The use of force must be seen as part of a larger discussion we need to have about a comprehensive counterterrorism strategy, because for all the focus on the use of force, force alone cannot make us safe. We cannot use force everywhere that a radical ideology takes root. And in the absence of a strategy that reduces the wellspring of extremism, a perpetual war through drones or special forces or troop deployments will prove self- defeating and alter our country in troubling ways.
So the next element of our strategy involves addressing the underlying grievances and conflicts that feed extremism, from North Africa to South Asia. As we’ve learned this past decade, this is a vast and complex undertaking. We must be humble in our expectation that we can quickly resolve deep-rooted problems like poverty and sectarian hatred. And moreover, no two countries are alike, and some will undergo chaotic change before things get better. But our security and our values demand that we make the effort.
-- President Barack Obama, National Defense Institute, May 23 2013
We've been waiting patiently -- too patiently, we may sometimes think -- for President Obama to address our concerns about disturbing new advances in the technology of warfare that seem to promise a horrific future for our entire planet. What can we possibly think about targeted killings in Pakistan and Afghanistan using remote-controlled aircrafts -- targeted killings that aren't targeted enough to avoid killing innocent civilians? Are we still trying to pretend that there can ever be a meaningful rulebook for drones?
Last week, the President didn't manage to answer these unanswerable questions, but at least he talked about them, in a speech designed to advance public debate on all topics involving the USA's military policy and war on terrorism. The speech is worth reading in full, even though the best moments occurred outside of this transcript, when the brave activist and Code Pink founder Medea Benjamin heckled the President repeatedly, demanding something more than wishy-washy answers.
What do you buy a morose Danish philosopher who invented Existentialism for his 200th birthday?
It doesn't really matter anymore, since Soren Aabye Kierkegaard is dead. He died at the young age of 42, already at this time a mostly broken man, an obsessive writer, a lonely bachelor, and a frequent subject of popular ridicule. Like Henry David Thoreau, Herman Melville, Franz Kafka and F. Scott Fitzgerald (with all of whom he shares some sensibility), he died at a low point of literary success, without much reason to expect that later generations would rediscover his work and call him a genius.
But I believe Soren Kierkegaard died a happy man, because he was that rare philosopher who found answers to the hardest questions he asked, answers that satisfied him completely. The questions were of religion, and of how to live a good life, and his answer involved the "leap of faith" or "leap to faith" (a phrase he invented). Kierkegaard was a devoted Christian, but he defied the philosophical norms of his age by expressly refusing to try to justify his belief with reason or logic. The power of religious faith, he pronounced, was in believing without reason or logic.
His belief in Christianity made him a great religious writer. What made him a great Existential writer was the implicit principle that underlies his argument for religious faith: the principle that we human beings regularly think, live and make decisions without reason or logic.
This was as much a "eureka" moment for Western philosophy as Rene Descartes's cogito ergo sum two centuries before. Though Kierkegaard had to struggle to explain his ideas to his bewildered Danish and European intellectual peers during his life, his idea of religion as a leap to faith would spring incredible gardens of original modernist thought: inheritors of Kierkegaard include Fyodor Dostoevsky, Friedrich Nietzsche, William James, Paul Tillich, Ludwig Wittgenstein, Jean-Paul Sartre and many more.
All this spring and summer, we'll be hovering over the 20th anniversary of the World Wide Web's breakthrough into mass popularity. This week presents another possible "birthday" date for the WWW craze: it was on April 30, 1993 that CERN announced its intention to fully share its homegrown HTML and HTTP standards and supporting software with the world as free open source. It seems likely that the exploding popularity of the Mosaic browser (which we discussed last month) helped push CERN to take this step. In fact, Unix developers already assumed that WWW software was free and open by this date anyway, so CERN's announcement wasn't really a revolutionary step, though it is a notable moment.
In his essay The Doors of Perception, Aldous Huxley describes his experiences after taking a dose of mescaline. At the end of the book, he makes this observation:
That humanity at large will ever be able to dispense with Artificial Paradises seems very unlikely. Most men and women lead lives at the worst so painful, at the best so monotonous, poor and limited that the urge to escape, the longing to transcend themselves if only for a few moments, is and has always been one of the principal appetites of the soul. […] And for private, for everyday use there have always been chemical intoxicants. All the vegetable sedatives and narcotics, all the euphorics that grow on trees, the hallucinogens that ripen in berries or can be squeezed from roots – all, without exception, have been known and systematically used by human beings from time immemorial.
The use of the term Artificial Paradises by Huxley refers to a book by Charles Baudelaire, Les Paradis Artificiels, which describes Baudelaire’s experiences with hashish. Just as men have longed “to escape, [...] to transcend themselves”, so have writers tried to capture the experience on the page.
