Archive for October, 2009

#342 – Grow Up Government!

Wednesday, October 21st, 2009

exercising the option on the social contract.

It seems unjust. But look what happened to the global economy after Lehman failed. Unemployment in the U.S. went to 9.5 per cent. It’s not just Wall Street that suffers when you ‘teach people a lesson.’ The tragedy of financial populism is that you do terrible things to innocent people. – Timothy Geithner

You can’t just go out and shoot the bankers. You can’t have an economy without a functioning credit system. People are angry. They’re furious. But you have no option but to live with these people. – Barney Frank

From James B. Stewart, A Reporter at Large, “Eight Days,” The New Yorker, 21 September 2009.

Obama will have to directly attack the fortified bastions of the newest ‘new class’—the makers of the paper economy in which he came of age—if he is to accomplish anything. These interests did not spend fifty years shipping the greatest industrial economy in the history of the world overseas only to be challenged by a newly empowered, green-economy working class. They did not spend much of the past two decades gobbling up previously public sectors such as health care, education, and transportation only to have to compete with a reinvigorated public sector. They mean, even now, to use the bailout to make the government their helpless junior partner and if they can they will devour every federal dollar available to recoup their own losses, and thereby preclude the use of any monies for the rest of Barack Obama’s splendid vision.

From Kevin Baker, Barack Hoover Obama: The Best and the Brightest Blow It Again, Harper’s Magazine, July 2009.

In the quotations above, what’s so remarkable about the difference in perspective between, on the one hand, Timothy Geithner and Barney Frank, and, on the other, Kevin Baker, is their sense of possibility for anything other than neoliberal capitalism. Geithner and Frank simply cannot imagine anything outside the binary of inegalitarian “free” markets  or what Geithner calls “financial populism.” It’s either give the über-rich what they want or shoot them.

Baker, thankfully, calls for government to grow up.

Part of this growing up involves imagining a new relationship between government and the financial sector, and a rethinking of assumptions about capitalism and the equitable distribution of wealth.

It means imagining government neither as witch doctor, hoodwinking the populace or conjuring up magic cures, nor as witch hunter, madly convicting the guilty and innocent alike.

Instead, the financial crisis offers a moment to rethink what should be normal in our society, what should be privileges (the privilege to be “too big to fail,” for instance) and what should be rights (health care, a good education, policy for the greater good of all). It’s a chance to reimagine what freedom is and whose freedom “free” markets and the government policies that shape them really serve. And, as Baker suggests, it’s a time to admit that there has to be a struggle—probably a nasty one—between those who reap the rewards of the current ideologies of neocapitalism and those who seek a better alternative to a jobless recovery and the suffering it causes along the way even if the economy comes booming back.

And since it was government, after all, that stepped in and saved us from a financial catastrophe wrought by anti-government free marketeers, there is a chance now to take stock of the possible positive and beneficial roles for American government all grown up. Contrary to Barney Frank (bless him), there are other options to exercise, other bonds that should reach their maturity in the coming years.

#341 – With a Love Like That

Tuesday, October 20th, 2009

the beatles beyond rock band.

I intentionally avoided American love songs, trying to dispel their belief that all Americans were hedonists. Despite my efforts, romantic songs — whatever their language — were the guards’ favorites.

The Beatles song “She Loves You,” which popped into my head soon after I received my wife’s letter from the Red Cross, was the most popular.

For reasons that baffled me, the guards relished singing it with me. I began by singing its first verse. My three Taliban guards, along with Tahir and Asad, then joined me in the chorus.

“She loves you — yeah, yeah, yeah,” we sang, with Kalashnikovs lying on the floor around us.

David Rohde, “You Have Atomic Bombs, but We Have Suicide Bombers,” New York Times.

#340 – Wrap It Up

Tuesday, October 20th, 2009

the strange loteria of ken brown’s wrapping paper.

A cinder block follows a pair dancing the watusi. A lawn butt bows down before El Sad Clown. El Roadside Dino is about to eat El Rubber Chicken. El Bolo ricochets into El Beatnik. La Nose Job hangs over La (Day Old) Meatloaf.

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Ken Brown, detail of Loteria wrapping paper.

Ken Brown‘s wrapping paper, inspired by the Mexican game of chance loteria, haunts with its dissociated associations. Objects and figures have been recovered from some strange thrift store on the edge of consciousness. R. Crumb tours Tex-Mex byways; Mad Magazine on an alcoholic binge.

This is retro not as hip kitsch but as troubled, melancholy nostalgia. It’s leery and fevered. It suck you into the fragments of lost fads and junk abandoned. There’s not so much chance here, just an absurdist doom in lurid colors. Its noir reimagined in Pee-Wee’s Playhouse zebra neon stripes.

It’s funny at first glance, but less and less funny the more you look at it.

Strange thing to wrap your gift.

Unless your gift is headed for oblivion — and you are too.

Image: Ken Brown website.

#339 – (What’s So Funny ‘Bout) Peace, Love, and Cultural Studies

Friday, October 16th, 2009

thinking about cultural studies, civil society, the humanities, and more with michael bérubé.

Today and tomorrow, Michael Berube joins us at Northwestern for a talk and seminar as part of the Engaged Humanities Scholar as Public Intellectual research workshop.

Recently, Michael published an essay in the Chronicle of Higher Education, titled “What’s the Matter with Cultural Studies?,” that sparked quite a debate. Perhaps the best place to start out in exploring this debate would be Michael’s post at Crooked Timber, They Call It Theory Monday.

