Culture

WE KNOW NOTHING OF EACH OTHER:

People Have Very Different Understandings of Even the Simplest Words (SIMON MAKIN, 2/01/24, Scientific American)


In 2017 Kris De Meyer, a neuroscientist who directs the Climate Action Unit at University College London, ran the opening session of a conference on decision-making under uncertainty for an audience of scientists, finance professionals and policy makers. He divided them into groups of six and gave them questions and activities centered on their personal and professional experiences of risk. After a while, some hands went up. “They said, ‘We just realized we cannot agree on the definitions of risk and uncertainty,’” De Meyer says. “Even within those small groups, they ran into irreconcilable differences.”

De Meyer works to improve communication about climate change, and it quickly struck him that a major problem was how often professionals who were involved simply misunderstood one another. This, he says, is because people differ in the concepts they have even for basic terms, so what someone thinks they are saying is often not what others understand. This, he claims, explains why climate scientists struggle to get their messages across and why big financial organizations underestimate the threats of climate change. Recent psychology research shows that conceptual differences of this sort turn up everywhere and that people are usually oblivious to these disparities. Neuroscience studies demonstrate that they are underpinned by differences in how the brain represents concepts, a process influenced by politics, emotion and character. Differences in thinking that have been shaped by lifetimes of experience, practice or beliefs can be almost impossible to shift. But two steps offer a way forward: making people become aware of their differences and encouraging them to choose new language that is free of conceptual baggage.

The very term “concept” is difficult to define.

THE CULTURE WARS ARE A ROUT:

Why Harry Potter Is a Tory (BEN JUDAH, 1/05/18, American Interest)

[W]hen British readers pick up Harry Potter they instantly recognize it as that most Tory of genres. A piece of public school—and in Britain this of course means not only private but elite education—school days fiction, just with wizards on flying brooms.

Whereas in most postwar British public school fiction, such as the 1968 schoolboy insurrection movie If, the school was the enemy, administering senseless punishments and ridiculous demands, from the Philosopher’s Stone to the end, the real hero in Harry Potter is the school. The enemy, those who wish the institution harm.

But there is something deeply deferential—and utterly Tory—in how Harry takes on Hogwarts. The headmaster is practically the boy’s best friend, and he advances by doing exactly as he is told by the wise old Dumbledore. The order the school represents is nothing malevolent in the Potterverse—an enchanted Tom Brown’s School Days. There are no tie-loosening, headmaster-hating rebels for us to identify with at Hogwarts for J.K. Rowling. Only Dumbledore’s boys.

Right to the end—and this is one of the rare moments of dissatisfaction I can usually detect amongst Potterheads—Harry does the Establishment Thing and not marry Cho Chang, but Ginny Weasley, the youngest daughter of an aristocratic, but financially threadbare, noble line.

But is that enough to find Harry Potter inherently Tory?

Not until we enter the Ministry of Magic.

To me, perhaps the most blatantly Tory strain running through the Potterverse is the portrayal of Wizarding Whitehall. Nothing good can ever come of the Ministry of Magic, whose bureaucrats are badgering nincompoops with names like Cornelius Fudge and Pius Thicknesse, men who talk down to the befuddled Muggle Prime Minister, informing him how things are really run through a portrait and a fireplace in Number 10 Downing Street, like a voice of a Regency Palace emissary.

Not only are bureaucrats goofy and gluttonous, but every intervention by the Department of Mysteries and the Department for Magical Accidents and Catastrophes makes things worse. Problems, in Harry Potter’s world, can only be solved by the Wizards themselves—by the Tory Big Society of chipper public spirited Wizards. All that can be hoped for, even under Minister For Magic Hermione in J.K Rowling’s latest 2016 theatre spinoff Harry Potter And The Cursed Child is for government to be less corrupt. Magic will never come to the masses.

There is something terribly Tory too, in what Potter is fighting for, and the way he goes about it. What does he do with that extraordinary Elder Wand? What does he do with with second chance at life?

There is no magical socialism in the epilogue “Nineteen Years Later” at the end of Harry Potter And The Deathly Hallows. There is no life’s work (and clearly no interest) in bringing the magical and muggle worlds back together for all mankind. All we see at Platform 9¾ is Harry Potter cheerfully sending off his children on the Hogwarts Express to public school. Harry has protected a venerable institution and then has simply pottered off, to live out his days in some secluded wizarding Surrey.