Let’s call these attempts to capture the drug experience in printed form "literature of substance" -- "substance" being a word used by David Foster Wallace to very effectively describe agents that get you high, ranging from weed to peyote, and encompassing alcohol and all other chemical and natural concoctions that are used by mankind to escape or transcend.
Because the enigmatic South African novelist J. M. Coetzee's first novel Dusklands is out of print, I always figured the book must have been a weak start to a great career.
Dusklands was published in 1974, years before Coetzee started hitting his powerful stride with The Life and Times of Michael K. and Waiting for the Barbarians and Disgrace and Elizabeth Costello. Since I couldn't buy the book in bookstores or order a new copy online, I satisfied myself at first by reading summaries of what Dusklands appeared to be: a divided narrative constructed of two invented "found manuscripts", the first an American military psychologist's report of propaganda efforts during the Vietnam War, the second an early Dutch South African explorer's report of a journey into the unknown regions of the continent.
Eventually, as I recently waited for Coetzee's new novel The Childhood of Jesus to be released in my country, I broke down and ordered a used copy of Dusklands online. It probably wouldn't be any great Coetzee, I figured, but I wouldn't mind a small minor work, a glimpse at the uncertain youthful voice of a later genius.
Oh. My. God. Did I have it wrong.
Now that I've read this tour de force, which may be the most bleak and upsetting book J. M. Coetzee has ever written, I am wondering if perhaps it is out of print for a completely different reason than I thought. Perhaps it's because the book's disturbing violence and sense of menace is too hard for readers to handle. Imagine a combination of Joseph Conrad and Harold Pinter -- with a lot more blood and torture. But this disturbing book appears also to be at least a small masterpiece. I remained gripped and compelled by the narrative for days after reading the final pages.
There have been big headlines this week about an Internet phenomenon called Bitcoin. Bitcoin is an open source peer-to-peer virtual money system, unsupported by any government or bank or underground vault stacked with gold bars. It works on the basis of simplicity and transparency, and is backed only by the fact of its own existence. The surprising news about Bitcoin is that people are using it and it works: the peer-to-peer system manages to provide complete transactions without any of the presumed requirements for a currency platform.
Bitcoin is an experiment, obviously, in applied economics, created by ambitious techies. The existence of an extra-governmental open source currency system suggests a new way to define our relationship with governments. In this sense, it's an extraordinarily exciting idea, and certainly an idea with a big future. Does the open communication of the Internet age offer us a new capability to rethink the role, shape and substance of money in our lives?
This is an appealing idea for an age in which economics often seems like an evil science, rife with hidden hazards, drenched in corruption, besotted by noisy and near-hysterical political debate. The clean simplicity of an alternative digital currency system seems to present the eventual possibility of a global financial system reboot. The idea should catch the attention of both conservative libertarians concerned with the power of central government and progressive liberals concerned with economic justice and corporate/Wall Street corruption -- and to anybody, really, who isn't happy with the questionable economic systems and practices (remember 2008, anyone?) that still define the status quo today.
The media coverage of Bitcoin, unfortunately, has been inane. As Bitcoin experiences its first blush of fame -- it is expanding greatly as we speak -- it is being confronted by a gigantic barrage of negative media coverage, based mainly on the fact that a few people seem to have made instant profits by trading on Bitcoin, while others have lost their investment or may lose it soon, and by the ridiculous fact that the Winkelvii are involved. As if any of this mattered.
By evaluating Bitcoin as a get-rich-quick scheme (which it was never meant to be), the media can dismiss the experiment with a laugh and avoid the responsibility to take it seriously. (This is a familiar pattern in the tech field, since this was how major media outlets treated the entire Internet/World Wide Web communications revolution during the first dot-com era: they hyped it as a get-rich-quick scheme, then damned it when it failed to deliver on those terms.)
I am ignoring the inane media coverage and following Bitcoin with great interest, because I have long wished for more public experimentation with alternative economic systems. Why is there so little public awareness of the possibility of alternative economics? We live in an era of (hopefully) positive change, but our culture freaks out at the very thought of changing the basic principles of our economic structure. Hell, we're suddenly managing to accept gay marriage, which is great -- and yet the topic of alternative economics is still absolutely taboo. Our thinking about money is stuck in the dark ages.
Despite the enormous impact of the Watergate scandal, the actual purpose of the break-in of the Democratic National Committee offices has never been conclusively established.
-- Wikipedia, The Watergate Scandal.
