David A. Potenziani Memorial de la Universidad de Notre Dame, ha hecho precisamente eso, proponiendo que tal fracaso ha ocurrido realmente y estableciendo la expectativa irrazonable de que él pueda explicarlo. Su premisa operativa es que el liberalismo creó las condiciones para su inevitable desaparición, que es una ideología autoconsumidora y autodestructiva que sólo tiene unos 500 años. (p. 1) «El liberalismo ha fracasado», declara triunfante, «no porque se quedara corto, sino porque era fiel a sí mismo. Ha fracasado porque ha tenido éxito». (p.3)

Deneen no define el término liberalismo, que no está en su índice a pesar de que se encuentra en todo el libro. Tengo la certeza de que uno de los revisores del manuscrito pre-publicado recomendó su publicación a los editores de Yale University Press, siempre y cuando Deneen definiera el liberalismo de manera convincente y luego limpiara sus descuidadas referencias a él. Deneen ignoró este consejo, dejando el manuscrito como está. Su genealogía del liberalismo es aún más problemática a la luz de esta negativa a aclarar.

Deneen presenta una aparente paradoja, a saber, que el liberalismo, bajo la bandera de la libertad y la emancipación, produjo su opuesto: un vasto, progresista y coercitivo Estado administrativo bajo el cual los individuos se han vuelto alienados, amorales, dependientes, condicionados y serviles. «El proyecto político del liberalismo», afirma, «nos está moldeando en las criaturas de su fantasía prehistórica, que de hecho requería el aparato masivo combinado del Estado moderno, la economía, el sistema educativo y la ciencia y la tecnología para convertirnos en: seres cada vez más separados, autónomos, no relacionales, repletos de derechos y definidos por nuestra libertad, pero inseguros, impotentes, temerosos y solos». (p.16)

En esta línea se oyen ecos de Sartre, y el existencialismo recomienda un cierto individualismo: la libertad del agente racional, que ha sido empujado a la existencia sin elección ni culpa propia, a querer su propio significado en un mundo absurdo y caótico. Pero el existencialismo es una especie de individualismo diferente de la que motivó a Hobbes, Locke y Mill: los principales objetivos de la ira de Deneen. Es cierto que a Mill no le gustaba la conformidad dogmática con la costumbre, pero es una costumbre, incluso se podría decir que es una posición conservadora. Hay que mantener o conservar, después de todo, un modo crítico de abordar cuestiones difíciles sin suponer que ya se han encontrado todas las soluciones adecuadas. Cada época debe revisar sus enfoques de los problemas perennes. Hay muchas cosas que no le gustan desde una perspectiva cristiana, pero sus desagradables conclusiones no necesariamente se derivan de su método de indagación o de su apertura a examinar de nuevo los rompecabezas y los problemas con los que nuestros antepasados lucharon.

El liberalismo clásico o libertarismo al que se adhieren los individualistas cristianos promueve la paz, la cooperación, la coordinación, la colaboración, la comunidad, la administración, el ingenio, la prosperidad, la dignidad, el conocimiento, la comprensión, la humildad, la virtud, la creatividad, la justicia, el ingenio, y más, tomando como punto de partida la dignidad de cada persona humana ante Dios y ante la humanidad. Este individualismo prospera en culturas fundamentalmente conservadoras y no cuadra con la caricatura de Deneen de una caricatura de una caricatura de un individualismo «liberal». Este individualismo conservador, una criatura del liberalismo clásico, aboga por la libertad a fin de liberar a los seres humanos para que alcancen su máximo potencial, cultivar una ética y una moral generalizadas y mejorar sus vidas e instituciones mediante el crecimiento económico y el desarrollo. ¿Y quién puede negar que la economía de mercado con la que está vinculada ha dado lugar, en todo el mundo, a mejores condiciones de vida, avances tecnológicos y médicos, descubrimientos científicos, curiosidad intelectual e innovación industrial?

Deneen desea rebobinar el tiempo, recuperar la virtuosa «autogestión» de los antiguos que, según él, se basaba en el «bien común». (p. 99) Ve en la antigüedad un arraigo social que se alinea con el cristianismo tal como lo ejemplifican en el mundo moderno las comunidades amish (p. 106-107) Su celebración de las artes liberales tradicionales adopta, dice, «una comprensión clásica o cristiana de la libertad» (p. 129) que enfatiza las normas y localidades situadas, las culturas arraigadas y las continuidades institucionales. Esta, sin embargo, es una curiosa visión de la antigüedad, que contradice los rasgos anticristianos del pensamiento clásico y antiguo, ensalzada por Friedrich Nietzsche, Ayn Rand y Julius Evola, que valoraban los elementos paganos de «la antigua alabanza de la virtud» (p. 165) y menospreciaban el mundo moderno por ser demasiado cristiano.

A Deneen no le interesan los liberalismos, es decir, la multiplicidad de conceptos que vuelan bajo la bandera del liberalismo. Prefiere casualmente agrupar variedades de enfermedades genéricas (desde la agricultura industrializada hasta el enamoramiento con el STEM, la diversidad, el multiculturalismo, el materialismo y la autonomía sexual) como productos del único enemigo común de todo lo bueno que los períodos clásico y medieval tenían para ofrecer. Luego le da un nombre a ese enemigo: liberalismo. Nos sumergiría, si no en la antigüedad, en el tribalismo medieval, en períodos en los que los acusados eran juzgados por la prueba o el combate, cuando los juramentos de sangre y el parentesco, en lugar de la confianza, la buena voluntad o el intercambio económico, determinaban las lealtades y lealtades de uno.

No es correcto que el liberalismo «requiera la liberación de toda forma de asociación y relación, de la familia a la iglesia, de la escuela a la aldea y a la comunidad». Por el contrario, el liberalismo libera a la gente de la coerción tiránica e institucionalizada que les impide disfrutar de las asociaciones y relaciones locales, incluidas las de las familias, las iglesias, las escuelas y las comunidades. El liberalismo bien entendido empodera a la gente para que se agrupe y defina su experiencia según sus propias costumbres y costumbres. Gracias al liberalismo, el propio Deneen goza de la libertad de criticar al gobierno en rápido crecimiento que cada vez más intenta imponerle normas y reglas contrarias a las suyas.

Extender el individualismo que caracterizó al liberalismo clásico al progresismo del siglo XX y a la política de identidad moderna, como hace Deneen, es un error. La política de identidad moderna trata sobre el colectivismo en nombre de la autodefinición, la autoconciencia y la autoconstitución, sobre la elección de qué comunidades (Black Lives Matter, LGBTQ, los Socialistas Demócratas de América, los neonazis, etc.) abrazan lo físico (por ejemplo, lo étnico o lo racial), lo ideológico (por ejemplo, lo pannacionalista, marxista, ecosocialista, feminista, anarcosindicalista, supremacista blanco), o características normativas (por ejemplo, justicia social o igualitarismo) en torno a las cuales se forman asociaciones de grupo.

La verdad es que el individualismo prospera en comunidades morales y virtuosas, y que el bien común y las asociaciones de grupos florecen en sociedades que reconocen y comprenden el valor y la dignidad inherentes de cada individuo. De la interdependencia y el fortalecimiento mutuo de la libertad y el orden, del individuo y de la sociedad, Frank Meyer proclamó que «la verdad se marchita cuando la libertad muere, por justa que sea la autoridad que la mata; y el individualismo libre, desinformado por el valor moral, se pudre en su centro y pronto crea las condiciones que preparan el camino para la rendición a la tiranía.1 Para aquellos que insisten en que el individualismo es antitético a la creencia religiosa, que es en sí misma indispensable para el conservadurismo y el bien común, M. Stanton Evans declaró, «la afirmación de un orden trascendente no sólo es compatible con la autonomía individual, sino con la condición de la misma; […] una visión escéptica de la naturaleza del hombre [es decir…] una visión escéptica de la naturaleza del hombre», como intrínsecamente defectuoso y propenso al pecado] no sólo permite la libertad política sino que la exige».2

En una sociedad libre, los empresarios y productores miran a los demás, a las comunidades, para determinar las necesidades básicas que deben satisfacerse. El interés personal racional que motiva la creatividad y la inventiva consiste fundamentalmente en servir a los demás de manera más eficiente y eficaz, en generar recompensas personales, sí, pero recompensas personales por hacer la vida mejor y más fácil para los demás. El Adam Smith de La Riqueza de las Naciones es el mismo Adam Smith de La Teoría de los Sentimientos Morales. Los seres humanos están conectados tanto para cuidar de sí mismos, proteger sus hogares y a sus seres queridos, como para sentir y sentir empatía por los demás. La beneficencia y la generosidad son aspectos principales del individualismo liberal que Deneen calumnia.

La «segunda ola» del liberalismo, en el paradigma de Deneen, es el progresismo. Sin embargo, el progresismo moderno y el Partido Demócrata no tienen casi nada que ver con el liberalismo clásico. Curiosamente y, me atrevo a decir, perezosamente, Deneen desea conectarlos. Sin embargo, no puede trazar una clara línea de conexión entre ellos, porque no la hay. La supuesta conexión es la supuesta ambición de «liberar a los individuos de cualquier relación arbitraria y no elegida y rehacer el mundo en uno en el que prosperen aquellos especialmente dispuestos al individualismo expresivo». (p. 143-44) ¿Debemos interpretar esta afirmación en el sentido de que Deneen preferiría que nuestras relaciones e interacciones fueran arbitrariamente coaccionadas por un poder central en una sociedad cerrada en la que los individuos subordinados siguen habitualmente las órdenes incuestionables de los superiores establecidos?

