True Wit is Nature to advantage dress’d, What oft was thought but ne’re so well express’d.Alexander Pope, “An Essay on Criticism”Wit is one of the 10 words investigated by C.S. Lewis in his Studies in Words. He tells us that “wit” was first used to connote “mind, reason, intelligence,” fundamental good sense. Then its meaning changed to suggest a person’s entire mental make-up. Then it rose in aesthetic significance to convey the imaginative skill of poets and other artists. “I take it that wit in the sense now current means that sort of mental agility or gymnastic which uses language as the principal equipment of its gymnasium,” Lewis wrote. The word in our day describes all verbal cleverness, usually of the kind delivered orally. Pun, epigram, repartee, amusing paradox, surprising juxtaposition—these are among the verbal machines on which, to stay with Lewis’s gymnasium metaphor, wit works out.
In imaginative writing—novels, movies, plays, poems—wit in this sense is most frequently found in clever dialogue; or in lyrics of the kind Ira Gershwin, Cole Porter, and Lorenz Hart wrote; or in works of nonfiction in amusing formulations. Falstaff, Shakespeare’s wittiest character, was himself an artist of verbal wit, the Falstaff who said, “I am not only witty in myself, but the cause that wit is in other men.” Written, or literary, wit had a good run in the 18th century: in the plays of William Congreve and Richard Sheridan, in the poetry of Alexander Pope, and in the various works of Jonathan Swift. Wit plays throughout Edward Gibbon’s Decline and Fall, as in his sentence on the Emperor Gordian II: “Twenty-two acknowledged concubines, and a library of sixty-two thousand volumes, attested the variety of his inclinations, and from the productions which he left behind him, it appears that the former as well as the latter were designed for use rather than ostentation.”
Wit has come to find its consummation in conversation. Talk is now its main medium, unrehearsed talk in which someone says something so dazzling as to be memorable. Wit is not, as in writing, evoked in tranquility, but is instead, as Benjamin Errett defines it in Elements of Wit,1 “spontaneous creativity.” Wit, though generally humorous, needs to be distinguished from humor, which can be created at leisure, polished through revision, and even tested upon focus groups to insure that it works. “Unlike humor,” Errett writes, “wit is a speed game.”
That wit wasn’t always what it is today, a form of brilliant and memorable talk, is attested by such idioms and words as “at wit’s end,” “dimwit,” and “half-wit.” All of these denote the connection between wit and common sense. The dimwit and the half-wit are of course deficient in such sense; to be at wit’s end denotes finding oneself in a situation in which normal common sense is of no avail. Today one is more likely to see wit applied as a label to public personalities who are thought to be clever; for example, that well-known wit…Joseph Epstein.
I have never thought myself a wit, but some years ago, in reviewing a book of mine on snobbery, William F. Buckley Jr. called me “perhaps the wittiest writer (working in his genre) alive, the funniest since Randall Jarrell.” The quotation has turned up as the last line in my Wikipedia entry, with the result that, on the rare occasions when I give a talk or lecture, I am generally introduced as—all qualifications dropped—“the wittiest writer alive.” When this occurs, I hasten to tell my audience that I hope they will not be disappointed when, after four or five minutes into my talk, they come to find Mr. Buckley’s generous contention not merely dubious but definitively disproved.
I wish it were otherwise, but I am not witty. What I believe I am is mildly charming. Charm is the ability to arouse approval for oneself, to seem socially adept. Wit is a more precise skill. Oscar Levant claimed never “to stoop to charm.” Unlike charming people, witty ones can offend, and often don’t care if they do. I myself prefer to be liked rather than admired for such shreds of wit as I do possess.
As a would-be charmer, I have over the years built up a store of anecdotes and fairly surefire jokes that I can trot out when needed. I can drop an interesting quotation with what I hope is lightness of touch. I am alert to the comedy of language and often play off its absurdities, subverting clichés, twisting idioms, doing English in foreign accents. Like the character Sloppy reading the newspapers in Our Mutual Friend, I “do the police in different voices.” I also have a taste for whimsy. Late one afternoon when my sons were growing up, I was at the stove making Italian meat sauce and asked them, as I put a spoonful of sugar into the pot, what movie my doing this reminded them of: the answer was Absorba the Grease after, of course, Zorba the Greek. (My children’s upbringing, plainly, wasn’t an easy one.) None of this, strictly speaking, is wit.
Wit, when available to me at all, is possible only when I can create it in tranquility, on the page, or now increasingly on the computer screen, where there is ample room for rehearsal, as aspiring but inadequate wits might think of revision. But wit in its sense of quick and amusing and often devastating riposte, is not my speciality. Esprit d’escalier, or staircase wit, the witty response that occurs to one too late, is for me rather closer to it.
During my last teaching days, in a course I taught on Henry James, I asked a student named Jonathan Stern to describe the character Gilbert Osmond from James’s The Portrait of a Lady. Without the least intent to offend his teacher or evoke laughter from his classmates, he declared Osmond “an asshole.” I seemed to be the only one in the room shocked by his response, and I told him, calmly, that I would allow each student in the course one such word, and he had now used up his allowance. Only later, leaving class, actually walking down the stairs, did it occur to me that what I should have said was, “I’m pleased, Mr. Stern, that I didn’t ask you to describe Oedipus Rex.”
I have been in the regular company of only one genuinely witty man, my friend Edward Shils. When I told Edward of a mutual acquaintance of ours having recently informed me that, in Prague, where he grew up, his father never shaved himself but always had a barber come in to do so, Edward replied, “You know, Joseph, the truth more likely is that his father shaved his mother.” I once introduced Edward to the English journalist Henry Fairlie. Edward mentioned that he had heard Fairlie had become a socialist, and asked him to explain how this came about. Fairlie replied that he owed his conversion to hearing Michael Harrington speak in Chicago. “Michael Harrington in Chicago?” said Edward. “Surely a case of worst comes to worst.” Of David Reisman, his colleague at the University of Chicago, who attempted to pass himself off as a WASP, Edward remarked, “I’ll say this for David, he’s never taken undue advantage of being Jewish.”
Edward Shils taught half the year at Cambridge in England, a country where the tradition for wit is stronger than it has been in America. Maurice Bowra exemplified high-table Oxbridge wit. When someone told Bowra that the woman he was courting, the niece of Sir Thomas Beecham, was a lesbian, Bowra, himself reputed to be homosexual, replied, “Buggers can’t be choosers.” Noël Coward noted that “having to read footnotes resembles having to go downstairs to answer the door while in the midst of making love.” Evelyn Waugh, surely the wittiest novelist of the past century, in World War II, coming out of a bunker during a German bombing of Yugoslavia, looked up at the sky raining enemy bombs and remarked, “Like everything German, vastly overdone.” Kingsley Amis said that “laziness has become the chief characteristic of journalism, displacing incompetence.” From Beyond the Fringe to Monty Python, English humor at its higher echelons featured wit.
Only a few traces of wit show up in Edward Shils’s writing. No one knew about it who didn’t know him personally; knowledge of his quick cleverness was restricted to his students and his friends. The great wits of the past century found means to have their witty remarks broadcast well beyond their social circle. Among the wits discussed in Errett’s Elements of Wit are Sydney Smith, Mark Twain, Oscar Wilde, Dorothy Parker, Groucho Marx, Winston Churchill, Mae West, George Bernard Shaw, Robert Benchley, and Oscar Levant. Missing are H.L. Mencken, W.C. Fields, Noël Coward, Billy Wilder, and George S. Kaufman. An obvious neurotic, Kaufman, when asked why he left psychotherapy after only a few sessions, claimed, “the guy asked too many goddamn personal questions.” A relentless philanderer, Kaufman told Irving Berlin that he liked his song “Always,” but would prefer it if he changed the title to “Thursdays.”
I learned about these Kaufman quips from a biography of Kaufman by Howard Teichmann. Many of Churchill’s best mots are recorded in other people’s memoirs. Oscar Wilde made a show of his epigrams, paradoxes, and comic aphorisms (“A cynic is someone who knows the price of everything and the value of nothing”) while on tour in America. Traveling round the United States, he put himself perpetually on exhibit, his witty remarks picked up by the press that accompanied him; they accompanied him, in fact, chiefly because his remarks made good copy. The wittiest things said during the 1920s and ’30s at the Algonquin Round Table found their way into Franklin Pierce Adams’s “Conning Tower” column in the old New York World and later the New York Herald-Tribune. Oscar Levant, who let it all hang out before the phrase was invented, made many of his more outlandish remarks on the old Jack Paar Show, and on his own talk show before he was fired for going too far with a joke about Arthur Miller and Marilyn Monroe, oral sex, and keeping kosher. Wits without fame do not get their brilliant lines recorded, at least not in the past they didn’t. The Internet, as we shall see, is changing this, at least somewhat.