There’s a lot circulating around in this debate: (1) the disciplinary home for (or homelessness of) cultural studies within the university, (2) the place of cultural studies beyond the university in the larger political and civic realms, (3) the history of cultural studies (British/British-French/Global/etc.), and (4) the distortions of cultural studies by its enemies, particularly by fellow progressive intellectuals on the “false consciousness” wing of the left — these who use the ill-defined populism of cultural studies to dismiss the field as confusing base and superstructure, focusing on culture when basic economics should be the purview of the left.

I’ll leave these (very worthy) debates to your own Internet explorations, but I do want to highlight one sentence from Michael’s article. In speaking about the goals of the left (and I think we could even say a goal beyond partisan politics), Michael argues against the notion that all we must do to improve society is lift the veil of media manipulation and “manufactured consent.” Instead, he writes, “you have to do a great deal of groundwork in civil society to try to forge an egalitarian response.”

I am hoping that this weekend, we can explore this concept of civil society and the kind of groundwork that humanities scholars might do using the tools and knowledge of specialized research to engage more broadly in civic endeavors (and one of those tools is listening, which I plan to do a lot of this weekend).

As part of this conversation, I (and I hope others) will post to HASTAC so that we can investigate the digital dimensions of this groundwork, starting with the question that’s been on my mind lately: how is digital networking not only affecting academic practice and knowledge production but civil society itself? And not just the netroots of political civil society, but the broader terrain of associational life, the “cultural ectoplasm” (as my teacher Bob Cantwell called it) of civil society? Now that seems a task that cultural studies (and cultural history, my own field) might be well-suited for.

Let the foundational (and anti-foundational, if your sensibility tends that way) labor begin!

X-posted to HASTAC blog.

#338 – Culture Rover’s Unfamiliar Quotations

Friday, October 16th, 2009

I am serious about criticism. The critic has a moral requirement. He may write about a book from any view whatever, but he owes it to his audience and to the book to separate the book’s ideas from his own, and to follow it with a warning that his reaction to the particular work must be seen within that context. Without such a demurrer, all integrity leaves criticism, and one is merely producing propaganda.

- Norman Mailer, Letter to Max Glissen, 17 December 1951, published in the New York Review of Books, 12 February 2009

#337 – Bowery B’hoys as Frat Boys

Friday, October 16th, 2009

the steep theater’s history of frat boys in america.

America is tense with latent violence and resistance. The very common sense of white Americans has a tinge of helplessness in it, and deep fear of what might be if they were not common-sensical. – D.H. Lawrence, Studies in Classic American Literature

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The best part of Steep Theater’s production of The Hollow Lands was how the actors Jonathan Edwards and especially Boyd Harris played their characters as corn-fed frat boys in the mythic, misty history-scape of America.

Their choice to play these bowery-b’hoy-turned-frontier-ruffians as displaced Alpha Beta Deltas mingled youtful entitlement with an angry, violent undercurrent. These frat boys in America were happy-go-lucky, tolerant, and open to strangeness and yet, on a dime, could turn rageful, reactionary, and close-minded. They reminded me of the boys on spring break with Bruno who will go along with anything until Sasha Baron Cohen’s character asks them to say hi to Austrian gay TV.

It was a brilliant way to link the present to the past in this epic play squeezed into a tiny performance space: fraternity brothers lost in America, alive and innocent and virile, on a death trip, haunted by guilt, and creepily intolerant and unempathetic.

They were on Whitman’s Open Road and locked in Limbaugh’s closed-circuit demagoguery all at once. They were, as D.H. Lawrence famously wrote in his Studies in Classic American Literature, trying to get away, most of all from themselves — pursuers of freedom and recoilers from its wild implications.

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Jonathan Edwards and Boyd Harris (center figures) play frat boys in the misty, epic American past.

Images: Steep Theatre

#336 – And Now For Something Completely Different

Sunday, October 4th, 2009

michael palin stresses comedy’s changing role.

A lot of contemporary comedy seems self-conscious. It’s almost documentary, like ‘The Office.’ That’s a very funny show, but you’re looking at the human condition under stress. The Pythons made the human condition seem like fun.

- Michael Palin, quoted in “On Comedy’s Flying Trapeze,” by Charles McGrath, New York Times

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One can surely find exceptions, but Palin’s comments seem spot on. Comedy was about breaking free ecstatically in the 60s and 70s, whereas contemporary comedy has oddly become the opposite. On “The Office,” “The Daily Show,” and, in deeply ironic mode, “The Colbert Report,” among other programs, comedy has become a call for restraint and common sense.

This isn’t a bad thing. It just is. And it is still funny. But it also has a larger significance.

In the 1960s, laughter marked what John Cleese called, in the New York Times article, “screams of liberation” against the limitations of society. But in a contemporary public culture that sometimes feels as if it has no more limits, less and less structure, and fewer boundaries of civility or standards of decency, comedy is no longer the clarion call for freedom. Goofy satire worthy of Aristophanes no longer does the trick.

In the 60s, the goal was to show that the emperor had no clothes. In the 2000s, when the clothes off various emperors were finally torn off, what we then saw were obscene and indecent abuses of power. And in the last year’s health care debates, we learned that efforts to engage in civic dialogue only resulted in screams of a different sort — not cries of liberation but coordinated efforts at distortion and obstruction.

Comedy becomes a barometer for this situation, but this barometer is a strange one, for it can make the weather as well as measure it. What role comedy will play beyond the Bush years of undisclosed locations, bungled wars, inept governance, and economic meltdown and subterfuge remains to be seen. But it’s not liberation we need anymore. We need something completely different.

So maybe it is good that contemporary comedy seems almost moral, with fish slapping replaced by ironic modes of  fingerwagging. The “screams of liberation” have become dire sighs of exasperation. And once those sighs are exhaled at “the human condition under stress,” perhaps we will be able to breathe again with a bit more ease.