F. A. Hayek dijo una vez que, «hasta el ascenso del socialismo», lo opuesto al conservadurismo era el liberalismo pero que, en Estados Unidos, «el defensor de la tradición estadounidense era un liberal en el sentido europeo».3 ¿Está Deneen tan inmerso en la cultura estadounidense que no puede reconocer esta distinción básica? Deneen premia el bien común y colectivo que se manifiesta en las comunidades locales, culpando al interés propio racional de la supuesta tendencia universalizadora del liberalismo a erradicar las venerables costumbres y normas culturales. Pero parece confundido por la taxonomía norteamericana en la que ha caído el liberalismo y haría bien en revisar las obras de Ludwig von Mises, quien explicó: «En Estados Unidos, “liberal” significa hoy en día un conjunto de ideas y postulados políticos que en todos los aspectos son lo opuesto de todo lo que el liberalismo significó para las generaciones precedentes. El autodenominado liberal estadounidense apunta a la omnipotencia del gobierno, es un enemigo resuelto de la libre empresa y defiende la planificación integral por parte de las autoridades, es decir, el socialismo».4

Una comparación de la teoría política especulativa de Deneen y su narrativa abstracta de la decadencia con la de Larry Siedentop, profundamente histórica e ideológicamente neutra, Inventing the Individual (Belknap/Harvard, 2014), revela fallas críticas en el argumento de Deneen, comenzando con la proposición de que la clave del individualismo para el liberalismo tiene apenas 500 años. Siedentop menoscaba la imagen común de una Europa medieval asediada por la pobreza y la superstición, la monarquía y la tiranía, la corrupción generalizada y la muerte temprana de la que supuestamente nos rescataron el Renacimiento y, más tarde, la Ilustración. Siedentop ve, en cambio, el ascenso del cristianismo —mucho antes del medievalismo— como la causa del ascenso del individualismo liberal, que, de hecho, tiene sus raíces en las enseñanzas de San Pablo y de Jesucristo. Mientras que Deneen teoriza que el individualismo es reciente y anticristiano, Siedentop traza su historia actual como claramente cristiana, trazando sus características concretas a lo largo del tiempo a medida que proliferaba y sustituía a las antiguas culturas y costumbres paganas que carecían de una comprensión estructural de la dignidad y primacía de la persona humana.

Siedentop atribuye el individualismo liberal al cristianismo; Deneen trata el individualismo liberal como contrario al cristianismo. Ambos hombres no pueden corregir, al menos no completamente.

Caminando hacia atrás en algunas de sus grandes afirmaciones, Deneen reconoce en sus páginas finales que el liberalismo, en ciertas manifestaciones, ha existido por más de 500 años y que tiene mucho en común con el cristianismo:

Mientras que el liberalismo pretendía ser un edificio totalmente nuevo que rechazaba la arquitectura política de todas las épocas anteriores, se basaba naturalmente en largos desarrollos desde la antigüedad hasta la Baja Edad Media. Una parte significativa de su atractivo no era que se tratara de algo totalmente nuevo, sino que se basara en reservas profundas de creencia y compromiso. La antigua filosofía política se dedicaba especialmente a la cuestión de la mejor manera de evitar el surgimiento de la tiranía, y la mejor manera de lograr las condiciones de libertad política y autogobierno. Los términos básicos que informan nuestra tradición política —libertad, igualdad, dignidad, justicia, constitucionalismo— son de origen antiguo. El advenimiento del cristianismo, y su desarrollo en la filosofía política de la Edad Media, ahora muy descuidada, puso de relieve la dignidad del individuo, el concepto de persona, la existencia de derechos y deberes correspondientes, la importancia primordial de la sociedad civil y de una multiplicidad de asociaciones, y el concepto de gobierno limitado como el mejor medio de prevenir la inevitable tentación humana de la tiranía. El atractivo más básico del liberalismo no era su rechazo del pasado, sino su dependencia de conceptos básicos que eran fundamentales para la identidad política occidental. (págs. 184 a 85)

Perdóneme por estar confundido, pero pensé que Deneen se había propuesto criticar el liberalismo y trazar su fracaso, no exaltarlo ni defenderlo, y ciertamente no vincularlo a un antiguo linaje asociado con el cristianismo. Este pasaje representa la desorganización en el corazón del libro de Deneen. El liberalismo no tiene la culpa del estado administrativo masivo y sus redes de agentes y funcionarios que coaccionan a las comunidades locales. Deneen es parte del problema que describe, defendiendo formas de pensar y organizar el comportamiento humano que socavan su esperanza de que se reaviven los valores tradicionales y los lazos familiares o de vecindad a nivel local.

Deneen expresa sus opiniones con una certeza tan enloquecedora que parece altivo y tendencioso, como un manqué celosamente anti-libertario con un hacha que moler. Carece de la delicadeza y la caridad con que los eruditos razonables de buena fe se acercan a sus oponentes ideológicos. No tiene en cuenta la posición de quienes, como yo, creen que el individualismo liberal es una condición necesaria para el florecimiento de las comunidades locales, el cultivo de la virtud y la responsabilidad, la formación de instituciones mediadoras y asociaciones políticas de abajo hacia arriba, y la descentralización y difusión del poder gubernamental. Simplemente no puede entender la posibilidad de que el individualismo liberal cree un vehículo para la preservación de las costumbres y el patrimonio, la unidad familiar y los vínculos sociales a nivel local.

«El estatismo permite el individualismo, el individualismo exige el estatismo» (p. 17), insiste Deneen con pocas pruebas más allá de sus propias teorías ahistóricas especulativas, irónicamente dado su llamado a «formas locales de resistencia más pequeñas: prácticas más que teorías». He aquí una propuesta alternativa: el individualismo liberal y los lazos comunitarios que genera se protegen mejor en una sociedad cristiana que es solemnemente consciente de la falibilidad de la mente humana, de las tendencias pecaminosas de la carne humana y de la imperfección inevitable de las instituciones humanas.

Leyendo Why Liberalism Failed, uno podría salir cuestionando no si Deneen tiene razón, sino si es lo suficientemente culto en la historia del liberalismo como para juzgar esta amplia y centenaria escuela de filosofía que surgió del cristianismo. Qué impresión tan desafortunada para alguien que escribe con tanto estilo sobre tendencias y figuras tan importantes! La realidad, creo, es que Deneen es erudito y culto. Su descripción tendenciosa del liberalismo es, por lo tanto, decepcionante por no poner en evidencia su erudición y su aprendizaje, por promover una visión idiosincrásica del liberalismo que, en última instancia, podría socavar el compromiso clásico y cristiano con la libertad que desea revitalizar.

  • 1.Frank Meyer, «Freedom, Tradition, Conservatism», en What is Conservatism? (Wilmington, Delaware: ISI Books, 2015), pág. 12.
  • 2.M. Stanton Evans, «A Conservative Case for Freedom», en What is Conservatism? (Wilmington, Delaware: ISI Books, 2015), pág. 86.
  • 3.F.A. Hayek, «Why I Am Not a Conservative»The Constitution of Liberty: The Definitive Editio, Vol 17, The Collected Works of F. A. Hayek(Routledge, 2013), p. 519.
  • 4.Ludwig von Mises, Liberalism in the Classical Tradition (1927) (The Foundation for Economic Education y Cobden Press, 2002) (Ralph Raico, trans.), pgs. xvi-xvii.

John William Corrington on Intuition and Intellect

In America, American History, American Literature, Arts & Letters, Books, Essays, History, Humanities, John William Corrington, liberal arts, Literary Theory & Criticism, Literature, Modernism, Philosophy, Poetry, Religion, Scholarship, Southern History, Southern Literature, The South, Western Philosophy, Writing on October 17, 2018 at 6:45 am

In my edition of John William Corrington’s essays, I assembled Corrington’s unpublished notes and sections of his unpublished lectures from the early 1970s that he maintained in one document.  Because of the subject matter, I titled this section “Intuition-Intellect.”

This material demonstrates the shift in Corrington’s interests in poetry as a craft to more philosophical concerns that were influenced by poetry, or mythopoetics. His discussion of myth and his references to Eric Voegelin in these notes suggests that he had just begun to read Voegelin and to explore Gnosticism and myth criticism.

Corrington questions here the relationship between science and philosophy and hypothesizes about how the truths generated by science become mythologized to satisfy certain human desires. He proposes that science itself has a “mythic” character and claims that “the aftermath of every significant act of science is its mythologization.” Corrington speculates whether myth is inevitable because it fulfills something basic or instinctive in human nature.

Science amasses data for their predictive value, but asking what these data mean is the beginning of myth, which, properly understood, is another form of understanding and articulating truths about the world. However, myth can also, Corrington claims, have destructive implications at odds with truth. He warns about mismanaging myth, giving such examples as Nazism, Marxism, and free enterprise: ideological constructs that rely on abstract myth narratives to stamp out opposition.

Corrington critiques the scientism that has developed since the Enlightenment because he considers its emphasis on empiricism and rationalism to mask its role in formulating mythic patterns or archetypes for governing the phenomenal world, including the human social order. These patterns or archetypes, despite their mythic nature, are taken as authoritative and valid because they are conflated with or understood as scientific truth; in this manner they are assumed to be separate and apart from myth when in fact they constitute myth.  They are dangerous because they are presumed to be scientific truth subject to certain and definite application when in fact they represent mythopoetic urges to satisfy innate and instinctual human impulses.

Corrington transitions from this discussion of myth and science into a discussion of twentieth-century poetry and its “overintellectualization,” as evidenced by the implementation of supposedly scientific approaches to the study of poetry. Corrington considers the New Criticism to represent such a scientific approach to poetry.