Elements of Wit, like the Strunk and White book on composition after which it is titled, is pedagogical in intent. The book sets out on the project of teaching wit by precept and example. Along with offering mini-profiles of some famous wits of the past and present, Benjamin Errett (a Canadian journalist) provides discussion of the role of wit in improv theater; the effect of alcohol on lubricating and loosening wit; and the need for brevity, the soul, after all, of wit. He quotes from various studies on wit and humor; and, inevitably, as is de rigueur these days, he brings in far-from-convincing brain studies and ponders the connection of the physiology of the brain to the creation of wit.
At one point Errett provides a list of 11 contemporary wits. The list includes Russell Brand, Gail Collins, Louis C.K., Nora Ephron, Tina Fey, Christopher Hitchens, Fran Lebowitz, Steve Martin, Amy Poehler, Tom Stoppard, and Kanye West. The rapper Jay-Z, to whom he devotes several pages, is another of his models for wit in action.
Not all these contemporary wits pass Errett’s definition of wit as “spontaneous creation.” We learn that Steve Martin worked out his stand-up comedian’s bits over time, so that little of the finished product of his wit can be said to have been spontaneous. Much of Tina Fey’s wit was scripted for her television shows. Is Russell Brand sufficiently amusing to earn the title? Louis C.K. passes for witty if one’s taste runs to masturbation jokes. Jay-Z’s rap music, much of it created at the moment of recording, may be spontaneous, but does it truly qualify as witty? Lots of things—sarcasm, invective, obscenity—can be created spontaneously without being witty.
Would Christopher Hitchens have seemed witty without an English accent? Wasn’t Hitchens, a man who gave the title The Missionary Position to his book-length attack on Mother Teresa, more a provocateur than a wit? Is there a great difference between Nora Ephron’s complaining about age doing in her neck and the newspaper columnist Erma Bombeck’s writing about the travails of being a housewife—any difference, really, apart from Ephron having had a fancier address and a flashier social set? In the few interviews I have seen with Tom Stoppard, his seriousness easily eclipses his wit. Are these cavils merely? Or do they suggest the lowering of standards on what passes for wit in our time?
Another of Errett’s definitions of wit is “good sense that sparkles.” He prefers cheerful wit; like Joseph Addison, whom he quotes, his taste runs to wit that “gives delight and surprise.” Errett defines snark as wit that “scorches.” Yet much wit is dark, and lots of the richest wit is outrageous. Think of the late Sue Mengers, the movie agent, who walked into a less than exclusive Hollywood party and remarked to a friend: “Schindler’s B-list.” After the Charles Manson murders, Mengers is supposed to have told her client Barbra Streisand, “Don’t worry, honey, they’re only killing bit players.” Saul Bellow, whose propensity for saying witty things sometimes got him in trouble, wrote a story called “Him with His Foot in His Mouth,” about a man who regularly wounded people because he could not control making offensively witty remarks. The wittiest remark in the story belongs not to the story’s narrator but to an older scholar whose boredom is obvious when the narrator reads his scholarly article to him. The narrator asks if he is causing the scholar to fall asleep, to which the scholar answers, “No, you’re keeping me awake.”
Wit is meant to be pleasing, but as often as not it can be cruel. John Simon makes the point that humor is “basically good natured and often directed toward oneself,” while wit is “aggressive, often destructive…and almost always directed at others.” When Clare Boothe Luce held open a door for Dorothy Parker and said “Age before beauty,” Miss Parker, passing through, replied, “Pearls before swine.” Such examples of aggressive wit are generally the most memorable. What stays in the mind are the stabbing riposte, the ripping repartee, the punishing put-down.
Errett bridles at the thought that wit is no more than “clever nastiness.” In his view “wit is the thought process that generates truly funny observations, as well as the most incisive comments, lasting quips, and brilliant asides.” Perhaps his cheerful outlook on the subject of wit compelled him to neglect entirely Gore Vidal, a figure often on the list of contemporary wits. If Vidal had had a motto, it might have been, “If you can’t say something nasty, then say nothing at all.” But Vidal fails the first test of wittiness, which is unpredictability. Predictability is death for wit, and Vidal’s wit was always predictable. Apart from those of his mots devoted to slightly perverse sexual matters—“I am all for bringing back the birch, but only between consenting adults,” is an example—most of the rest are about the crummy, inane, deceitful plutocracy that for him was America. Vidal paraded this merchandise on every talk show that would have him. “I never miss a chance to have sex or appear on television” is another of his mots. One knew what was coming before he opened his mouth; it was only a question of how mean he would be.
Defying anticipation in a way that is both amusing and causing one’s auditors to take thought is one of the hallmarks of genuine wit. Of Doris Day, Oscar Levant remarked: “I knew her before she became a virgin.” Fran Lebowitz, remarking that it’s impossible not to notice that children in America are more and more protected and to a later and later age, claimed that “the man who invents the first shaving mirror for strollers is going to make a fortune.”
If asked to choose an ideal, a perfect, wit, my candidate would be Sydney Smith, the early-19th-century clergyman who was one of the founders of the Edinburgh Review. Errett devotes a few sparse paragraphs to Smith in his book, but not enough to capture the splendor of a true wit at work. The actress Fannie Kemble wrote that “the fanciful and inexhaustible humorous drollery of his [Smith’s] conversation among his intimates can never be adequately rendered or reproduced.” A young Benjamin Disraeli, himself a famously witty man, was once seated next to Sydney Smith at a dinner party and found him “delightful,” adding, “I don’t remember a more agreeable party.” Others reported that they could not remember what he said because in his company they laughed so much. Sydney Smith spoke almost exclusively in mots, lovely metaphors, witty formulations. He said of the garrulous Lord Macaulay that his conversation contained “some gorgeous flashes of silence.” He likened his life as a reviewer and sometimes polemicist to that of a razor, always “either in hot water or scrapes.” Of two women screaming insults at each other from their apartments across a narrow street, he said: “Those two women will never agree. They are arguing from different premises.”
Does wit come naturally, or can one acquire it through effort and training? The assumption behind Elements of Wit is that it can be acquired. “Creative spontaneity,” Errett writes, “takes practice.” Yet his book casts doubt on the notion that wit, even among the most famous wits, really is created spontaneously. Winston Churchill, he informs us, was a reader of Bartlett’s Familiar Quotations and in search of material for conversation sedulously read jokes columns in newspapers. “His magpie mind drew from books, film, media, and anywhere else he read, heard, or saw a line worth repeating.” Errett does not mention La Rochefoucauld, the world’s wittiest aphorist, who worked with his friend and lover Madame de Lafayette at burnishing his aphorisms before bringing them out for display in the salons of Mme. de Rambouillet and Mme. de Sablé, where they were further polished. Might it be that a great deal of what passes for wit—for, in Errett’s term, “spontaneous creation”—isn’t spontaneous at all but has been carefully worked up beforehand?
The leading forum for the display of wit in our days ought to be the television talk show. Yet one doesn’t think of any of the talk-show hosts, now and in the past, as especially witty, if only because all employed or currently employ a cadre of writers who supply them with much of the material that passes for their own wit, though some among them ad lib cleverly. The same, one suspects, may well be true of ostensibly witty talk-show guests, who are often coached about what questions they will be asked and what subjects they can expect to discuss.
Are dazzling wits possible in our day? No reason why they shouldn’t be, though how we might come to know about them is unclear. Might such a wit be someone out there sending witty tweets to friends? The form of the tweet, with its limit of 140 characters, could work to force a tweeter into concise wit. The closing pages of The Elements of Wit offer some amusing tweets. “So now Blagojevich has been double impeached, which sounds like a Ben & Jerry flavor” isn’t at all bad; nor is this, “the most beautiful tweet ever tweeted,” as chosen by Stephen Fry: “I believe we can build a better world! Of course, it’ll take a whole lot of rock, water & dirt. Also not sure where to put it.” I do not myself tweet—to do so would be unseemly in a man of my august age—but I have followed a couple of friends on Twitter, one of whose tweets are consistently amusing. If Twitter does create a new conveyance for wit, a new word for those who display their wit on it will be required—a twit-wit, perhaps.