But what about Lord Voldemort? The hole in Harry Potter is that there is no meaningful interrogation of the system that produced Voldemort—the system of segregation and secrecy between muggles and magicians. As long as Harry Potter shows no interest in opening Hogwarts, handing everyone in Britain a wand, and closing down the Ministry of Magic, the system that produced both Voldemort, Grindelwald and the Death Eaters, the political system of which Slytherin is an inherent part, will remain.

Because as long as there are muggles and magicians, as long as there is magical blood, there will be wizards who think they are racially superior to the muggle-born, meritocratically catapulted into Hogwarts, and wizards who dream of slavery. But Potter is perfectly happy sending his son up to Hogwarts, at Platform 9¾, next to a now-pater familias Draco Malfoy.

DIE A DECENT MAN:

THE FLITCRAFTING OF SAM SPADE (NATHAN WARD, 1/23/24, CrimeReads)

In The Maltese Falcon, the Flitcraft story is told by Sam to his client and lover Brigid O’Shaughnessy in his Post Street room, the very apartment Dashiell Hammett inhabited while writing the book. The story he tells her is in fact about as much as we learn of Sam’s earlier life, apart from an unwise past affair with his partner’s wife. Hired by Mrs. Flitcraft to find her vanished husband, Spade locates him in Spokane in 1927, when Flitcraft is eager to explain what happened five years before:

“Going to lunch he passed an office building that was being put up—just the skeleton. A beam or something fell eight or ten stories down and smacked the sidewalk alongside him. It brushed pretty close to him, but didn’t touch him, though a piece of the sidewalk was chipped off and flew up and hit his cheek….He was scared stiff of course, he said, but he was more shocked than really frightened. He felt like somebody had taken the lid off life and let him look at the works.”

The life he had known before going to lunch was “a clean orderly sane responsible affair” in which good people were rewarded with beautiful families and gulf club memberships. Now a falling beam had shown him that even good men lived “only while blind chance spared them.” A change came over him, Spade tells Brigid, “like a fist when you open your hand.”

The close call spurs Flitcraft to quickly reorder his life to the new reality. He leaves his family and job in one city and ends up in another, where Spade tracks him down and finds he has outwardly recreated his old existence, with a new job, name, and family. But that is not how it feels to Flitcraft, who is unrepentant about the adjustments he felt compelled to make. He only worries that Spade won’t understand him. “I got it all right,” Spade says to Brigid O’Shaughnessy, “but Mrs. Flitcraft never did. She thought it was silly. Maybe it was.”

It was.

FELLOWSHIP:

Civility: Reading Each Other (Sarah Skwire, January 23rd, 2024, Imaginative Conservative)

In 1921 Booth Tarkington published his Pulitzer Prize-winning and now much-neglected novel, Alice Adams, which contains the most horrifying description of a dinner party since Grendel slaughtered and ate Beowulf ’s men in the mead hall. Alice Adams is just about to age out of the marriage market in her Indiana town. Her social class is marginal. She stayed at home while other local girls of “good” families went away to school, and she became something of the town belle, but did not manage to “secure a husband.” She has now attracted the attentions of Arthur Russell, a wealthy and handsome out-of-towner. Throughout the summer, Arthur and Alice have spent the evenings talking in the romantic twilight of Alice’s front porch. But now the relationship has come to the tipping point and Arthur must be invited in to dinner.

We’ve all done it, right? Dinner for the boss? For the prospective in-laws? For the man or woman we want to impress? We all know how it feels—that fear that what we have and what we are isn’t good enough. And we all begin to die a little inside when things go wrong for Alice. There’s the heavy, pretentious meal that her mother decides to serve: from canned caviar sandwiches and hot soup to larded beef fillet and Brussels sprouts. There’s the intoxicated waitress hired to make it appear that Alice and her mother don’t engage in housework. There’s Alice’s bewildered father, who can’t understand why they have to pretend to be fancy since “If they get things settled between ’em he’ll be around the house and to meals most any time, won’t he? . . . Well he’ll see then that this kind of thing was all show-off and bluff, won’t he?” There’s Alice’s mother, whose desperation to charm Alice’s suitor sends him running. And there’s the heat “like an affliction sent upon an accursed people”—that renders the heavy food, the reek of boiled Brussels sprouts, and the endless social pressure even more torturous.