The turn to reason and science, Corrington suggests, has destroyed the aesthetics of poetry just as it has destroyed human civilizations in the sociopolitical context. In both contexts there has been, he believes, a failure to realize the distinction between science and the mythologization of science, a failure that has led certain groups to mistake what is unreasonable and irrational for absolute reason and rationality, to believe, that is, that what is merely a pattern or archetype—a human construct—is something given and definite even apart from human knowledge of it. Those who fail to understand the distinction between science and the mythologization of science embrace a potentially destructive psychic system that mistakes science for its opposite. This essay shows that, as Corrington begins to transition away from the writing of poetry, he is also trying to integrate his interest in poetry with his growing interest in philosophy.

The exact date of this Corrington material is unknown; however, certain references suggest that Corrington wrote these notes in or around 1971. For example, he mentions a “new” album by the Rolling Stones, Sticky Fingers, which came out in 1971. It is possible that part of this material comes from a lecture that Corrington gave to the South-Central Modern Language Association in 1968. That lecture was titled “Cassirer’s Curse, Keats’s Urn, and the Poem Before the Poem.” Some of the material may have come from the National Science Foundation Lecture that Corrington titled “Science and the Humanities” and delivered at Louisiana State University in 1966. Corrington began the essay with four discursive notes under the heading “Statements and Questions.” Because the ideas in these notes are more fully developed in the text proper, I have moved them to the end of the essay.

“Intuition-Intellect” has been printed in my recent edition of Corrington’s work, which is available for purchase by clicking on the image below:

The Circuitous Path of Papa and Ezra

In Arts & Letters, Essays, History, Humanities, liberal arts, Literary Theory & Criticism, Literature, Modernism, Politics, Western Civilization, Writing on May 24, 2017 at 6:45 am

This review originally appeared here in The American Conservative.

Ernest Hemingway, fresh off his marriage to Hadley Richardson, his first wife, arrived in Paris in 1921. Paris was a playground for writers and artists, offering respite from the radical politics spreading across Europe. Sherwood Anderson supplied Hemingway with a letter of introduction to Ezra Pound. The two litterateurs met at Sylvia Beach’s bookshop and struck up a friendship that would shape the world of letters.

They frolicked the streets of Paris as bohemians, joined by rambunctious and disillusioned painters, aesthetes, druggies, and drinkers. They smoked opium, inhabited salons, and delighted in casual soirées, fine champagnes, expensive caviars, and robust conversations about art, literature, and the avant-garde. Pound was, through 1923, exuberant, having fallen for Olga Rudge, his soon-to-be mistress, a young concert violinist with firm breasts, shapely curves, midnight hair, and long eyebrows and eyelashes. She exuded a kind of mystical sensuality unique among eccentric highbrow musicians; Pound found her irresistible.

Pound was known for his loyalty to friends. Although he had many companions besides Hemingway—among them William Butler Yeats, James Joyce, T.S. Eliot, Marianne Moore, Robert McAlmon, Gertrude Stein, e.e. cummings, Pablo Picasso, Wyndham Lewis, T.E. Hulme, William Carlos Williams, Walter Morse Rummel, Ford Madox Ford, Jean Cocteau, and Malcolm Cowley—Hemingway arguably did more than the others to reciprocate Pound’s favors, at least during the Paris years when he promoted Pound as Pound promoted others.

Pound was aware of Hemingway’s talent for publicity: he and Hemingway had combined their genius to promote Eliot’s The Waste Land. Hemingway introduced Pound to William Bird, an American reporter who arranged to publish an autobiographical piece about Pound’s childhood. Bird was instrumental to the eventual publication of Pound’s A Draft of XVI Cantos. Pound, for his part, secured for Hemingway a position as assistant editor of The Transatlantic Review. Their relationship matured into something symbiotic and mutually beneficial.

Pound edited Hemingway’s work, stripping his prose of excessive adjectives. Hemingway remarked that Pound had taught him “to distrust adjectives as I would later learn to distrust certain people in certain situations.” Unlike, say, Conrad Aiken or Robert Frost, who resisted Pound’s editing, Hemingway acquiesced to Pound’s revisions. In exchange, Hemingway taught Pound how to box. He acknowledged that the scraggly Pound had “developed a terrific wallop” and had “come along to beat the hell wit the gloves.” Hemingway worried that “I will get careless and [Pound] will knock me for a row of latrines.” He even treated Pound to a night at the prizefights to brighten Pound’s spirits as Pound battled various illnesses.

Pound, however, grew disillusioned with Paris, where his friends were gravitating toward socialism and communism. Paris, he decided, was not good for his waning health. Hemingway himself had been in and out of Paris, settling for a short time in Toronto. In 1923, accompanied by their wives, Pound and Hemingway undertook a walking tour of Italy. The fond memories of this rejuvenating getaway inspired Pound to return to Italy with his wife Dorothy Shakespear in 1924. They relocated, in 1925, to a picturesque hotel in Rapallo, a beautiful sea town in the province of Genoa, on the bright blue Tigullio Gulf.

Pound found the weather in Rapallo to be soothing and agreeable. It was Hemingway who had first recommended this scenic spot, having visited Sir Max Beerbohm there years before. Hemingway’s tales of the sunshine, swimming, tennis, and other outdoor activity in Rapallo appealed to Pound, who fancied himself an athlete. The fact that his mistress Olga frequented Italy—where her father owned a house—made Rapallo all the more desirable, as did Dorothy’s seeming willingness to share her husband with his lover.

The friendship remained intact as Pound settled into Rapallo. About to vacate Europe for Key West, Hemingway dashed off a missive to Pound that began “Dear Duce” and then boasted about how Papa, as people had begun to call Hemingway, was “going to know everything about fucking and fighting and eating and drinking and begging and stealing and living and dying.” Gradually, though, the Pound-Papa gulf widened.

The move to Italy also effectively terminated Pound’s glory years in Paris, about which Hemingway wrote affectionately:

So far we have Pound the major poet devoting, say, one fifth of his time to poetry. With the rest of his time he tries to advance the fortunes, both material and artistic, of his friends. He defends them when they are attacked, he gets them into magazines and out of jail. He loans them money. He sells their pictures. He arranges concerts for them. He writes articles about them. He introduces them to wealthy women. He gets publishers to take their books. He sits up all night with them when they claim to be dying and he witnesses their wills. He advances them hospital expenses and persuades them from suicide. And in the end a few of them refrain from knifing him at the first opportunity.

This last line is both teasing and fitting because there was, in fact, at least one assailant in Paris who didn’t refrain: a man who attempted to stab Pound at a dinner party hosted by the surrealists.

Hemingway guessed that Pound might stay in Italy “sometime” even if he took “no interest in Italian politics.” Hemingway was right about Pound’s love for Rapallo but wrong about his political affinities. More than anything else, Italian politics—and the rise of fascism—damaged Hemingway’s regard for Pound, who became a zealous supporter of Mussolini and a reckless trafficker in conspiracy theories.

Hemingway grumbled that if Pound “actually and honest to God … admire[d] and respect[ed] … [Mussolini] and his works [then] all I can say is SHIT.” Hemingway, true to character, remained manfully playful, stating, “I will take practical steps by denouncing you here in Paris as a dangerous anti-fascist and we can amuse one another by counting the hours before you get beaten up in spite of your probity—which in such a fine country as it must be would undoubtedly save you.” Such slight criticisms may have been colored with a lighthearted tone, but the disapproval was plain.

When Hemingway and Guy Hickock visited Pound in northern Italy in 1927, Pound was living in self-imposed exile. Hemingway had recently converted to Catholicism and was enjoying renewed fame after the publication of The Sun Also Rises. He divorced and remarried that year, offering Hadley a portion of the profit from The Sun Also Rises as part of their divorce. Pound, meanwhile, was immersing himself in political theories that likely baffled Hemingway as much as they angered him.

Shortly after the stock-market crash in 1929 and the onset of a worldwide economic crisis, Pound took to writing in Italian. Mussolini’s March on Rome had occurred seven years earlier, and since then he had assumed dictatorial control of Italy, suppressed opposition parties, and built a police state. Pound was enthralled. He met Mussolini in 1933, peddling strange monetary schemes to the fascist leader.

In 1933 Pound and Hemingway exchanged letters that highlighted their diverging attitudes toward Mussolini, fascism, and government. Pound, who’d embraced wild and polemical speculations about the economic theories of the American Founders—Jefferson in particular—began to decry capitalism and taxation while celebrating fiat currency and a convoluted system of state central planning. “Since when are you an economist, pal?” Hemingway mocked. “The last I knew you you were a fuckin’ bassoon player.” Hemingway offered Pound some money, sensing that money was needed, but Pound declined it.

Pound was now enamored with Il Duce; Hemingway was furious. Hemingway hated government, he told Pound, and preferred organized anarchism and masculine sport to statist ideology. Hemingway saw through Pound’s charlatanic flourishes and economic fallacies and accused Pound, quite rightly, of lacking clarity. Yet Pound’s admiration for Hemingway’s work did not diminish, and Pound, ever devoted, included Hemingway in an anthology that he was then editing.

Possibly the last time Pound and Hemingway saw each other, they were having dinner with Joyce on a warm summer night in Paris. Pound allegedly bloviated about economics and the decline of art and European civilization, and Hemingway and Joyce feared that Pound had gone mad. The date and details of the dinner are a matter of debate, as is the veracity of any account of that evening. But one thing is certain: Hemingway was frustrated with Pound’s embrace of Italian fascism. By the time Pound voiced support for Franco in the Spanish Civil War, putting him once again at odds with Hemingway, their once thriving friendship had deteriorated beyond repair.