As for whether wit can be taught, my own sense is that it cannot. Honed and sharpened it can be, but it has to be there to begin with. As Aristotle, in the Poetics, said about metaphor, so one might say about wit: “It is the one thing that cannot be learned; it is also a sign of genius.” Wit, in other words, is a gift. But without an interesting point of view, a detached angle on life, a wide culture, the gift will come to naught. Wit is the expression of those who understand and are able to formulate and deflate in a pleasing way what they see as pretension, false self-esteem, empty ambition, snobbery, and much else worth mocking in life. We need wits on the scene, like doctors on the case. Without them to remind us how absurd we can be, we fall into the grave danger of taking ourselves altogether too seriously.
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Illiberalism: The Worldwide Crisis
Sohrab Ahmari 2016-06-16
ccording to the bland conventional wisdom, Americans frustrated by the failure of the establishment to address issues like immigration and economic inequality have turned to an unlikely pair of political outsiders, a New York developer-turned-reality-TV-star and a Vermont socialist, to set things right. This account is true as far as it goes, but it is also hopelessly parochial and inadequate to the scope of the changes afoot. Trumpism (and Bernie Sanders-ism) are but the American symptoms of a global phenomenon: the astonishing rise of illiberal movements of the far right and far left.
As an ideology and as a governing philosophy, liberalism is fast losing ground. “Liberalism” here is understood not as the American shorthand for those who vote Democratic in the United States, but as the philosophy of individual rights and (relatively) free markets that in theory is shared by the U.S. Republican Party and Scandinavian social democrats alike. As it fades, populism and identitarian politics of all kinds are gaining adherents nearly everywhere. Today’s illiberals are less likely to be organized around systematic philosophies like Fascism and Communism than was the case in the years between the two world wars—the last time liberalism appeared this vulnerable. In our time, illiberal forces are disparate, instinctual, inchoate, more likely to be local in focus, and internally divided. Often various illiberalisms are locked in combat against one another.
Nevertheless there are common patterns that range vastly different geographies and political contexts, suggesting that this illiberal ascendance will be a defining feature of the 21st century. Welcome to Planet Trump.
Begin with Europe. Everywhere in the birthplace of liberal Enlightenment, parties of the far left and far right are making inroads at the ballot box—from the well-established democracies of Western Europe to the economic disaster zones of the south, and from the prosperous Nordic lands with their traditions of consensus-based politics to the newborn democracies of post-Communist Central and Eastern Europe.
In France, President François Hollande’s Socialists and the center-right Republicans of former President Nikolas Sarkozy have had to resort to tactical voting alliances to shut out Marine Le Pen’s xenophobic National Front. In Austria, the anti-immigration Freedom Party, or FPO, thumped the mainstream parties in the first round of elections to the presidency in April, forcing the center-left prime minister to resign. Norbert Hofer, the FPO candidate, lost the runoff in May, after the mainstream parties urged their supporters to back his Green Party opponent—lest Austria become the first country in Western Europe to elect a far-right head of state since World War II.
Next door in Hungary, Prime Minister Viktor Orbán’s right-wing nationalist Fidesz Party has gradually hollowed out the country’s democratic institutions. He has politicized the judiciary, nationalized pensions by decree, proscribed “unbalanced” media coverage, and removed a slew of other checks and balances on his own power. The prime minister has mused about “building an illiberal new national state” on Turkish, Russian, and Chinese blueprints. His main opposition is the openly anti-Semitic Jobbik Party.
Finally, there is Vladimir Putin. Having transformed his country into an authoritarian mafia state, the Russian strongman funds Europe’s illiberals and amplifies their messages on his slick propaganda networks.A new government in Poland is following Orbán’s footsteps with a restrictive media law, efforts to erode judicial independence, and a defense minister who thinks the Protocols of the Elders of Zion are real. Finland’s election last year brought the populist Finns Party into the governing coalition on a platform of opposition to the previous government’s liberal-Atlanticist agenda. Germany’s local elections in March resulted in the far-right Alternative for Germany Party making significant gains at the expense of the embattled Chancellor Angela Merkel and her center-right Christian Democrats.
Spain and Greece have seen the rise of Syriza and Podemos respectively—far-left parties with roots in the anti-globalization movement. Underscoring Greece’s Weimar-esque conditions, the Golden Dawn Party (with a Hellenic swastika for a logo) came third in 2015’s election. In Turkey, President Recep Tayyip Erdogan’s project to transform the country’s parliamentary democracy into an Ottoman sultanate is nearly complete.
Then there is Britain, where the hard-left wing of Labour has taken over the party. Rising to the leadership in the aftermath of last year’s electoral rout, Jeremy Corbyn has broken the party’s peace with free enterprise and individual responsibility—the main reformist achievement of Tony Blair’s New Labour. The party once again longs for socialism and speaks the language of class warfare at home, while anti-Americanism, pacifism, and blame-the-West attitudes dominate its foreign policy.
Beyond party politics, Europe is also witnessing the awakening of long-dormant separatist movements in Scotland and Catalonia, while subnational and regional identities are loudly asserting themselves in Northern Ireland, Italy, and elsewhere. Continent-wide, opposition to the European Union is also at an all-time high. On the left, the EU is seen as a neoliberal vehicle used by corporate elites to pare back workers’ rights and impose “austerity.” The right, meanwhile, disdains Brussels for blurring borders, flooding Europe with immigrants, and substituting a bloodless multiculturalism for the continent’s authentic national cultures.
Finally, there is Vladimir Putin. Having transformed his country into an authoritarian mafia state, the Russian strongman funds Europe’s illiberals and amplifies their messages on his slick propaganda networks. In turn, Europe’s assorted separatists, far-right parties, and unreconstructed Communists support Moscow in its confrontation with the West. Thus Kremlin media have looked with favor on Scottish separatism, Brexit, opposition to trans-Atlantic trade, Le Penism, Orbánism—all of which advance Moscow’s interest in a fractured West.
European illiberalism is no Russian conspiracy, however. What unites these disparate parties and movements is a worldview. For the far right and far left, the Kremlin deserves respect as an avatar of sovereignty and an enemy of the U.S.-led liberal order. But the new illiberalism would exist without Putin’s assistance. And in some countries—Turkey and Poland come to mind—the new illiberalism is intensely anti-Russian owing to historical and geopolitical factors.
How the new illiberalism manifests itself varies according to local conditions, and there are sometimes unusual shifts in alliance and enmity. The animating impulses are always the same.
Illiberalism is also ascendant in Iran and the Arab Middle East. That may sound odd, since politics there has always been defined by violence, autocracy, and oppression of minorities. But recall that just a few years ago, a liberalism of sentiments swept the region and brought millions of Iranian and Arab youth to the streets. Those young people deployed the rights-based language of liberalism against secular-autocratic rulers (and Islamist elites in Iran’s case)—even if they didn’t always embrace the “liberal” label or have a systematic appreciation for the idea.
That liberal consciousness has evaporated. In Iran, the ayatollahs’ vicious crackdown against the 2009 Green uprising has driven the pro-democracy movement underground. The educated young who were the backbone of the Green movement are now demoralized and apathetic thirty- and forty-somethings—a transformation not unlike what happened to China’s pro-democracy movement after the 1989 Tiananmen Square massacre. Democratic aspiration has transmogrified into Persian-Shiite chauvinism. Václav Havel is out. Revolutionary Guards General Qassem Suleimani is in.
The situation is equally grim in the Arab lands. Save for Tunisia, the Arab Spring uprisings of 2010 and 2011 have everywhere yielded civil war, state failure, or a return to the repressive status quo ante. Recent surveys of Arab-youth attitudes, such as the one conducted annually by the public-relations firm Burson Marsteller, suggest that the region’s young aspire to stability, not political freedom.
The biggest setback for global democratic development since the end of the Cold War resulted from the fact that, given a democratic opening, large numbers of Arabs have reverted to sectarian and tribal bloodletting, demanding the imposition of Shariah law and restrictions on the rights of women and minorities. Democracy in the Arab world, in other words, proved to be an invitation to chaos and illiberalism.