The first time I read Alice Adams I was a teenager, and I thought the dinner scene was heartbreaking. It seemed unfair for Alice to have worked so hard and gotten nothing. And didn’t this Tarkington guy know anything about romance? Everyone knows the pretty girl and the handsome young man are supposed to get together at the end. I suffered for Alice, but I suffered childishly.

The second time I read Alice Adams I was in college. This time, I thought the scene was hilarious. Alice and her mother were such hopeless, desperate social climbers! I felt very sophisticated getting Tarkington’s joke.

Practicing Sympathy

Reading Alice Adams as an adult, I realized how callous I was as a college student and how sentimental I was as a teenager. Today the scene strikes me as a masterpiece of literary balance. It is tragic. I wasn’t wrong at 15. And it is hilarious. I wasn’t wrong at 20. But it took time and life experience for me to realize that Alice’s dinner party could be both of those things at once—and that when it was, it was a better, richer, more realistic piece of fiction than my earlier readings had indicated.

What I was doing with my repeated readings of Alice Adams, though I didn’t know it, was practicing what the eighteenth-century moral philosopher, economist, and rhetorician Adam Smith called “sympathy.” And I was using the humanities to do it.

REFRACTING AND REFLECTING:

America and Hamilton the Musical (MAJ (RET) Montgomery J. Granger, 2/10/24, American Daily Press)

Despite my frustration at the absence of any traditional patriotism expressed in lyrics or set or costumes, there is, in fact, one mention of such symbolism.

A search of the lyrics of “Guns and Ships” demonstrates that the line “Leave the battlefield waving Betsy Ross’ flag higher” is a metaphorical expression emphasizing the idea of achieving victory and independence. The mention of Betsy Ross’ flag, with its thirteen stars in a circle representing the original thirteen colonies, is a symbol of the United States.

The line comes in the midst of describing the challenges faced by the Continental Army, a “ragtag volunteer army,” in its fight against the powerful British forces. The reference to waving Betsy Ross’ flag higher suggests overcoming adversity and proudly asserting the American cause. It’s a poetic way of expressing the determination and resilience of the American forces in the face of a formidable opponent and adds depth and imagery to the narrative of the musical.

In the end, my own bias is exposed. But maybe that was one of Miranda’s goals. That, like art in general, it’s not about the creator’s interpretation; it’s about yours.

THE ENTIRETY OF MORALITY IS THE DENIAL OF THE SELF:

The Profoundly Humane Vision of “Groundhog Day” (Stephen Turley, February 1st, 2024, Imaginative Conservative)

And so, Phil interprets his situation as only Phil Connors could: He convinces himself that he is a god. But Phil was soon to learn that there was nothing godlike about him. You see, throughout the movie, Phil would turn a corner where an elderly homeless man would be begging for money, a man Phil avoided as if he were a leper. But on one cold night, Phil decides to walk the old man to a local hospital where he can get warm, and shortly after arriving at the hospital, the old man dies. Deeply moved by this, Phil would spend each day with the old man, [in fact he calls him ‘dad’ and ‘pop’], feeding him at restaurants, keeping him warm, trying to get him healthy, but to no avail. Every night, despite Phil’s administering mouth-to-mouth resuscitation, the old man would pass away. Alas, there were just some things that he could not change.

And it is at this point in Phil’s experience that he begins to discover that what makes life worth living is not immediate gratification, or moral autonomy, or flippant cynicism, or self-deification, but rather encountering those things that give meaning and purpose to our lives. He begins to read great literature and poetry, he begins to learn the piano and ice sculpting, he helps the locals in matters great and small, including catching a boy who falls from a tree every day. In fact, all of Punxsutawney is transformed by the caring attention he gives to those in need. And his affections for Rita transform into a love without reservation and without any hope of his affection ever being returned. In short, the perpetuity of February 2 became an arena in which Phil’s humanity was awakened. And the result is that Rita falls in love with him. And it is then that the cycle comes to an end, Phil wakes up on February 3, the great wheel of life no longer stuck on Groundhog Day, and he lives the rest of his life with his dear Rita…in Punxsutawney, Pa.