The falling out was no secret, and other writers took sides. William Carlos Williams wrote to Pound in 1938, saying, “It is you, not Hemingway, in this case who is playing directly into the hands of the International Bankers.” Hemingway conveyed his concerns about Pound to their friend Archibald MacLeish:

Thanks for sending the stats of Ezra’s rantings. He is obviously crazy. I think you might prove he was crazy as far back as the latter Cantos. He deserves punishment and disgrace but what he really deserves most is ridicule. He should not be hanged and he should not be made a martyr of. He has a long history of generosity and unselfish aid to other artists and he is one of the greatest living poets. It is impossible to believe that anyone in his right mind could utter the vile, absolutely idiotic drivel he has broadcast. His friends who knew him and who watched the warpeing [sic] and twisting and decay of his mind and his judgement [sic] should defend him and explain him on that basis. It will be a completely unpopular but an absolutely necessary thing to do. I have had no correspondence with him for ten years and the last time I saw him was in 1933 when Joyce asked me to come to make it easier haveing [sic] Ezra at his house. Ezra was moderately whacky then. The broadcasts are absolutely balmy. I wish we could talk the whole damned thing over. But you can count on me for anything an honest man should do.

Hemingway was referring to Pound’s notoriety as a propagandist for radio and newspaper during the Second World War.  When he received transcripts of Pound’s radio broadcasts, he surmised that Pound was “obviously crazy” for espousing such “vile, absolutely idiotic drivel.” Pound was a “crazy … and harmless traitor,” Hemingway concluded, and an “idiot” with a “distracted mind” who “ought to go to the loony bin.” And that’s precisely where Pound ended up: He was admitted to St. Elizabeth’s Hospital in Washington, DC, in 1945.

Pound’s friends put their reputations at stake to help him. MacLeish, expressing both love and admonition, dashed off these words in a missive to Pound:

… your information is all second-hand and distorted. You saw nothing with your own eyes. And what you did see—Fascism and Nazism—you didn’t understand: you thought Musso belonged in Jefferson’s tradition and God knows where you thought Hitler belonged. I think your views of the history of our time are just about as wrong as views can be. But I won’t sit by and see you held in confinement because of your views. Which is what is really happening now. I am doing what I am doing partly because I revere you as a poet and partly because I love this Republic and can’t be quiet when it violates its own convictions.

MacLeish helped to orchestrate Pound’s release from St. Elizabeth’s, drafting a letter to the government on Pound’s behalf that included Hemingway’s signature, along with those of Robert Frost and T.S. Eliot. A year later Hemingway provided a statement of support for Pound to be used in a court hearing regarding the dismissal of an indictment against Pound.

Hemingway, who was now living in Cuba, did little else to help Pound. More for practical reasons than personal conviction, Hemingway, who was himself targeted by the American government, refused to sign a petition of amnesty for Pound. The petition had been Olga’s idea, and Hemingway didn’t believe the American people would rally behind the desperate pleas of an adulterous lover. Hemingway never visited Pound at St. Elizabeth’s, but he did tell Pound, via Dorothy, that he had read and enjoyed The Pisan Cantos. And when he won the Nobel Prize in 1954, Hemingway announced that the year was good for releasing poets, a not-so-slight reference to his old friend.

Hemingway awoke on the morning of July 2, 1961, put a 12-gauge, double-barreled shotgun to his head, and, alone in the foyer of his home, blew his brains out. He was 61. Pound’s friends and family didn’t tell him about Hemingway’s death, but a careless nurse did, and Pound reacted hysterically. The older of the two, Pound, at 72, was free from St. Elizabeth’s, where he’d spent 12 solemn years. He had returned to his beloved Italy to finish out his long and full life. In the autumn of 1972, he died peacefully in his sleep in Venice, the day after his birthday, which he’d spent in the company of friends.

Balance and Imbalance in E.M. Forster’s A Passage to India

In Arts & Letters, Books, Britain, British Literature, E.M. Forster, Eastern Civilizaton, Fiction, History, Humanities, Jurisprudence, Law, Law-and-Literature, Literary Theory & Criticism, Literature, Modernism, Western Civilization on November 11, 2015 at 8:45 am

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E.M. Forster’s A Passage to India is in many ways about losing balance. Characters like Turton, Fielding, and Mrs. Moore represent centers of gravity, fixed between competing tensions and antagonistic binaries: reason and emotion, Indian and British, human and animal.

Situated between the nested oppositions, Turton, Fielding and Mrs. Moore denote compromised identity, the reconcilability of two cultures; as middle-markers they refuse rigid categorization and maintain symmetry in power relations. Instead of opening channels of communication and understanding, however, their mediating presence has tragic results: Turton goes crazy, Fielding loses hope and Mrs. Moore dies. These characters are necessary as fulcra; but when they align themselves with one binary or leave India altogether, they trouble the balance and stability of society writ large.

In a strictly separatist microcosm, they occupy the geometric center. When their positions shift, equilibrium breaks down: society becomes a mass of madness. The only go-between characters in the novel are English, suggesting that the story is a mirror held up to placate white guilt.

The demise of these characters in particular, and of Anglo-Indian relations generally, turns on the overarching, structural antinomy between reason and emotion that comes to a head during the abortive kangaroo trial. An interrogation of this antinomy and its collapse into muddledom reveals how law and justice in Chandrapore bear a systematic and determinative relation to race and gender.

The above text is adapted from an excerpt of my essay “‘Mass of Madness’: Jurisprudence in E.M. Forster’s A Passage to India,” published in Modernist Cultures, Vol. 6, No. 2 (2011). To view the full essay, you may download it here at SSRN or visit the website of Modernist Cultures.

Oliver Wendell Holmes, Jr., and the Literary Quality of his Prose

In America, American History, American Literature, Arts & Letters, Emerson, History, Humanities, Jurisprudence, Law, Law-and-Literature, Literary Theory & Criticism, Literature, Modernism, Oliver Wendell Holmes Jr., Poetry, Rhetoric, Writing on June 11, 2014 at 8:45 am

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Oliver Wendell Holmes Jr.’s writings are known for their literary qualities.  The Class Poet at Harvard, the son of a famous poet, and a lifelong devotee of Emerson, Holmes often rendered his judicial writings in poetic prose.  Consider the following lines from Gitlow v. New York, which I have reformulated as a poem:


                 Gitlow v. New York[i]

                 A Poem[ii] (1925)

Every idea

is an incitement.

It offers itself for belief

and if believed

it is acted on

unless some other belief

outweighs it

or some failure of energy

stifles the movement

at its birth.

The only difference

between the expression

of an opinion and an incitement

in the narrower sense

is the speaker’s enthusiasm

for the result.

Eloquence may set fire

to reason.

But whatever may be thought

of the redundant discourse

before us

it had no chance of starting

a present conflagration.


The plain, raw idioms and variable feet in these lines resemble those characteristically employed by Stevens and William Carlos Williams. Holmes’s language here is similar in tone and rhythm to Williams’s in “The Red Wheelbarrow,” which was published just two years before this dissent. Holmes’s alliterative use of the letter “n” emphasizes mobility, momentum, and ignition: “incitement,” “energy,” “movement,” “incitement,” “enthusiasm,” “conflagration.” These nouns suggest provocation, stimulus, instigation; they are tied to ideas themselves, as in the line “every idea is an incitement,” hence the correspondingly alliterative “n” sounds in the words “expression” and “reason.” The metrical regularity of “Every,” “offers it…,” “for belief,” “failure of,” “energy,” “stifles the,” “at its birth,” “difference,” “narrower,” “Eloquence,” and “had no chance” accents the activity associated with thinking insofar as these dactylic words and phrases pertain to ideas or beliefs. Holmes follows a series of dactyls with spondaic feet just as he describes the possibility of combustion: “Eloquence [stress / slack / slack] may set fire [stress / stress / stress / slack] to reason [stress / stress / slack].” It is as though he wishes to create the sense of building pressure and then of sudden release or combustion. Two unstressed lines abruptly interrupt the heightened tension; the first appears with the transitional conjunction “But,” which signals a change in the tone. Holmes appears to reverse the intensity and calm his diction as he assures us that the “redundant discourse,” a phrase made cacophonous by the alliterative “d” and “s” sounds, has “no chance of starting a present conflagration.” A sudden move to iambic feet and hence to a lightened tone rounds out these lines and suggests that Holmes has smothered or extinguished whatever energy had been building with the three-syllable feet. These lines have become some of the most famous in American constitutional history most likely because of their memorable qualities, which contributed to the eventual vindication of the dissent.

Be that as it may, feet and meter are basic to English speech and writing and may be displayed in many other legal writings by less able judges and justices. It would be difficult to prove that Holmes deliberately set out to invest these lines with literary features, at least those pertaining to alliteration and feet. Holmes no doubt had an ear for language and probably intended to employ alliteration, rhythm, and rhyme in his writings, but how far does his intent extend?  Does the scanning exercise above give Holmes too much credit and attribute to his writings undeserved praise?  There is no empirical way to answer this question, but the speculation is, I think, worth the time.


[i] Gitlow v. N.Y., 268 U.S. 652 (1925).


[ii] My addition.


John William Corrington, A Literary Conservative

In American History, Arts & Letters, Conservatism, Creative Writing, Essays, Fiction, History, Humanities, John William Corrington, Joyce Corrington, Law, Literary Theory & Criticism, Literature, Modernism, Southern History, Southern Literature, Television, Television Writing, The Novel, The South, Western Philosophy, Writing on October 23, 2013 at 8:45 am


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An earlier version of this essay appeared here at Fronch Porch Republic.

Remember the printed prose is always

half a lie: that fleas plagued patriots,

that greatness is an afterthought

affixed by gracious victors to their kin.


—John William Corrington


It was the spring of 2009.  I was in a class called Lawyers & Literature.  My professor, Jim Elkins, a short-thin man with long-white hair, gained the podium.  Wearing what might be called a suit—with Elkins one never could tell—he recited lines from a novella, Decoration Day.  I had heard of the author, John William Corrington, but only in passing.