Not that there aren’t signs of progress elsewhere. Nigeria last year completed a peaceful power transition that saw a Muslim ex-general, Muhammadu Buhari, elected president on a platform of rooting out corruption and fighting the scourge of the monstrous terrorist group Boko Haram. He has so far kept good on his pledges. The wave of leftist populism that engulfed Latin America at the beginning of this century seems to be receding. Burma is transitioning from junta rule to democracy. South Africa remains a liberal-democratic beacon in a troubled continent.
Yet the same South Africa is also home to an intensely xenophobic anti-immigration movement that would attract more attention but for that fact that its supporters (native South Africans) and victims (migrants from Zimbabwe and elsewhere) are both black. Militant economic populism, moreover, is the force mobilizing young South Africans frustrated with 22 years of one-party African National Congress rule. Anti-immigration sentiment is also growing rapidly and shaping politics in Kenya.
Burma’s democratic transition has been accompanied by a pogrom targeting the country’s Rohingya minority, while Aung San Suu Kyi (the Nobel-winning pro-democracy icon) maintains an ominous silence. And voters in May elected Rodrigo Duterte as the next president of the Philippines. Duterte, the former mayor of Davao City, has been called the “Filipino Trump” for his brash style and his pledge to murder criminals with his own hands, dump their bodies in Manila Bay, and then grant himself a presidential pardon.
Given all this, the rise of Trump and Sanders seems part of a larger trend rather than a momentous disruption in the American timeline. This is a disturbing turn of events. Since World War II, the U.S. has overseen a liberal world order, promoted and protected free trade, including at home, and viewed democratic development abroad as essential to its own prosperity and security. The strength of the Trump and Sanders presidential candidacies has revealed the hollowness of this liberal consensus in the 21st century.
Both candidates oppose the existing North American Free Trade Agreement as well as Pacific and trans-Atlantic trade pacts currently being negotiated between the United States and its Asian and European allies. Trump would impose tariffs on foreign imports and penalize U.S. companies moving operations offshore. Sanders, meanwhile, has said American consumers don’t “need a choice of 23 underarm spray deodorants or of 18 different pairs of sneakers when children are hungry in this country.”
To economic protectionism Trump adds hostility to immigrants and deep skepticism about the geopolitical structures that undergird liberal order, not least NATO and the EU. He has threatened to “open up” U.S. libel laws to make it easier to silence the press, and to go after media owners whose outlets criticize him. He openly admires Putin.
What if Planet Trump represents the emergence of a serious ideological alternative to liberalism—one that echoes the illiberal and authoritarian movements of the previous century but, crucially, isn’t an exact replica?All this should sound familiar. Trump and Sanders are both playing the song of illiberalism in an American key. Trump may be the latest incarnation of America’s Jacksonian spirit, as Walter Russell Mead has argued. But he is also something new: a vulgar, reality-TV-infused, American Marine Le Pen, though in himself lacking the anti-Semitism that has fueled and dogged the rise of Le Pen and her father, Jean-Marie, before her. The French far-right leader sees a kindred spirit in Trump (“may God protect him,” she tweeted). Sanders, meanwhile, is harnessing the same anti-globalization energies as Syriza and Podemos, albeit with a distinctly American persona that is part Workmen’s Circle, part crunchy-granola gentry left.
What is going on here?
The typical answers eschew ideas and ideology. Voters are, it is said, moving in response to sustained slow growth and dizzying technological change. The “protected class” of corporate and political elites, another line of thinking goes, has been uninterested in the pain of the “unprotected” many, and it’s past time for this class’s rude awakening. All of these explanations are plausible. Some are more persuasive than others. Yet none is a properly ideological account of an ideological phenomenon.
To blame, say, slow growth for Trumpism is to lose sight of the fact that varieties of “Trumpism” are on the rise in countries that have experienced decent economic growth in recent years (Britain, Poland, and Turkey, for instance). Trump’s vituperation notwithstanding, net Mexican migration to the United States is on a downward trajectory. Advanced economies have been hemorrhaging blue-collar jobs for decades, so why all this rage against the postindustrial machine now? And when and where in history have elites not been detached from the masses?
Reducing political and ideological phenomena to social, economic, and legal ones is one of liberalism’s chief strengths and major blind spots, as the Nazi jurist Carl Schmitt long ago recognized. Liberalism has always tried to dissolve ideological enmity in the stream of commerce, and to articulate a law so complete that it will both encompass and supplant politics as such. It has frequently succeeded on both counts. But not always.
Planet Trump is what happens when liberalism’s capacity to absorb and dilute enmity falters, and when liberals neglect to give politics, ideology, and enmity their due—when they take a little too seriously their own claim to stand outside and above ideology. To see Planet Trump as merely a reaction to social, economic, and legal developments is to reproduce this common error, and some of Trumpism’s sharpest critics and most sympathetic observers are equally guilty of it.
Both camps are caught in liberalism’s blind spot, in other words, because they fail to discern the simpler if more discomfiting explanation. What if Planet Trump represents the emergence of a serious ideological alternative to liberalism—one that echoes the illiberal and authoritarian movements of the previous century but, crucially, isn’t an exact replica? What if the new illiberals believe what they say they believe?
Planet Trump is a combination of 1) economic protectionism, including shielding earned entitlements from fiscal reform and undeserving newcomers; 2) geopolitical isolationism and, often, pro-Russian sentiment; and 3) hostility toward groups that are seen as agents of economic dislocation and/or physical insecurity—immigrants for the far right, corporate elites for the far left, finance capital for both (and Jews for many).
The fact that these policies are common to far-right and far-left movements from Vermont to Vienna isn’t all that interesting or illuminating. It is necessary to uncover the deeper impulses behind the policy mix—that is, the emotions and instincts that are the warp and weft of any ideology, including liberalism. In the case of Planet Trump, the impulses can be summed up as nostalgia, aggrieved nationhood, and hunger for authentic politics.
These are the three psychological planks on which all such movements rest, and understanding them is essential to defending liberalism against this fresh assault—not least by rejiggering the liberal program in areas where the new illiberals have a point but offer solutions that are monstrous, irrational, or, well, illiberal.
The restoration of a prouder, more wholesome, more coherent past is the first plank. The particular narrative varies by local context, but the form is identical. Donald Trump promises to “make America great again” and asks his followers, mostly displaced blue-collar workers, to imagine a time when industrial manufacturing was king and provided well-paying working-class jobs secure from globalization and mass migration.*
Jobbik’s supporters in Hungary see their modern history as a series of catastrophes and betrayals that robbed their nation of its former greatness. The democracy that followed the collapse of Communism was only the latest disaster because it subjected Hungary to liberal dictates from Brussels, U.S.-NATO “imperialism,” and predatory market forces. Jobbik and other Hungarian nationalists long for the return of national will and cohesion—as well as the territories and populations—lost to the cruel 20th century. The Nazi-collaborationist regime of Admiral Horthy (1920–44) is warmly remembered.
Many Brexit supporters look back as well to a period when Britain’s authority was not subordinated. As the sharpest European critics of Brexit point out, the movement’s leaders are insistent that that the UK can revitalize trading relationships with the countries of its own Commonwealth—the countries that were once parts of the British Empire—once it leaves the EU. In its most romantic framing, this idea imagines the open sea, not the Continent with its petty bureaucrats, as Britain’s once and future destiny.
Vladimir Putin has decried the collapse of the Soviet Union as the greatest tragedy of the 20th century, but the real Putinist fantasy is a sort of latter-day czarist restoration—much as Putin’s great rival, Turkey’s Erdogan, has Ottomanist fantasies.
Europe’s far-right thinkers have developed sophisticated theoretical justifications for restoring the communitarian wholeness of a long-ago West. Take Manifesto for a New Europe (1999), by Charles Champetier and Alain de Benoist—the latter is a leading philosopher of the French New Right and a figure long associated with the National Front. In it, the authors describe the “life-world” of liberal modernity as one
replete with delinquency, violence, and incivility, in which man is at war with himself and against all, i.e., an unreal world of drugs, virtual reality and media-hyped sports, in which the countryside is abandoned for unlivable suburbs and monstrous megalopolises, and where the solitary individual merges into an anonymous and hostile crowd, while the traditional social, political, cultural, or religious mediations become increasingly uncertain and undifferentiated.