I was thinking about this long-mysterious motive after reading Thomas Mallon's subtle, well-imagined historical novel Watergate, which speculates (among other things) that the purpose of the illegal spy operation in June 1972 that eventually brought down Richard Nixon's presidency was to find evidence of a Fidel Castro/Cuban connection to the Democratic party. This is one of several common explanations for the spy operation.
Another one, suggested by Bob Haldeman and tentatively endorsed by Jeb Magruder, is that Nixon wanted to find evidence that the reclusive millionaire Howard Hughes was secretly funding the Democrats. Others have suggested that Nixon wanted dirt on Ted Kennedy, and a recent book called Watergate: The Hidden History: Nixon, The Mafia, and The CIA by Lamar Waldron tries to build a case for a Mafia connection. Still others have guessed that the whole botched operation was a trap by Nixon's opponents, intended to embarrass the President (if this was the case, the trap was an amazing success).
I don't think that any of the above answers are very good, and I have a better one to suggest. The motive for the Watergate break-in is something primal, dreadfully familiar, awkwardly obvious. The answer is there in plain sight -- and it's also certainly there in the memoirs written by the principal Watergate criminals, particularly Blind Ambition by John Dean, An American Life: One Man's Road to Watergate by Jeb Magruder, The Ends of Power by Bob Haldeman, Witness to Power: The Nixon Years by John Ehrlichman, Will by G. Gordon Liddy and Born Again by Chuck Colson (all of which I've carefully read and reread to help me reach the conclusion I'm about to explain).
Watergate is not a very distinctive title for a novel about the 1972-74 USA presidential scandal by Thomas Mallon. It was, however, a great name for the scandal.
The term "Watergate" originally referred to the office-hotel complex in downtown Washington DC where, on a quiet day in June 1972, a gang of hapless spies with indirect connections to the Nixon White House were caught in a botched bugging operation. The name "Watergate" always felt right for the scandal, even though it's a made-up word, the invention of a real estate corporation. The "water" refers to the Potomac River and Rock Creek, which merge at the complex's northwestern edge, and the "gate" does not seem to refer to any specific thing at all. (UPDATE: see comments below for some helpful information that suggests the name referred to a water-gate at the nearby historic canal.)
But the Watergate complex was a cool, exciting new locale in 1972, a swirling, innovative work of postmodern architecture that belongs to the same era of urban design as New York City's World Trade Center. The image of water crashing through a barrier seems to evoke something meaningful about the entire scandal that was born there.
It's not clear what Thomas Mallon was aiming for when he gave his imaginative novel the flat title Watergate. There are already many books called Watergate, and this one is different because it's a sensitive, smart literary historical novel, a work of creative invention. Fortunately, the title is the only thing about this clever, humane book that doesn't work. I thoroughly enjoyed reading it, and it helped me think about the years of Nixon's fall in a few new ways.
The Nigerian author Chinua Achebe has died. We've written about Achebe on Litkicks before: Juliana Harris wrote a brief biography, and I had a chance to hear him read at a PEN World Voices festival in 2006.
(Since literature and music are two of my biggest passions, I am naturally fascinated by rock memoirs. I find much significance within these books, and in the shadows that surround them. The Great Lost Rock Memoir is a new Literary Kicks series devoted to the art and psychology of the rock memoir, with a special emphasis on older books that may now be out of print. Today, we're examining the memoir of one of the most brilliant, innovative and courageous singer-songwriters of all time: Mr. Chuck Berry of St. Louis, Missouri.)
It's fitting that the guy who singlehandedly invented rock and roll when he recorded a song called "Mabellene" at Chess studios in Chicago on May 21, 1955 would later become an early innovator in the rock memoir field. Chuck Berry: The Autobiography was published in 1987, when the author was sixty years old. He wrote the book without a ghostwriter, and says so in the opening sentence:
This book is entirely written, phrase by phrase, by yours truly, Chuck Berry.
The prickly pride revealed in this declaration is familiar to anybody who follows Chuck Berry, who is famously irascible, contrary and unpredictable. His genius for spontaneous creativity mixed with interpersonal dysfunctionality is best shown by his typical refusal to rehearse with the backup bands hired to play behind him in concert. I've enjoyed a couple of Chuck Berry concerts, and I've seen how the edgy uncertainty of an unrehearsed band playing a headline show with a legend always adds some electricity to the room. The unpredictable liveliness of his shows is one reason that 86-year-old Chuck Berry still packs houses today (see him while you can).
He also writes an electrifying memoir, and not the superficial memoir one might expect. As a songwriter, Chuck Berry is rarely introspective or analytical. He's more of a humorist with a guitar, specializing in clever, naughty rhymes. His lyrics also reveal a warm emotional sensitivity, a breezy way with descriptive detail, and a big taste for delicious words in harmonious meters.