“Paneled walnut and thick carpets,” Elkins beamed, gesturing toward the blank-white wall behind him, “row after row of uniform tan volumes containing between their buckram covers a serial dumb show of human folly and greed and cruelty.”  The students, uncomfortable, began to look at each other, registering doubt.  In law school, professors didn’t wax poetic.  But this Elkins—he was different.  With swelling confidence, he pressed on: “The Federal Reporter, Federal Supplement, Supreme Court Reports.  Two hundred years of our collective disagreements and wranglings from Jay and Marshall through Taney and Holmes and Black and Frankfurter—the pathetic often ill-conceived attempts to resolve what we have done to one another.”

Elkins paused.  The room went still.  Awkwardly profound, or else profoundly awkward, the silence was like an uninvited guest at a dinner party—intrusive, unexpected, and there, all too there.  No one knew how to respond.  Law students, most of them, can rattle off fact-patterns or black-letter-law whenever they’re called on.  But this?  What were we to do with this?

What I did was find out more about John Willliam Corrington.  Having studied literature for two years in graduate school, I was surprised to hear this name—Corrington—in law school.  I booted up my laptop, right where I was sitting, and, thanks to Google, found a few biographical sketches of this man, who, it turned out, was perplexing, riddled with contradictions: a Southerner from the North, a philosopher in cowboy boots, a conservative literature professor, a lawyer poet.  This introduction to Corrington led to more books, more articles, more research.  Before long, I’d spent over $300 on  And I’m not done yet.


Born in Cleveland, Ohio, on October 28, 1932, Corrington—or Bill, as his friends and family called him—passed as a born-and-bred Southerner all of his life.  As well he might, for he lived most of his life below the Mason-Dixon line, and his parents were from Memphis and had moved north for work during the Depression.  He moved to the South (to Shreveport, Louisiana) at the age of 10, although his academic CV put out that he was, like his parents, born in Memphis, Tennessee.  Raised Catholic, he attended a Jesuit high school in Louisiana but was expelled for “having the wrong attitude.”  The Jesuit influence, however, would remain with him always.  At the beginning of his books, he wrote, “AMDG,” which stands for Ad Majorem Dei Gloriam—“for the greater glory of God.”  “It’s just something that I was taught when I was just learning to write,” he explained in an interview in 1985, “taught by the Jesuits to put at the head of all my papers.”

Bill was, like the late Mark Royden Winchell, a Copperhead at heart, and during his career he authored or edited, or in some cases co-edited, twenty books of varying genres.  He earned a B.A. from Centenary College and M.A. in Renaissance literature from Rice University, where he met his wife, Joyce, whom he married on February 6, 1960.  In September of that year, he and Joyce moved to Baton Rouge, where Bill became an instructor in the Department of English at Louisiana State University (LSU).  At that time, LSU’s English department was known above all for The Southern Review (TSR), the brainchild of Cleanth Brooks and Robert Penn Warren, but also for such literary luminaries as Robert Heilman, who would become Bill’s friend.

In the early 1960s, Bill pushed for TSR to feature fiction and poetry and not just literary criticism.  He butted heads with then-editors Donald E. Stanford and Lewis P. Simpson, who thought of the journal as scholarly, not creative, as if journals couldn’t be both scholarly and creative.  A year after joining the LSU faculty, Bill published his first book of poetry, Where We Are.  With only 18 poems and 225 first edition printings, the book hardly established Bill’s reputation as Southern man of letters.  But it invested his name with recognition and gave him confidence to complete his first novel, And Wait for the Night (1964).

Bill and Joyce spent the 1963-64 academic year in Sussex, England, where Bill took the D.Phil. from the University of Sussex in 1965.  In the summer of 1966, at a conference at Northwestern State College, Mel Bradford, that Dean of Southern Letters, pulled Bill aside and told him, enthusiastically, that And Wait for the Night (1964) shared some of the themes and approaches of William Faulkner’s The Unvanquished.  Bill agreed.  And happily.


Of Bill and Miller Williams, Bill’s colleague at LSU, Jo LeCoeur, poet and literature professor, once submitted, “Both men had run into a Northern bias against what was perceived as the culturally backward South.  While at LSU they fought back against this snub, editing two anthologies of Southern writing and lecturing on ‘The Dominance of Southern Writers.’  Controversial as a refutation of the anti-intellectual Southern stereotype, their joint lecture was so popular [that] the two took it on the road to area colleges.”

In this respect, Bill was something of a latter-day Southern Fugitive—a thinker in the tradition of Donald Davidson, Allan Tate, Andrew Nelson Lytle, and John Crowe Ransom.  Bill, too, took his stand.  And his feelings about the South were strong and passionate, as evidenced by his essay in The Southern Partisan, “Are Southerners Different?” (1984).  Bill’s feelings about the South, however, often seemed mixed.  “[T]he South was an enigma,” Bill wrote to poet Charles Bukowski, “a race of giants, individualists, deists, brainy and gutsy:  Washington, Jefferson, Madison, Jackson (Andy), Davis, Calhoun, Lee, and on and on.  And yet the stain of human slavery on them.”  As the epigraph (above) suggests, Bill was not interested in hagiographic renderings of Southern figures.  He was interested in the complexities of Southern people and experience.  In the end, though, there was no doubt where his allegiances lay.  “You strike me as the most unreconstructed of all the Southern novelists I know anything about,” said one interviewer to Bill.  “I consider that just about the greatest compliment anyone could give,” Bill responded.

While on tour with Williams, Bill declared, “We are told that the Southerner lives in the past.  He does not.  The past lives in him, and there is a difference.”  The Southerner, for Bill, “knows where he came from, and who his fathers were.”  The Southerner “knows still that he came from the soil, and that the soil and its people once had a name.”  The Southerner “knows that is true, and he knows it is a myth.”  And the Southerner “knows the soil belonged to the black hands that turned it as well as it ever could belong to any hand.”  In short, the Southerner knows that his history is tainted but that it retains virtues worth sustaining—that a fraught past is not reducible to sound bites or political abstractions but is vast and contains multitudes.


In 1966, Bill and Joyce moved to New Orleans, where the English Department at Loyola University, housed in a grand Victorian mansion on St. Charles Avenue, offered him a chairmanship.  Joyce earned the M.S. in chemistry from LSU that same year.  By this time, Bill had written four additional books of poetry, the last of which, Lines to the South and Other Poems (1965), benefited from Bukowski’s influence.  Bill’s poetry earned a few favorable reviews but not as much attention as his novels—And Wait for the Night (1964), The Upper Hand (1967), and The Bombardier (1970).  Writing in The Massachusetts Review, Beat poet and critic Josephine Miles approvingly noted two of Bill’s poems from Lines, “Lucifer Means Light” and “Algerien Reveur,” alongside poetry by James Dickey, but her comments were more in passing than in depth.  Dickey himself, it should be noted, admired Bill’s writing, saying, “A more forthright, bold, adventurous writer than John William Corrington would be very hard to find.”

Joyce earned her PhD in chemistry from Tulane in 1968.  Her thesis, which she wrote under the direction of L. C. Cusachs, was titled, “Effects of Neighboring Atoms in Molecular Orbital Theory.”  She began teaching chemistry at Xavier University, and her knowledge of the hard sciences brought about engaging conservations, between her and Bill, about the New Physics.  “Even though Bill only passed high school algebra,” Joyce would later say, “his grounding in Platonic idealism made him more capable of understanding the implications of quantum theory than many with more adequate educations.”

By the mid-70s, Bill had become fascinated by Eric Voeglin.  A German historian, philosopher, and émigré who had fled the Third Reich, Voegelin taught in LSU’s history department and lectured for the Hoover Institution at Stanford University, where he was a Salvatori Fellow.  Voeglin’s philosophy, which drew from Friedrich von Hayek and other conservative thinkers, inspired Bill.  In fact, Voegelin made such a lasting impression that, at the time of Bill’s death, Bill was working on an edition of Voegelin’s The Nature of the Law and Related Legal Writings.  (After Bill’s death, two men—Robert Anthony Pascal and James Lee Babin—finished what Bill had begun.  The completed edition appeared in 1991.)

By 1975, the year he earned his law degree from Tulane, Bill had penned three novels, a short story collection, two editions (anthologies), and four books of poetry.  But his writings earned little money.  He also had become increasingly disenchanted with the political correctness on campus:

By 1972, though I’d become chair of an English department and offered a full professorship, I’d had enough of academia. You may remember that in the late sixties and early seventies, the academic world was hysterically attempting to respond to student thugs who, in their wisdom, claimed that serious subjects seriously taught were “irrelevant.” The Ivy League gutted its curriculum, deans and faculty engaged in “teach-ins,” spouting Marxist-Leninist slogans, and sat quietly watching while half-witted draft-dodgers and degenerates of various sorts held them captive in their offices. Oddly enough, even as this was going on, there was a concerted effort to crush the academic freedom of almost anyone whose opinions differed from that of the mob or their college-administrator accessories. It seemed a good time to get out and leave the classroom to idiots who couldn’t learn and didn’t know better, and imbeciles who couldn’t teach and should have known better.

Bill joined the law firm of Plotkin & Bradley, a small personal injury practice in New Orleans, and continued to publish in such journals as The Sewanee Review and The Southern Review, and in such conservative periodicals as The Intercollegiate Review and Modern Age.  His stories took on a legal bent, peopled as they were with judges and attorneys.  But neither law nor legal fiction brought him fame or fortune.