Liberalism, Benoist and Champetier argue, has uprooted authentic communities and severed man’s connections with more organic and communitarian forms of being that are the ground of true freedom. Mass migration and the social incohesion it breeds, the economic insecurity and inner alienation we all feel—these are signs of liberal man’s fall from community, according to the authors.
The aim of their brand of illiberalism is to restore man to community. In practice, that means restricting immigration (man isn’t an “economic merchandise which can be relocated anywhere”); rejecting the very possibility of assimilation (people can’t “melt” together just by adding rule of law and market forces into the cultural pot); protecting workers from the cult of productivity and “unbridled” technology that causes economic dislocation (think Uber or self-driving cars); and prioritizing local, regional, and “internal” economies over “hyper-competitive” global markets (whatever that means).
Marine Le Pen knows her Benoist. When I asked her about the pending U.S.-Europe free-trade agreement, known as TTIP, in an interview for the Wall Street Journal last year, she emphasized how American goods are “un-hygienic,” a noteworthy expression. Trade means cultural exchange, dilution, dynamism, intermingling. All these are bogeys of the illiberal mind. These communitarians are reactionaries in the most literal sense.
Collective grievance and a desire for national recognition form the second psychological plank. Donald Trump never fails to tell his followers that they have been taken for a ride, bamboozled, robbed. The head-spinning complexity of the world and government’s real and perceived failures aren’t the voters’ fault. It’s the establishment, the Chinese, Mexicans, Muslims, bankers and hedge-funders—all are conspiring to humiliate the nation.
Having ceded nationalism and nationhood to the likes of Le Pen, Orbán, and Putin, liberal Europe is now dumbfounded that so many are gravitating toward such leaders and their movements.But as far as grievance-mongering goes, Trump’s is mild stuff relative to what’s under way in Europe. There, paradoxically, the United States is top on the list of scapegoats for illiberals. German Greens, French agricultural protectionists, British Snowdenistas, and Hungarian neo-Nazis all blame Washington and American capitalism for Europe’s ills. This is most apparent in their opposition to TTIP, which is seen as a stealth American project to rewrite the Continent’s labor and environmental regulations, with local corporate elites playing co-conspirators to Uncle Sam.
Alexander Dugin, the political theorist known as “Putin’s philosopher” and widely admired among the European far right, goes further. Dugin describes U.S. primacy on the world stage as a “form of global dictatorship.” He rages against “modernity and its ideological basis (individualism, liberal democracy, capitalism, consumerism, and so on).” These things, he says, are “the cause of the future catastrophe of humanity.” No points for guessing which nation is at the heart of the “kingdom of the anti-Christ” that is liberal globalization. “The American Empire should be destroyed,” Dugin writes. “And at one point, it will be.”
Sometimes the you-aren’t-to-blame message to voters has an even darker aspect. By casting Hungary as mainly a victim of World War II, Jobbik and to a lesser extent Prime Minister Orbán’s ruling Fidesz Party are attempting to renegotiate the country’s responsibility for Holocaust-era crimes. When in an interview last year I asked Jobbik leader Gábor Vona about Hungary’s role in the Holocaust, he readily conceded that “Hungarian governments did have their responsibility, yes,” but he quickly added:
This is a very complex issue, because Hungary suffered a lot of harm during the First World War, a lot of Hungarian-populated territories were taken away from Hungary and transferred to neighboring countries . . . . I will never question anybody’s right to commemorate the events of the past, but identity cannot be built on tragedies, because it will inevitably lead to more and more confrontation.
Postwar European identity has indeed been largely “built on tragedies,” and rightly so. But voters clearly long for something more: a national culture with a positive content around which to organize political life. European liberal elites want nothing to do with such atavistic superstitions as nationalism and nationhood. Instead, they have tried to tie political loyalty to the vow of “never again,” to the rights enshrined in national constitutions, and to transnational liberal norms and the institutions charged with upholding them (the EU, NATO, the European Court of Human Rights, and so on).
Having ceded nationalism and nationhood to the likes of Le Pen, Orbán, and Putin, liberal Europe is now dumbfounded that so many are gravitating toward such leaders and their movements. Much the same could be said about American liberals puzzled by the attraction of Trump’s brand of nationalism.
The third and final plank is a desire that politics reflect the dark realities of the present. That means: a recognition that enmity can be permanent, that bad actors cannot be transformed into good ones, and that sovereign nations need sovereign options for dealing with these timeless features of life in a fallen world. As more than a million refugees overwhelm Europe, al-Qaeda and the Islamic State wreak havoc across the Middle East and Africa, and jihadism increasingly threatens Western homelands, it isn’t only bigots and reactionaries who are terrified by the lame and haphazard responses in Brussels, Berlin, and Washington. People everywhere, including free peoples, want to see order, leadership, and clarity amid danger and chaos.
When leaders of the center right and center left on both sides of the Atlantic—not least the leader of the Free World—fail to even name “Islamism” or “jihadism” as the enemies of liberal democracy, they empower the likes of Trump, Le Pen, and Orbán. Such men and women have no compunction about naming the enemy, and after they do so, they cast a wide net: It isn’t just the virulent ideology of political Islam that threatens the West, they say, it’s the 1.4 billion global adherents of Islam. President Obama’s refusal to name Islamism as the cause of the terrorist attack in Paris in November and the shooting spree in San Bernardino in December may have been the key events in securing Donald Trump’s presidential nomination. The president insisted, in the wake of Paris, that his strategy against the Islamic State in Syria and Iraq was working and in need of no modification. Trump insisted, after San Bernardino, on temporarily banning all Muslims entering the U.S. (including, initially, American Muslim citizens) “until we figure out what the hell is going on.” This may have seemed, and was, absurdly extreme, but at least it involved a recognition that the attack was an element of a conflict on a global scale.
Along with the failure to name the enemy, the liberal mainstream is also becoming more dismissive of self-government, and this too has intensified the sense that contemporary politicians are pursuing their own agenda rather than the interests of the voters they are supposed to serve. On both sides of the Atlantic, mainstream parties have been too ready to short-circuit the democratic process when they fear it won’t produce the desired liberal outcomes. From Obama’s executive order on immigration, to the imposition of gay marriage by judicial fiat, to the EU’s attempts to punish voters in Poland and elsewhere for electing the wrong kind of government, to the efforts by European and American transnationalists to “download” liberal norms into national legal systems, liberal disdain for self-government is bolstering illiberals. By sanctioning and censoring the wrong kinds of speech on Islam, immigration, and integration, European and American liberals only manage to turn the illiberals into folk heroes and martyrs voicing forbidden truths.
Liberal civilization has in the past proved resilient when threatened by anti-liberal forces, and its institutions retain a remarkable capacity to adapt. (Again, I am not speaking of “liberalism” as shorthand for positions aligned with the Democratic Party, but in the broader philosophical sense.) As a set of legal norms and economic principles—and, more important, as a cultural force—liberalism remains overwhelmingly dominant. Classically liberal ideas about the limited power of the state and the inherent rights of citizens have expanded into nearly every corner of the globe since 1776. Liberalism has vanquished every significant rival that has stood against it since then, and a succession of liberal powers has presided over world order.
To survive the rise of global Trumpism, the liberal idea must adapt again—to become more robust on issues like Islamism, immigration, and integration; more comfortable with democracy than it has been in recent years; and more conscious of itself as an ideology. Above all, liberal forces need leaders who can offer the kind of democratic pedagogy that the likes of FDR, Churchill, JFK, Reagan, and Thatcher did in the previous century.
There is little reason to believe Hillary Rodham Clinton is up to the task. Mrs. Clinton has given no indication that she will challenge these forces within her own party—which is increasingly a party of relentless ethnic- and identity-pandering, and of the censorious campus left—and she has been forced to eat her words and engage in vigorous self-criticism when she has let slip the slightest heterodoxy on free trade, law and order, or welfare reform. So we face an election and an immediate future in which illiberalism will either be the open policy of the new Republican administration or will be advanced through entropy by the new Democratic one.
The main ideological struggles of this century will pit liberalism against illiberalism. True defenders of freedom must recognize that the battlefront cuts across the traditional left–right divide and will have to act accordingly.