As I reflect on this film, especially with regard to Phil’s original self-indulgence, I find that it provides a fascinating mirror for the modern age to which we find ourselves waking each morning. For the last few centuries, the Western world and increasingly the East has engaged in an unprecedented and frankly radical experiment in human civilization. We are in the midst of a collective social experiment that is attempting to construct a civilization based solely on scientifically observed cause and effect processes irrespective of any divinely-gifted transcendent meaning. Rooted in Enlightenment conceptions, it was argued that the enthronement of reason would finally realize what humans have hitherto for attempted to achieve through religious pursuits, but to no avail: wars would end, prosperity and technological advance would reign, and social and economic equality was finally within reach. The toll that we all had to pay for such promise, however, was that we collectively had to surrender the concept of meaning—what the Greeks called telos—as a reality divinely embedded in a created order, precisely because the created order has now been replaced with impersonal nature. But this was fine, we were told, since now we have the freedom to impart to life whatever meaning we as individuals choose to give it.

And so, it is to the self that our modern age has turned for meaning and life. Today, it is ubiquitously believed that the self needs to be cultivated and nurtured, and in this process of turning toward the self, there has emerged a sense of entitlement to self-actualization, and an accompanying right to charge with malice anyone or anything that would seek to stifle the self. The result of this collective self-indulgence is what researchers have called in a recent publication “The Narcissism Epidemic.” The authors of this study have noted “a single underlying shift in the American psychology: Not only are there more narcissists than ever, but non-narcissistic people are seduced by the increasing emphasis on material wealth, physical appearance, celebrity worship, and attention seeking.”

THE CULTURE WARS ARE A ROUT:

A sharp satire perfect for Critic readers (Robert Hutton, 2/06/24, The Critic)

American Fiction sits alongside last year’s hit novel Yellowface as a satire of the publishing industry’s — and the reading public’s — fetishisation of particular minority experiences. “They want a black book,” Monk’s agent tells him after publishers reject an earlier manuscript. “They have one,” replies Monk. “I’m black, and it’s my book.”

The film is merciless on all its subjects, including Monk, who loathes his publisher and nurses a vicious grudge against a more successful rival in ways that I and all my fellow authors will insist under torture that we do not recognise.

Wright, utterly absorbing, gives us a man who is grumpy but tender, perceptive but idiotic, satirical but pompous, dignified but ridiculous. The funniest moments come from Monk’s frustration at the fawning reaction to the book — “White people think they want the truth, but they don’t,” Monk’s agent tells him. “They just want to be absolved.”

THE GRAND OLD PARTY:

Abraham Lincoln’s Oft-Overlooked Campaign to Promote Immigration to the U.S. (Harold Holzer, February 8, 2024, Smithsonian)


Between 1830 and the outbreak of the American Civil War in April 1861, millions of Europeans migrated to the U.S., forever upending the demography, culture and voting patterns of the nation, especially in its teeming urban centers. In the wake of such overwhelming change, resistance to immigration and immigrants metastasized until forces arose that were determined not only to restrict foreigners from entering the country but also to disenfranchise, demonize and, occasionally, terrorize those who had already arrived, settled and earned citizenship here. And still the refugees poured across oceans and borders to reach our shores, their growing numbers inevitably challenging, and ultimately redefining, what it meant to be American.

Only when the Civil War began did foreign migration to the U.S. slow significantly. Prospective immigrants understandably shrank from the notion of abandoning one troubled country to relocate to another. To some Americans, the reduction in new foreign arrivals came as an answered prayer. For decades, immigration, particularly by Catholics, had stirred resistance, resentment and, in some cases, violence, destruction and death. Politically, these tensions split and ultimately destroyed the old Whig Party, in which Lincoln had spent most of his political career, inspiring anti-­immigration nativists to form a political organization of their own. The realignment had driven many immigrants into the ranks of the Democrats, who welcomed new arrivals with a warm embrace and a swift path to citizenship and voter registration. The issue roiled the country and exposed an ugly vein of bigotry in the American body politic. And its intractability deflected mainstream attention from the country’s original sin: slavery.

Now Lincoln looked beyond the longtime national divide over immigration to propose his revolutionary idea. Although he reported in his message that refugees were “again flowing with greater freedom” into America, their numbers had yet to reach their robust, if bitterly contested, prewar levels. And the reduction was causing what Lincoln called “a great deficiency of laborers in every field of industry, especially in agriculture and in our mines, as well of iron and coal as of the precious metals.” In other words, America could no longer rely on American workers to fill American jobs. Employers needed to look elsewhere—namely overseas—for labor.