So he turned to screenplays—and, at last, earned the profits he desired.  Viewers of the recent film I am Legend (2007), starring Will Smith, might be surprised to learn that Bill and Joyce wrote the screenplay for the earlier version, Omega Man (1971), starring Charlton Heston.  And viewers of Battle for the Planet of the Apes (1973) might be surprised to learn that Bill wrote the film’s screenplay while still a law student.  All told, Bill and Joyce wrote five screenplays and one television movie.  Free from the constraints of university bureaucracy, Bill collaborated with Joyce on various television daytime dramas, including Search for Tomorrow, Another World, Texas, Capitol, One Life to Live, Superior Court, and, most notably, General Hospital.  These ventures gained the favor of Hollywood stars, and Bill and Joyce eventually moved to Malibu.

Bill constantly molded and remolded his image, embracing Southern signifiers while altering their various expressions.  His early photos suggest a pensive, put-together gentleman wearing ties and sport coats and smoking pipes.  Later photos depict a rugged man clad in western wear.  Still later photos conjure up the likes of Roy Orbison, what with Bill’s greased hair, cigarettes, and dark sunglasses.

Whatever his looks, Bill was a stark, provocative, and profoundly sensitive writer.  His impressive oeuvre has yet to receive the critical attention it deserves.  That scholars of conservatism, to say nothing of scholars of Southern literature, have ignored this man is almost inconceivable.  There are no doubt many aspects of Bill’s life and literature left to be discovered.  As Bill’s friend William Mills put it, “I believe there is a critique of modernity throughout [Bill’s] writing that will continue to deserve serious attentiveness and response.”

On Thanksgiving Day, November 24, 1988, Bill suffered a heart attack and died.  He was 56.  His last words, echoing Stonewall Jackson, were, “it’s all right.”


Thoughts on ‘The Road to Serfdom’: Chapter 1, “The Abandoned Road

In Arts & Letters, Austrian Economics, Book Reviews, Books, Britain, Economics, Epistemology, Essays, Ethics, Historicism, History, Humane Economy, Humanities, Liberalism, Libertarianism, Literary Theory & Criticism, Literature, Modernism, Philosophy, Politics, Pragmatism, Western Civilization, Western Philosophy on September 11, 2013 at 7:45 am

Slade Mendenhall

Slade Mendenhall is an M.Sc. candidate in Comparative Politics at the London School of Economics, with specializations in conflict and Middle Eastern affairs. He holds degrees in Economics and Mass Media Arts from the University of Georgia and writes for The Objective Standard and, where he is also editor.

This analysis is the second installment in a series of chapter analyses of Friedrich Hayek’s The Road to Serfdom. The previous analysis of Hayek’s introduction can be found here.

If Hayek’s introduction gave us a brief summary of the ideas and practices he is setting out to oppose and contextualized the progression toward a socialist political culture in the last half century of Europe’s history, his first chapter, “The Abandoned Road”, firmly roots his grievances in the present and the problems facing England at the time of his writing and seeks to explain how England (and the West more generally) arrived there. He describes the intellectual evasions, distortions, and faulted epistemology—often consisting of poorly defined key concepts —that led to and are, in his time, perpetuating the state of affairs he observes. He then proceeds to address the subject of liberalism and how socialists who misconceive of their own system do so at least as much with its antithesis. In the process, Hayek makes many excellent observations, but also succumbs to several dangerous philosophical errors and unsubstantiated claims against laissez-faire capitalism that tarnish what might otherwise be an outstanding defense against government controls.

Hayek begins the chapter with one of the most argumentatively powerful, poignant approaches that one can take in opposing socialist ideas: illustrating to those who support more moderate, tempered versions of statist controls that though they may differ in degree from those statists they oppose, the philosophical fundamentals they advocate are the same. “We all are, or at least were until recently, certain of one thing,” he writes,

“that the leading ideas which during the last generation have become common to most people of goodwill and have determined the major changes in our social life cannot have been wrong. We are ready to accept almost any explanation of the present crisis of our civilisation except one:  that the present state of the world may be the result of genuine error on our own part, and that the pursuit of some of our most cherished ideals have apparently produced utterly different results from those which we expected” (8).

Hayek’s point is well made and much needed at a time when such widespread, utter contradictions were even more severe than they are today. Writing to Britons in the 1940s, but with as much truth to offer Americans who stumbled over the same contradictions in the 1960s and 1970s, as the platitude “we are all socialists now” manifested on Nixon’s lips as “we are all Keynesians now” (and with less fundamental difference between them than Keynesians would have you believe), he asks us to recognize that “the tendencies which have culminated in the creation of the totalitarian systems were not confined to the countries which have succumbed to them” (8-9). Nor, for that matter, are they confined to those times, and Hayek’s message to this effect—the importance of recognizing the same fundamental ideas across contexts—is as much needed today as it was then.

He goes on to recognize that the conflict between the Axis and Allied powers in World War II is fundamentally a conflict of ideas: “The external conflict is a result of a transformation of European thought in which others have moved so much faster as to bring them into irreconcilable conflict with our ideals, but which has not left us unaffected.” He is quick to point out, though, that “the history of these countries in the years before the rise of the totalitarian system showed few features with which we are not familiar” (9).

Such an appreciation for the motive power of ideas in human conflict was not so unique in Hayek’s time. In fact, the Allied leaders superlatively acknowledged the enemy they faced as “fascism” and condemned it explicitly (though the economic and social policies of FDR, along with his earlier overt flirtations with such ideas, may have made the condemnation somewhat ironic). If Hayek has a lesson to teach to this effect, it is most needed in today’s world, when the significance of philosophy is so frequently cast aside by the influences of multiculturalist nihilism and the failure, even in academia, to appreciate the role of broadly held cultural ideas in deciding man’s fate. At a time when the mention of a “clash of civilizations” invites accusations of oppressive Western chauvinism, Hayek’s acknowledgement that conflicting fundamental ideas may lead to actual conflict is a welcome reminder.

Much of the chapter appropriately looks to fundamental ideology as the cause for the rise of Nazism, seeing the rejection of individualism in favor of collectivism as a necessary prerequisite to the “National-Socialist revolution” and a “decisive step in the destruction of that civilisation which modern man had built up from the age of the Renaissance.” The spirit of this argument is undoubtedly sound. However, the method by which he proceeds to argue it leaves much to be desired. Hayek proceeds down a path of questionable historical interpretations, a half-cocked swipe at moral philosophy (that, as we shall see, is flawed but not unfamiliar to readers of this site), and ultimately an incomplete defense of the liberal policies he hopes to defend—showing the consequences of that brief glimpse of skepticism we witnessed in the introduction.

In his historical contextualization of the trends he observes, Hayek writes,

“How sharp a break not only with the recent past but with the whole evolution of Western civilisation the modern trend towards socialism means, becomes clear if we consider it not merely against the background of the nineteenth century, but in a longer historical perspective. We are rapidly abandoning not the views merely of Cobden and Bright, of Adam Smith and Hume, or even of Locke and Milton… Not merely the nineteenth- and eighteenth-century liberalism, but the basic individualism inherited by us from Erasmus and Montaigne, from Cicero and Tacitus, Pericles and Thucydides is progressively relinquished” (10).

Hayek’s invocation of these great names in the history of liberal thought is, in most instances, not misplaced. It is true that all emerged from Western civilization and that to varying extents they all fit well into the liberal, individualist tradition he means to illustrate. One would be wise to regard the inclusion of Hume and Montaigne, paragons of skepticism, as only conditional points on such a list, though Hayek’s own skepticism and that of many libertarians in his tradition would certainly allow them.

More broadly, however, it must be said that the individuals mentioned, no matter how great their contributions to political and social thought, were not often the rule in their place and time, but the exception. One can admire the works of Pericles, but should bear in mind the fickle reception he received among the Athenians. Likewise, Cicero may deserve praise above any in his time, but for those virtues we might praise he was slaughtered without trial by a dictator who faced no consequences.

Thus, as admirable as Hayek’s examples may be, to suggest that they were the norm throughout most of Western civilization is unsubstantiated. They may have embodied those qualities that most distinguished Western civilization and have been most responsible for its progress, but it was a progress often achieved by much-abused minorities. The Renaissance, Enlightenment, and nineteenth century were the high-points of individualism and Western ideals, and Hayek is right in singling them out. However, he also runs the risk of obscuring the philosophical roots of National Socialism, itself the product of contrary trends in Western thought, by engaging in careless generalization from those high-points and distinguished individuals to Western history in general.

Departing from this somewhat problematic historical interpretation, Hayek moves through a favorable discussion of the benefits of economic and political freedom on scientific innovation. His recognition and argument that “[w]herever the barriers to the free exercise of human ingenuity were removed man became rapidly able to satisfy ever-widening ranges of desire” is incontestable (12). He also anticipates the common objections by socialist apologists today who characterize the Industrial Revolution as a period of oppression by citing the difficult living conditions of the urban poor. He rightly rejects this by contextualizing the period in the experiences and expectations of those who lived through it, writing that

“[w]e cannot do justice to this astonishing growth if we measure it by our present standards, which themselves result from this growth and now make many defects obvious. To appreciate what it meant to those who took part in it we must measure it by the hopes and wishes men held when it began… that by the beginning of the twentieth century the working man in the Western world had reached a degree of material comfort, security, and personal independence which a hundred years before had seemed scarcely possible” (12-13).

What proceeds from there is where Hayek seems on unsteady footing, as he briefly undertakes the task of trying to explain what ideas diverted man from the individualist course set from the Renaissance to the nineteenth century. Inexplicably, Hayek credits an excess of ambition as responsible for the turn toward socialism. He writes,

“What in the future will probably appear the most significant and far-reaching effect of this success is the new sense of power over their own fate, the belief in the unbounded possibilities of improving their own lot, which the success already achieved created among men. With success grew ambition—and man had every right to be ambitious” (13).