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The Pentagon’s ‘Smart’ Revolution
Faster, smaller, cheaper: The story of the ‘Third Offset’
Arthur Herman 2016-06-16
t is September 2025. As tensions between the United States and Iran reach a crisis, a U.S. Navy carrier and two AEGIS-class destroyers are escorting Saudi oil tankers through the Hormuz Straits. Suddenly a dozen remote-controlled Iranian Revolutionary Guard Corps speedboats roar into view, each armed with 2,000 kgs of deadly explosives, and begin wildly weaving around and circling the American escort vessels. But before they close in and detonate their charges, each of the IRGC speedboats goes up in an explosion of steel and sea foam.
How? Scores of small self-guided sea mines, each less than a foot long, had been released by a nearby U.S. submarine to track the movements of the Iranian vessels. Using their artificial-intelligence-enhanced sensors, these seagoing drones were able to predict the direction and speed of each boat’s evasive maneuvers. And when the Iranian craft moved in too close for comfort, the drones swarmed, attached themselves to the hulls of the Iranian ships, and, at the push of a button by their operator on board the submarine, blew up the boats almost simultaneously.
Maddened by failure, the Revolutionary Guard commander orders his battery of the latest Chinese-made supersonic anti-ship missiles to fire on the American ships. But U.S. Air Force reconnaissance drones flying overhead, too small to be detected by Iranian radar, intercept the order as it’s given and signal the twin battery of electromagnetic rail guns mounted on the lead AEGIS destroyer. The guns immediately pivot and rapid-fire hypersonic projectiles at a speed of Mach 7, which destroy each anti-ship missile almost before it leaves its launch vehicle.
Then, in order to deal with the missile threat once and for all, the Navy’s latest directed-energy weapon (deployed on the second destroyer) fires a high-power microwave burst that burns out all the electronics of the missile battery while leaving its Iran crew scared and bewildered but completely unharmed. Indeed, since the IRGC boats were all unmanned, not a single person has been killed. Yet America has won a major victory for control of the Hormuz Straits, as the oil tankers sail safely into open sea.
Welcome to the Pentagon’s New Look, and the future of combat in the high-tech age.
This is no Stars Wars–style fantasy. Both the Navy and the Air Force are actively working on swarm technology involving dozens or even hundreds of drones that interact with and follow their “intelligent” lead drone like a flock of birds or a school of fish, and which General Ellen Pawlikowski, head of the Air Force’s Material Command, has said “can be very much a game-changing reality for our Air Force in the future.” The Navy has been fielding its own self-guiding CAPTOR mines for several years, which are anchored on the ocean floor and fire a torpedo when the pre-programmed designated target comes within a five-mile radius. The next generation of sea mines after CAPTOR will be smaller, smarter, and able to hunt in packs—while also costing a fraction of the CAPTOR.
At the same time, the Navy aims to test its rail-gun1 prototype on a naval vessel in 2017 and deploy the weapon on a Zumwalt-class DG1000 destroyer in 2018. Two defense companies, General Atomics and BAE Systems, are locked in a head-to-head competition for the final contract. In less than a decade, the rail gun should be as ubiquitous on Navy vessels as the conventional five-inch gun is today.
As for directed energy weaponry, the Air Force and General Atomics are experimenting with a high-energy laser mounted on an existing unmanned drone, the MQ9 Reaper. General Paul Selva, the vice chairman of the Joint Chiefs of Staff, has announced that the JCS will be designating the high-energy microwave realm an official military “domain” comparable to the land, sea, space, and cyber domains. “After a nearly half-century quest,” a recent report from the Center for New American Security declared, “the U.S. military today is on the cusp of finally fielding operationally relevant directed-energy weapons”—which will eventually be as available to the individual soldier and Marine as his (or her) M-16 rifle.
All this is part of a new overall Pentagon strategy to marry the latest technologies with war-fighting. It has been dubbed, with the infelicity common to such military plans, the Third Offset. Not many people outside military circles have heard of the Third Offset, but it’s by far the best thing to come out of the Obama Pentagon—and will go a long way to determine how the United States confronts its future foes, not just Iran but Russia and China.
The Third Offset is also a way to defend America and project American power militarily in the face of flat or declining defense budgets. Its aim is to break the pernicious cycle of defense acquisition, in which the more the Defense Department spends, the less it actually gets—in terms of equipment and personnel and overall effectiveness.
That cycle veered into the danger zone during the period of the Iraq and Afghanistan wars, when military spending soared past half a trillion dollars a year (even excluding those wars) at the same time that military readiness was getting harder to maintain and the development of next-generation fighters, bombers, and warships was becoming too expensive to contemplate. (Our current state-of-the-art F-35 Joint Strike Fighter, with its $100 million apiece price tag, was first developed in the 1990s.) In the meantime, future potential opponents, such as Russia and China, were busy building, upgrading, and thinking about how to win a full-scale war with the United States.
As the name implies, the Third Offset isn’t the first time the Pentagon has confronted this problem of dealing with potential opponents under the constraint of a shrinking budget and smaller forces—in today’s case, with an Army, Navy, and Air Force that haven’t been this small since before World War II. The first effort came in the 1950s, when the Pentagon shifted to relying on nuclear deterrence to halt the Soviet surge in the early days of the Cold War. The second occurred in the 1970s with the advent of “smart bombs” and Stealth, as well as the first extensive use of computer networks for command and control, to overmatch a Soviet adversary who had added to his formidable land forces a massive nuclear-missile threat and a growing blue-water navy.
The Third Offset, however, may be the most critical of all. Today we face not one powerful and well-armed antagonist, as in the Cold War, but two: China and Russia. In the wake of President Obama’s strategic retreat around the globe, these two nations have advanced their military presence with bold moves, including Russia’s invasion of Ukraine and intervention in the civil war in Syria, and China’s planned construction of a naval base at Mogadishu in the horn of Africa—as well as military airfields on artificial islands in the South China Sea.
Backed by developments in the cyber domain like Big Data, and in artificial intelligence, the new era of autonomous weapons will make the Nimitz-class carrier, the F-35, and the M-16 look like the equivalent of the musket, the mounted knight, and Old Ironsides—and at a fraction of the cost.The goal of the Third Offset is to develop a series of “technological overmatches” against Russia and China by turning America’s two biggest economic assets, its scientific research and high-tech industries, into tools for transforming how we will fight any future war.
These run the gamut from rail guns and directed-energy weapons to cyberwar, robotics, artificial intelligence, and even 3-D manufacturing and Big Data. The last two have become increasingly common in the business world and the commercial sector, and they are destined to become important tools in America’s high-tech arsenal.
Above all, the Third Offset means a new generation of weapons that are faster, smaller, and more intelligent or “autonomous,” meaning able to perform more and more functions on their own without human guidance or control. The hottest word in today’s Pentagon is “autonomy,” and the core of the Third Offset strategy is relying on unmanned systems that spring from the Predator and Reaper drones used to hunt terrorists in places like Afghanistan and Pakistan. These unmanned systems will be considerably more sophisticated, considerably smaller, and far more numerous than their predecessors. And they will be less reliant on a command and logistical chain manned by humans, who account for one of the largest and fastest-growing costs at the Pentagon.
For some, these changes raise fears of a Terminator-style apocalypse, with “The Rise of the Machines” that rule the battlefield signaling the doom of humanity itself—while what can go wrong in a war run by machines, including in space, has been brilliantly showcased in the P.W. Singer–August Cole novel Ghost Fleet, which has become virtually required reading in today’s Pentagon.2
Many of these fears are overstated. But there are some clear dangers and risks that come with the “intelligent” battlefield. Strategists and politicians will have to reckon with them as the turn to The Fast, The Small, and The Intelligent in weaponry develops its own momentum.
All the same, the Third Offset strategy offers a way for the next president to boost American military strength and project power more effectively, within the constraints of tighter Pentagon budgets. He or she can also take full advantage of the fact that most of the technologies involved in the Third Offset—drones, lasers, sensors, robotic components, and the algorithms that power them—will become cheaper, even dramatically cheaper, over time. Moore’s Law hovers over the Pentagon’s new game plan like a benevolent protective drone, ready to drop costs even as capabilities blossom and multiply. Backed by developments in the cyber domain like Big Data, and in artificial intelligence, the new era of autonomous weapons will make the Nimitz-class carrier, the F-35, and the M-16 look like the equivalent of the musket, the mounted knight, and Old Ironsides—and at a fraction of the cost.
The bottom line is, the technologies being unveiled under the Third Offset strategy may be the last best chance we have to defend the United States when we face not one but two large and aggressive potential foes, in an era of ever more costly conventional arms and ever smaller defense budgets—as well as the best opportunity to help America’s allies do more to defend themselves by adopting the same technologies.