True enough, the Lincoln administration had in a sense contributed to this crisis-­level “deficiency.” As many as a million men had now enrolled in the Union armed forces to fight the Confederacy, and since the spring of 1863, the newly introduced military draft had been wresting laborers from farms and factories and redeploying them into the Army. As Lincoln saw matters, their necessary absence from the home front now threatened national productivity—of civilian goods as well as war materiel. Whether the situation might ease longtime hostility to foreign laborers would be left for another day. First, Lincoln urgently wanted robust immigration to resume—even if the government had to provide the means to accelerate it.

As Lincoln forcibly argued in his message, the time had come to regard immigrants not as interlopers but as assets, not as a drain on public resources but as a “source of national wealth and strength.” He expressed it this way:

While the demand for labor is thus increased here, tens of thousands of persons, destitute of remunerative occupation, are thronging our foreign consulates and offering to emigrate to the United States if essential, but very cheap, assistance can be afforded them. It is easy to see that, under the sharp discipline of civil war, the nation is beginning a new life. This noble effort demands the aid, and ought to receive the attention and support, of the government.


Summoning his full rhetorical power, Lincoln concluded his 1863 annual message with a resounding salute to the Army and Navy, “the gallant men, from commander to sentinel, who compose them”—many of them, he might have mentioned, foreign-­born—“and to whom, more than to others, the world must stand indebted for the home of freedom disenthralled, regenerated, enlarged and perpetuated.” The key words were “regenerated” and “enlarged.”

IT’S NH, JAKE:

A Top College Reinstates the SAT (David Leonhardt, Feb. 5, 2024, NY Times)

Three Dartmouth economists and a sociologist then dug into the numbers. One of their main findings did not surprise them: Test scores were a better predictor than high school grades — or student essays and teacher recommendations — of how well students would fare at Dartmouth. […]

As the four professors — Elizabeth Cascio, Bruce Sacerdote, Doug Staiger and Michele Tine — wrote in a memo, referring to the SAT’s 1,600-point scale, “There are hundreds of less-advantaged applicants with scores in the 1,400 range who should be submitting scores to identify themselves to admissions, but do not under test-optional policies.” Some of these applicants were rejected because the admissions office could not be confident about their academic qualifications. The students would have probably been accepted had they submitted their test scores, Lee Coffin, Dartmouth’s dean of admissions, told me.

That finding, as much as any other, led to Dartmouth’s announcement this morning. “Our goal at Dartmouth is academic excellence in the service of training the broadest swath of future leaders,” Beilock told me. “I’m convinced by the data that this will help us do that.”

It’s worth acknowledging a crucial part of this story. Dartmouth admits disadvantaged students who have scores that are lower on average than those of privileged students. The college doesn’t apologize for that. Students from poor neighborhoods or troubled high schools have effectively been running with wind in their face. They are not competing fairly with affluent teenagers.

The conservative Ivy.

THE MUSIC OF THE SPHERES:

J.R.R. Tolkien, C.S. Lewis, and the Cosmic Music of the Beginnings: The Inklings expressed interest in ancient mythologies that described the creation of the world through music. (Robert Lazu Kmita, February 6, 2024, European Conservative)

However, the theological theory about music that is most similar to Tolkien’s vision presented in The Silmarillion (in “Ainulindalë,” “The Music of the Ainur”) is that of the extraordinary medieval saint and prophetess, St. Hildegard of Bingen (c. 1098-1179). As Barbara Newman has shown in her introduction to the critical edition of the musical work Symphonia armonie celestium revelatione (Symphony of the Harmony of Celestial Revelations), Hildegard asserts that God is the creator of music, while “the ultimate unmusical spirit was the devil.”

In one of her letters, Hildegard claims that, before committing the Original Sin, Adam’s voice had exceptional musical qualities: “In his voice was the sweetness of every harmonic sound, and of the whole art of music.” Upon hearing the music sung by Adam, the devil, terrified and filled with envy, recalls the beauty of God’s celestial hymns that he had heard before the fall. What follows, we know from the biblical text. From Hildegard’s vision, we learn about music of divine origin and about the fallen angel, who, unable to bear it, wanted to replace the divine harmony with his own musical creation.

The music of the Inklings
The closest of friends, Tolkien and Lewis, showed in some of their literary writings a special preference for a kind of doctrine about the creation of the world that can be named the ‘musical cosmogony.’ This might be a fitting and proper name for those ancient mythologies, including some mentioned above, that describe the creation of the whole world through music.

Beauty is objective