He returns to the idea again later, writing that,

“Because of the growing impatience with the slow advance of liberal policy, the just irritation with those who used liberal phraseology in defence of anti-social privileges, and the boundless ambition seemingly justified by the material improvements already achieved, it came to pass that toward the turn of the century the belief in the basic tenets of liberalism was more and more relinquished” (14-15).

It is here that Hayek’s inadequacy in analyzing philosophical ideas, and perhaps an economic bias toward looking at matters purely as a function of supply and demand, begins to show. The notion that an inadequate or insufficiently rapid provision of living standards by capitalism is to blame for the introduction and spread of socialism is baseless, as it not only commits the philosophical error of attributing a total change in fundamental beliefs to external conditions, but also ignores the fact that the introduction of socialist policies preceded the slowdown in quality of living improvements in the Western world—and, furthermore, that the slowdown still wasn’t all that slow, as anyone who looks at world history from 1870 to 1928 will readily observe.

Thus, Hayek’s notion that “ambition” is somehow to blame is irrational. If we accept the notion that capitalism was responsible for man’s improved quality of living, then the only function that ambition should serve in this context is to drive men back toward capitalism and its fundamental values—not toward socialism. To the contrary, it is not an excess of ambition that drove men away from capitalism, but the fact that the philosophical principles that underlie and empower capitalism were not consistently established in the minds of its practitioners in the first place. That is: those who lived under capitalism had not explicitly embraced reason as man’s means of acquiring knowledge, nor rational egoism as his proper ethical system, and thus lacked the fundamentals on which individualism rests. Thus, ultimately, the individualism that Hayek admires was present in the West, but not firmly rooted enough to survive the philosophical revival of Plato in the forms of Kant and Hegel. Undercut by their philosophies, in the face of Marx and Engels the West was a pushover.

Hayek’s invocation of excess ambition as an explanation for socialism shows that though he understands the role of political ideology in man’s fate, his ability to explain how that ideology stems from deeper levels of philosophy is severely lacking. Unfortunately, he does not allow this lack of expertise to stop him from making such baseless speculations as to the roots of socialism being in man’s ambition, nor from making a similarly arbitrary and more dangerous conjecture: that the essential quality that animated the Renaissance and Western civilization’s embrace of individual man was “tolerance.”

“Tolerance,” he writes, “is, perhaps, the only word which still preserves the full meaning of the principle which during the whole of this period was in the ascendant and which only in recent times has again been in decline, to disappear completely with the rise of the totalitarian state” (3). Hayek offers no further explanation to support this statement or the implication that tolerance was the animating virtue of these times, or at the very least played some crucial role in it. Nor does he illustrate the point with citations or examples. The claim stands alone.

We are thus left to speculate as to his actual beliefs on this point. However, a look at a somewhat younger contemporary libertarian economist who dabbled in political writings such as this and who shares certain philosophical fundamentals—namely a skepticist epistemology—may shed some light on the claim. Milton Friedman similarly cited ‘tolerance’ and, more specific to Friedman’s case, “tolerance based on humility” as the fundamental basis of his libertarianism. That is: the rejection of statism based not on the rights of individuals but based on the fact that no one can rightly initiate force against another since the initiator has no basis by which to know whether the cause in whose name he would initiate that force is right or wrong. Put simply, it establishes a social system in which peaceable relations between men depend upon the impossibility of establishing objective principles. In which ignorance, not knowledge, is man’s saving grace. In which moral certainty is perceived to be the root of all tyranny.

(I will not go further into Friedman’s confused moral philosophy here, though it is encouraged that the reader reference my article “The Failures of Milton Friedman” for a fuller explanation his views and the dangers they entail.)

Whether Hayek’s implication in citing “tolerance” as the great virtue lost by the rise of collectivism is in line with Milton Friedman’s connections of “tolerance” and libertarianism is unknown, but the fact that the two men share a skepticist epistemology and both ultimately land at the same word to describe the virtue that they see to be animating their ideals cannot be ignored and provides a possible explanation for Hayek’s unsupported statement.

Where skepticist epistemology and haphazard forays into moral philosophy are found, an incomplete defense of freedom usually follows. So it is here with Hayek, who shows us precisely his conception of freedom and how it should be fought for, writing, “There is nothing in the basic principles of liberalism to make it a stationary creed, there are no hard and fast rules fixed once and for all. The fundamental principle that in the ordering of our affairs we should make as much use as possible of the spontaneous forces of society, and resort as little as possible to coercion, is capable of an infinite variety of applications” (13).

I will not engage with this statement directly, as it has been soundly argued elsewhere in other essays from this publication such as “The Philosophy of Capitalism” and Brian Underwood’s “Political Capitalism”, as well as in Ayn Rand’s essays “Man’s Rights”, “The Objectivist Ethics”, and “The Nature of Government.” I will observe simply that for a man accepted by many to be symbolic of twentieth century liberalism to take such a pragmatic, unprincipled approach to the defense of freedom stands as much as a symbol of the unsteadiness and lack of a moral basis in that movement as it does a condemnation of the man himself. What’s more, it shows that no sound defense of liberty can be based on a skepticist epistemology. A defense of man begins with an admiration for man and his nature as a rational, efficacious being. Whoever hopes to undertake a task so daunting and so crucial as a defense of man’s rights against oppression cannot enter the fray with a puttering “Who knows?!” as his battle cry.

It is the inevitable fate of such pragmatists that they should ultimately abandon a strict conception of liberty and that they should shrink principles down to the level of momentarily expedient guidelines to be cast aside at the first sign of opposition. We must be immensely grateful that the Founding Fathers of the United States had the moral basis to recognize and firmly assert the rights of “life, liberty, and the pursuit of happiness”, yoking future statesmen to these principles rather than settling for such a shrugging recommendation that they “make as much use as possible of the spontaneous forces of society.” We must be proud that Jefferson swore “an oath upon the altar of God eternal hostility against every form of tyranny over the mind of man”, and not merely an oath to “resort as little as possible to coercion.”

The distortions, sadly, do not end there. Hayek confounds our expectations further by seeking to balance his critique of socialism with a contrary charge against advocates of full individual rights, writing that “[p]robably nothing has done so much harm to the liberal cause as the wooden insistence of some liberals on certain rough rules of thumb, above all the principle of laissez faire” [emphasis mine] (13).

Hayek’s ambiguous accusation against advocates of laissez-faire, that they are somehow partly responsible for the rise of socialist policies, apparently rests on the capitalists having viewed the principle as a “hard and fast… rule which knew no exceptions” (13).  He goes on to explain that the downfall of liberalism is explainable by reference to the liberal’s strict adherence to the laissez-faire principle, finding it “inevitable that, once their position was penetrated at some points, it should soon collapse as a whole” (13).

At this point, Hayek quickly reveals several key implications: that advocates of laissez-faire are partly responsible for the rise of socialism, that laissez-faire is a flawed system, and that its legitimacy has indeed “collapse[d]” through being disproven. He continues, “No sensible person should have doubted that the crude rules in which the principles of economic policy of the nineteenth century were expressed were only a beginning, that we had yet much to learn, and that there were still immense possibilities of advancement on the lines on which we had moved” (14).

To be clear: Hayek is not referring to changes in application or translation of the existing principles, but a shift in principles as such. ‘What’, one must ask, ‘could have fundamentally changed so drastically in the period in question, to make the basic principles of economic freedom no longer relevant or applicable in one period as they had been in the previous one?’ According to Hayek, it was the inevitable result of having

“gained increasing intellectual mastery of the forces of which we had to make use. There were many obvious tasks, such as our handling of the monetary system, and the prevention or control of monopoly, and an even greater number of less obvious but hardly less important tasks to be undertaken in other fields, where there could be no doubt that the governments possessed enormous powers for good and evil;” (14)

Thus, Hayek posits that our “increasing intellectual mastery” (though I can think of a century of economic instability primarily brought by government controls that would refute this alleged “mastery”) is to credit for government intervention in the economy. He implies that the belief that governments could regulate the economy by force somehow translates to the presumption that they should do so—a significant leap that Hayek does not and cannot, without reference to philosophy, explain. Not only does this misconceive of the problem; it carelessly implies that those statesmen of earlier times did not intervene in the economy because they could not conceive of how to do so. To the contrary: earlier liberal thinkers did not plead ignorance in the face of proposed interventionism—they opposed it on principle, and suggesting otherwise is a discredit to their defenses of liberty.

Hayek’s passing statements apparently endorsing the “control of monopoly” and his suggestion that “the governments possessed enormous powers for good and evil”—that is, that good could be achieved by force just as surely as evil—only add layers to the disappointing picture established thus far. He goes on to make an unconvincing argument that the slow pace of economic progress under liberalism was to blame for people having turned away from it—a confounding claim to make about a century that witnessed the most rapid and dramatic rise in quality of life in the history of humankind, and one that even Marx himself would likely have disputed as unsubstantiated.

Finally, he ends the chapter on an agreeable note with a brief description of how the geographical flow of ideas—from Britain and the US east to continental Europe—reversed at this period in history and the prevailing current turned westward, exporting German socialist ideas to the Atlantic. He astutely summarizes how the ideas of Marx, Hegel, List, Schmoller, Sombart, and Mannheim overtook the intellectual tone set by the English after 1870. He ends on the essential point that it was ultimately the lack of confidence in their own convictions by Western thinkers that made this shift possible. In this effort—narrating the history of philosophical and cultural trade balances—Hayek is excellent and displays the power of which he is capable when he remains in his purview, capitalizing on his unique perspective.