So how does the Third Offset work?
An offset strategy uses a strength in one area to compensate or offset a disadvantage in another. In the military sphere, this involves using a series of qualitative technological advantages to offset quantitative disadvantages on the battlefield.
History tells the tale. In the Pentagon’s view, the First Offset came when, faced with a massive Soviet advantage in ground forces, President Dwight Eisenhower opted to move forward with a nuclear-deterrence strategy that combined strategic targeting of the Soviet Union with the possibility of tactical nuclear strikes directly on the battlefield. Dubbed the New Look, this approach meant a massive reduction in manpower as well as defense spending by leveraging the advantage the U.S. enjoyed both in the size of its nuclear arsenal and its air power (signaled by the birth of Strategic Air Command), sea power (the advent of nuclear-powered and then nuclear-armed submarines), and ballistic-missile development—developments that also made it possible for America to put men on the moon.
The Soviets did not sit still. By the early 1970s, they had built up their own tactical and strategic nuclear arsenal while continuing to maintain their huge ground forces in Eastern Europe and creating a blue-water Soviet navy, equipped with their own “boomers” or nuclear submarines.
Something had to be done to avoid a massive escalation of the size and scope of U.S. military power—which, in the wake of Vietnam, wasn’t politically possible. So in the summer of 1973, the Pentagon launched a project to develop a new generation of weapons intended to respond to a Warsaw Pact attack.
Out of that initial study, and follow-up work during the Carter and Reagan administrations, came the Second Offset—as represented by a cluster of new military technologies such as cruise missiles, precision-guided munitions or PGM’s, and Stealth. As early as 1984, even before the advent of strategic missile defense (SDI, or “Star Wars”), all these forced the Soviet military to reconsider its entire formula for winning the Cold War. It also eventually spawned the high-tech, computer-networked, stealthy, and GPS-guided U.S. military that would score devastating victories in the First Gulf War, Afghanistan, and Iraq.
But “just as with the first offset strategy, the second offset strategy is showing its [age].” Those were the words of Deputy Defense Secretary Bob Work in a January 2015 speech that laid out in detail the concept of the Third Offset strategy then–Defense Secretary Chuck Hagel had unveiled the previous November.
“Potential adversaries have been modernizing their militaries, developing and proliferating disruptive capabilities across the spectrum of conflict,” Hagel had said. While America had spent the decade after 9/11 focused on fighting the war on terrorism and counterinsurgencies in Afghanistan and Iraq, Russia and China had been steadily upgrading their militaries with a host of technologies aimed at destroying or at least crippling the high-tech advantages our military had enjoyed following the Second Offset. Such technologies include ballistic and high-speed anti-ship missiles, highly sophisticated anti-aircraft missile systems, electronic jamming and cyberattack, and anti-space weapons that can kill GPS and communication satellites that the U.S. military needs to keep track of its forces and to guide its precision “smart” weapons. In addition, both the Russians and Chinese have built their own versions of Stealth aircraft. This was, Hagel declared, a “clear and growing challenge to our military power.”
Hagel’s November 2014 speech was short on details. In it he mentioned only four such “offset” technologies, three of which aren’t normally associated with military weapons: miniaturization, Big Data, advanced manufacturing, and robotics or “autonomous systems.” Work’s follow-up speech gave a more detailed shopping list that included advanced sensors and communications; “missile defense and cyber capabilities.” He also mentioned “unmanned undersea vehicles; advanced sea mines; high-speed weapons; advanced aeronautics from new engines to new, different types of prototypes; electromagnetic rail guns; and high-energy lasers.”
The new strategy isn’t just a plan to build more weapons, or even to build smarter weapons. It’s to pick a competitive advantage our adversaries can’t duplicate and, therefore, to create uncertainty in their minds about the effectiveness of their war-fighting strategy. In short, the goal is as much psychological as it is practical: to force a potential adversary to go back to the drawing board, and invoke doubt in the adversary’s own mind about his ability to meet us on equal terms on the battlefield.
If cyber technology seems the most obvious example of where the military has come to rely on developments in the civilian sector to upgrade, extend, and protect its command-and-control networks—where companies like Apple, Microsoft, and Google take the lead and the Pentagon necessarily follows—a less obvious case is miniaturization. It’s become one of the fine arts behind smartphone development.
Smart or 3-D manufacturing would actually enable a combat unit to “make” the weapons it needs on the spot. This would include, for example, spare ammunition or mini-drones for reconnaissance—even brand-new weapons more suited to the environment or the fire fight they’re in.In military terms, however, the appeal of smaller doesn’t just mean harder to detect and potentially faster and more agile. It also means designing systems without having to create space for human operators, which saves on protection and life-support systems (armor, windows, and seats on an Army vehicle, for example, or oxygen tanks and an ejection seat on an Air Force plane). These are expensive and heavy.
The Pentagon’s ultimate goal is the creation of “swarms” of small, expendable flying or swimming weapons that can overwhelm adversaries in sheer numbers—which can be programmed to behave precisely like real-life swarms of insects, birds, or fish. A company has already developed a commercial drone in which the joystick operator controls one “smart” leader with four other drones mimicking and following its movements. The next step is creating the software that would enable the leader to direct a fleet of other drones in complex maneuvers that evade anti-aircraft systems or even electronic jamming and that close unerringly on their target. “The power and sheer speed of execution would give them a huge advantage over their adversaries,” according to an article called “The Coming Swarm,” in National Defense magazine.
Still, the key to such future systems rests on another development growing out of the civilian sector: artificial intelligence. This means the creation of machines that can interpret and “learn” from changes in their environment and then communicate a response across a broad network. Such a step would be crucial to developing swarm technologies, or to creating large-capacity “mother ships” that release numbers of other smaller unmanned vehicles while retaining command and control through the network to complete the mission—with or without the need for a human operator.
The same is true of Big Data. Instead of teams of humans staring at computer screens trying to figure out what reams of data or images retrieved from a high-flying UAV or satellite mean, Big Data can generate the algorithms that autonomously separate the wheat from the chaff and allow for faster decisions and better intelligence-gathering. Algorithms can also find unexpected patterns in disparate data that would allow a military commander to pinpoint an opponent’s hidden weaknesses, not to mention his own.
This will be increasingly necessary in dealing with threats like hypersonic attack, or even cyberattack, which will come so bewilderingly fast that effective response by human operators will be impossible. “When you are under attack, especially at machine speeds,” says Work, “you cannot have a human operator, operating at a human speed, fighting back.” Artificial intelligence, reinforced by Big Data, translates into a more responsive and effective defense and offense.
A third, and by no means last, area of commercial technology the Pentagon is actively looking at is 3-D printing (so-called smart manufacturing). The aim here is to move the manufacturing process off the factory floor and directly onto the battlefield. One of the logistical nightmares any army faces is not having the right weapons at the right place at the right time, and having to wait until supplies or reinforcements arrive—which, in a confused battle space covering large distances or in a densely packed urban environment, might be never.
Smart or 3-D manufacturing would actually enable a combat unit to “make” the weapons it needs on the spot. This would include, for example, spare ammunition or mini-drones for reconnaissance—even brand-new weapons more suited to the environment or the fire fight they’re in. In short, “smart” manufacturing processes will change not only the way weapons are made, but also how they’re used and where. The concept of “just in time” manufacturing could become a reality on the battlefield as well as in a defense plant, and render obsolete the need for massive stockpiles of ammunition and other equipment that keep many a supply sergeant or quartermaster general busy—or a little crazy.
Will all these developments, then, spell the end of relying on conventional arms, or conventional supply and logistical chains—or perhaps the end of the need for humans to do any fighting at all?
By no means. The timeline of the Third Offset, even with the most optimistic forecasts, is going to ensure that America will have to rely on its current array of bombs and missiles and its fleets of manned ships, submarines, planes, and M-1 Abrams tanks for years to come. Indeed, part of the plan is to use these emerging technologies to upgrade the arsenal left over from the Second Offset of the 1970s and 1980s, as well as to find new uses for old machines (as when the B-52 shifted from carrying nuclear weapons and conventional bombs to unloading payloads of cruise and precision-guided missiles over Afghanistan and Iraq).