After a promising introduction, the first chapter of Hayek’s book has proven shaky at best. The flaws are numerous and fatal: a questionable interpretation of the histories of both liberalism’s origins and socialism’s ascendance, a dangerously inadequate grasp of the role of moral philosophy in the histories he details, a desire to blame liberalism for its own destruction with insufficient substantiation, a skepticist rejection of principles that leads to a pragmatist’s approach to policy, and, finally, a rejection of laissez-faire capitalism.

To his credit, Hayek is overall favorable on matters of economic history, arguing effectively for the role of capitalism in promoting scientific progress and advances in standards of living. However, his suggestion that advancement in the nineteenth and early twentieth centuries was slow, and that this slowness of progress is to blame for the West’s acceptance of socialism, is largely without a supporting argument, is contrary to the unrivaled history of economic progress that we know to have characterized that period, and, incidentally, indulges a determinist philosophy that we saw him as likely to avoid in the introduction—a serious point of inconsistency.

Overall, Hayek’s first chapter is a dramatic step down from the introduction and a disappointment considering the reputation of the book. It is, in its own way, an abandonment of the road, if in a slightly different direction than those whom Hayek criticizes. Though future chapters may redeem the work to some extent, the fact that so much ground is lost in the first few pages is a severe blow, but one that is in keeping with the suspicions which we noted in assessing the introduction and which we warned to be on the lookout for. It illustrates well the consequences of even small cracks in one’s intellectual foundation and confirms the value of critically applying careful philosophical detective work in reading works such as this, no matter their reputation.

Fredric Jameson and Why Postmodernism is an Enemy of Marxism

In Arts & Letters, Conservatism, Economics, History, Humanities, Literary Theory & Criticism, Modernism, Philosophy, Postmodernism, Western Philosophy on January 23, 2013 at 8:45 am

Allen Mendenhall

“[C]ontemporary theory […] has, among other things, been committed to the mission of criticizing and discrediting this very hermeneutic model of the inside and the outside and of stigmatizing such models as ideological and metaphysical.  But what is today called contemporary theory—or better still, theoretical discourse—is also, I want to argue, itself very precisely a postmodernist phenomenon.  It would therefore be inconsistent to defend the truth of its theoretical insights in a situation in which the very concept of ‘truth’ itself is part of the metaphysical baggage which postructuralism seeks to abandon.  What we can at least suggest is that the poststructuralist critique of the hermeneutic, of what I will shortly call the depth model, is useful for us as a very significant symptom of the very postmodernist culture which is our subject here.”

—Fredric Jameson, from Postmodernism, or, the Cultural Logic of Late Capitalism

Fredric Jameson’s Postmodernism, or, the Cultural Logic of Late Capitalism is a defining work about definition—specifically, about what “postmodernism” is.  Rather than reducing postmodernism to one quality or characteristic, Jameson lays out several qualities or characteristics as manifest in works of literature, architecture, painting, and so forth.  To say that postmodernism is a single thing is to ignore various flows, assemblages, networks, contradictions, tensions, and trajectories summoned forth by this slippery signifier.  It is, in short, to be non-postmodern.

Jameson dislikes postmodernism and does not set out to be postmodern, even if he is, or cannot help but be, postmodern; he seeks to describe postmodernism in order to generate a working, demarcating explanation.  Criticizing the “camp-following celebration” of the postmodern aesthetic, the “current fantasies about the salvational nature of high technology,” and the “vulgar apologias for postmodernism,” Jameson views the postmodern as penetrated and constituted by late capitalism.  For Jameson, the postmodern is less a political program than a moment in time with certain defining characteristics; the postmodern is not an ideological agenda, but something we are in, whether we like it or not.

The trouble with describing the postmodern, as Jameson suggests in the passage above, is that it can refer to various phenomena, from artistic and cultural developments to social and political organization.  One thing seems clear from the prefix “post”: postmodernism replaces (or displaces) the modern.  It comes after.  Therefore, postmodernism must be marked by a break from its predecessor.  What this break is, and how it materializes among social forces, determines what postmodernism means, or at least what it looks like.

“Contemporary theory” or “theoretical discourse,” which has arisen alongside mass mechanical reproductions in the arts as well as commodity culture in every realm of human experience, and which, moreover, is neither unified nor uniform, is a product of postmodernism.  This “Theory” (with a capital T) is splintered into numerous methodologies and logics, but generally holds that meaning is fluid, fragmented, and indeterminate.  That statement does not do justice to the nuance and complexity of the subject.

At any rate, one has, as Jameson points out, trouble defending the “truth” of postmodernism’s “theoretical insights” because “the very concept of ‘truth’ itself is part of the metaphysical baggage which poststructuralism seeks to abandon.”  Jameson rejects a wholesale and unquestioning commitment to poststructuralism, which he tends to conflate with postmodernism.  Perhaps it is more accurate to say that Jameson sees in the postmodern the propensity toward domination, a decidedly essentialized (and essentializing) category of discourse.  Too much reliance on the postmodern, according to Jameson, leads to relativism or nihilism.  Jameson does not use those terms, but he does say that if “we do not achieve some general sense of a cultural dominant, then we fall back into a view of present history as sheer heterogeneity, random difference, a coexistence of a host of distinct forces whose effectivity is undecidable.”

Representing an arguably conservative shift away from other theorists—conservative with regard to ontology or metaphysics, not social politics—Jameson seeks to recover concepts like “dominance,” which are central to Marxist criticism, by arguing that critical theory such as poststructuralism is symptomatic of capitalism itself.  Accordingly, we ought to study postmodernism as a result of capitalism’s rise to maturity.  In this respect, Jameson revives Marxist criticism, which in many ways stands in contradistinction to postmodernism.  Marxist criticism, after all, seems to subsume and encompass other theories, especially those that purport to explode all meanings; it is overarching and paradigmatic.  It cultivates ideas about fixed categories—like dominance—that signify definite and resolved concepts.

Although what or who dominates is always changing, the idea of domination remains relatively stable.  Marxism is therefore incompatible with postmodern theories that would do away with any and all “historicity”—to say nothing of essentializing concepts such as the bourgeois or even the self.  For Jameson, Marxist theory remains useful and instructive.  It is not just the constant play of simulacra or the mere trace of signification.  Rather, it offers a viable and effective method for critiquing globalized consumer culture and ideology, both of which are evident in the frantic insistences on the superiority of the postmodern condition.

Book Note: Twentieth-Century English Literature, edited by Laura Marcus and Peter Nicholls (Cambridge University Press, 2004)

In Arts & Letters, Book Reviews, Britain, British Literature, Fiction, History, Humanities, Literary Theory & Criticism, Literature, Modernism, The Novel, Western Civilization, Writing on October 24, 2012 at 8:45 am

Allen Mendenhall

The following excerpt first appeared as part of the Routledge Annotated Bibliography of English Studies series.

This history of twentieth-century English literature addresses a wide variety of texts produced in England, Scotland, Wales, and Ireland.  Made up of 44 critical essays, this book is divided into four parts: 1) Writing Modernity, 2) The Emerging Avant-Garde, 3) Modernism and its Aftermath, 1918-1945, and 4) Post-War Cultures, 1945-1970.  This division is meant to read like a history and not like a companion, anthology, or compilation of essays. 

The book attempts to avoid treating “Englishness” or “English literature” as fixed or essentialized categories and, instead, to use those loaded terms as illustrative of multiple and differing conceptions of place and identity.  As with any historical account of modernism, this book explores the tensions between continuity and change, but unlike many historical accounts of modernism, this book focuses largely upon transnationalism, diaspora, postcolonialism, and dispersal. 

In an effort to complicate simplistic characterizations of time and place, this book acknowledges overlapping chronologies even as it maps out a quasi-linear study of English literature in the twentieth-century.  As an example of the editors’ resistance against oversimplified periodization, the book begins not with a set date (say, 1900) but with a section of essays exploring the lives and works of authors both before and after the close of the nineteenth-century. 

This first section of the book (“Writing Modernism”) incorporates works about major themes in literature and the role those themes play in the gradual replacement and displacement of the literature of the so-called older generation.  The second section of the book also addresses the fledgling stages of modernism, considering as it does the divide between Edwardian and Georgian writers and literature.  This section closes with an account about how the Great War influenced literary production in Britain. 

Part three is, unlike the earlier sections, rooted in a particular time frame (1918-45), and it focuses on how authors such as Joyce, Woolf, Ford, Conrad, Lawrence, and Lewis experiment with forms while investigating their and their countries’ recent (and in some cases not-so-recent) past.  This section closes with World War Two and the literary productions emanating from that event. 

The fourth section, dealing chiefly with issues of continuity and change, also deals with issues of class, education, nationalism, and internationalism, and the fifth and final section, “Towards the Millennium,” examines literature and literary culture from the last 30 years.  This final section focuses on new opportunities for writing, publication, genre, performance, and experimentation.  It undertakes to explore the vexed “postmodern” signifier while refusing reductive conclusions about that term.   

In general, the book pays particular attention to genre and the construction and representation of literary culture during eras of new technology and shifting social circumstances.  When addressing more recent phenomena of literature and literary criticism, such as anxiety over the term “postmodern,” the book’s closing essays are careful not to “take sides,” so to speak, but to register the complexity of issues and insist that all claims about the contemporary or near-contemporary are provisional and not summative, speculative and not conclusive. 

This ambitious project leaves certain loose ends, as any project of this magnitude must, but it is nevertheless an impressive and meticulous contribution to ongoing and unsettled conversations about twentieth-century British literature.  The sheer number and variety of authors contributing to and represented by this text are so bold and interesting that definitive or comprehensive statements about them are difficult to make.  Suffice it to say that the complexity of this book, and of all of the authors and essays appearing in this book, is in keeping with the complexity of a subject as expansive as twentieth-century British literature.             


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