Still, the Pentagon is now poised to reverse a trend of more than three decades of relying on weapons that are big, complex, and expected to perform multiple functions—such as the B-2 bomber, the F-35 Joint Strike Fighter, the Ohio-class submarine, and the supercarrier USS Gerald Ford. All of these come with hefty price tags. The new arsenal will include more and more tools that are small and cheap and will generally perform one function before they crash or burn up or are thrown away. In fact, the Air Force’s term for the drone swarms they envision for future operations is “kamikaze drones”—although in this case there won’t be a pilot who has to die as well.
That’s the chief selling point about the use of “autonomous” systems in battle: No humans will have to die on our side. As systems become more intelligent and more discriminating in selecting targets, the numbers of those killed as part of “collateral damage” will steadily drop, as will the number of enemy combatants who have to be eliminated in order to achieve a victorious result.
The use of “smart” and semi-autonomous weapons like the JDAM “smart bomb” and the Predator drone has already meant a drastic drop in mortality rates in combat situations for both sides in armed conflicts (claims from human-rights groups and others about the “immorality” of Predator drone strikes notwithstanding3). The advent of “intelligent” weapons will reduce those numbers even further. Instead of having to blow up a car full of people with a Hellfire missile to eliminate one al-Qaeda or ISIS terrorist, it will be possible to launch a single miniature drone that uses face-recognition software4 to find its quarry, and which can gently attach itself to his clothing before blowing itself up—or injecting a fatal toxin.
Just as the First Offset strategy of the 1950s and 1960s rested on the “nuclear triad” of strategic bombers, land-based ballistic missiles, and nuclear-armed submarines or “boomers,” so the Third Offset ultimately rests on a “smart triad” of cyber, artificial intelligence, and autonomy—which means ceding more of the decision-making to the machine.
The reliance on machines rather than people, as the main combatants in future wars, makes many uncomfortable, not to say terrified. Yet the fact is, we have already advanced very far down this road, and not only in the military sphere. The car that tells us when our gas tank is low, our door is open, our seat belt isn’t fastened, our tires need rotating, and another car is coming up on our left, is filled with autonomous systems; Google X’s and Toyota’s driverless cars are only the next inevitable steps. Of course failure of any these systems could be dangerous, even catastrophic—for example, a broken gas gauge while crossing the Mojave Desert. Yet we accept that these autonomous systems are there to enhance, not take over, our driving performance, and that by and large they make us safer rather than not (although one might hesitate to be the first passenger in a driverless car on the freeway).
Likewise, virtually every weapons system the military uses today requires some degree of autonomy. That is, they involve the carrying out of certain automatic processes without relying on a human controller or monitor. It is true that the Third Offset will vastly increase the ability of future machines to make more and more decisions on their own, while developments in artificial intelligence will increase the range and sophistication of those decisions. It will even enable machines to “learn” from their environment and seamlessly adapt their range of choices and then pass that data on to other machines in the network, without bothering to inform their human operators.
Will those decisions inevitably include deciding when to shoot to kill? That’s the scenario that scares many who are worried about the autonomy of our “smart” military to come: the killer drone that’s able to find and fix its target on its own, and then strikes without human command—or in the worst-case scenario, even in defiance of that command.
That scenario is unlikely, for various reasons. A 2012 Defense Science Board study entitled “The Role of Autonomy in DoD Systems” dispels the notion that relying on unmanned systems means machines taking over the battlefield. It stresses that the term “autonomous” does not mean “self-governing” or even having the capability for independent thought or action. After all, even the driverless car will have to have some place to go, which means it’s ultimately built to respond to human wishes and commands, rather than vice versa.
“Autonomy is better understood as a capability (or set of capabilities) that enables the larger human-machine system to accomplish a given mission,” the study says. That means letting the machine carry out such tasks as verifying speed and distance, reacting to immediate changes in the environment, self-correcting software or mechanical glitches, and deciding when it would be optimal to advance to the next step in the mission plan. From this perspective, the key advantage to increasing autonomy is that it improves and enhances the “man-machine interface” to the advantage of both.
The United States can seize what strategists would call its “first-mover advantage,” to take the high ground in developing and perfecting these Third Offset technologies before anyone else does, in ways that will make the economic and political cost of catching and keeping up daunting to competitors.Both the Defense Science Board study and the architects of the Third Offset assert that even the biggest leaps in artificial intelligence won’t eliminate the need for the human operator and controller, especially on the battlefield. The more potentially lethal the decision point becomes, in fact, the more human controllers will be needed to make the final call—while faster processing of information from the autonomous system will afford them more time to make the right call, just as faster and more cyber connections will mean less opportunity for an opponent to jam or hack an interactive system. Indeed, with the simplest robotic weapons like the mini–sea mine, there would be no cyber connection to hack.
That, at least, is the official position of the U.S. military. Others may not be so choosy. It’s difficult to imagine the Pentagon or a U.S. defense contractor designing an autonomous system that purposely doesn’t discriminate between enemy and innocent bystander. But it’s very easy to imagine a terrorist designing one that does.
This is where the rise of weapons that are smaller, cheaper, and smarter gets frightening. As the National Defense University’s T.X. Hammes concludes in a policy-analysis paper for the Cato Institute, “the convergence of these new and improving technologies is creating a massive increase in capabilities available to smaller and smaller political entities—even the individual,” and it “provides smaller powers with capabilities that used to be the preserve of major powers.”
Cyberwar is one obvious example where a determined hacker can create havoc in networked systems that have become essential to all branches of the military. Drones are another. At minimal cost, a handful of small drones carrying explosive charges can be programmed to hit targets that are proportionally far more valuable and vital (Hammes’s example is insurgents targeting army fuel trucks).
In fact, the real danger is that as Moore’s Law makes high-tech weaponry cheaper, smaller, and smarter, the proliferation of these technologies in the hands of bad actors starts to seem inevitable. A lone-wolf terrorist armed with a drone he can fly and detonate from a remote site is terrifying enough. One who can release a swarm of drones that evade detection and hide before exploding multiplies the possibilities of chaos.
So what’s the answer? Certainly not the response taken by a thousand scientists and researchers who signed a petition, sponsored by the Future of Life Institute in 2015, calling for a permanent ban on autonomous weapons. Like Pope Innocent II’s ban on cross bows in 1139, it is already too little too late—and will be just as efficacious.
Instead, the key might be who gets out of the starting gate the fastest. Certainly the United States can seize what strategists would call its “first-mover advantage,” to take the high ground in developing and perfecting these Third Offset technologies before anyone else does, in ways that will make the economic and political cost of catching and keeping up daunting to competitors. We can also be the first to share the development and deployment of these technologies with allies, which will deliver multiple advantages. These emerging autonomous technologies can enable NATO allies to vastly enhance their military capabilities without having to spend large sums on expensive systems like tanks, helicopters, destroyers, and F-35’s. As for Israel, co-development in areas like AI and cyberspace could be world changers, not only in the military sphere but in commercial spin-offs, as well.5
Those who complain about the high cost of supporting and defending our allies around the globe, including NATO, will need to take a close look at the Third Offset as a way to relieve the burden on ourselves and to make the U.S. and its friends safer.
Of course, taking full advantage of the Third Offset technologies might not stop others from trying to do the same. But in the Brave New World of the intelligent battlefield, who gets there “first with the most” will have the initiative and will set the pace and direction of the arms race to follow—while buying time to start planning the Fourth Offset.

2 Authored by P.W. Singer and August Cole, Ghost Fleet: A Novel of the Next World War describes a fictional futuristic conflict pitting Russia, China, and the United States against one another using unmanned systems, space and cyber weapons, and other high-tech weaponry.
3 This issue is explored in Kenneth Anderson’s excellent article, “The Case For Drones,” Commentary, June 2013.
4 An inventor for a commercial company has already created a drone that uses face-recognition software to identify and follow someone on the move—ironically, to create mobile selfies.
5 It was an Israeli high-tech firm (Cellebrite) that helped the FBI crack the supposedly uncrackable encryption of the San Bernadino shooter’s iPhone—a firm owned, as it happened, by a Japanese company.

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‘Masterpieces’ Without Masters
Devaluing the word, delegitimizing the concept
Terry Teachout 2016-06-16
he word “masterpiece” ought by all rights to be under assault, since it is, in the current parlance of political correctness, gender-specific. Yet it continues to be used widely, albeit in ways that would puzzle art lovers of the past. I recently Googled “masterpiece,” curious to see how it had been used in the preceding month. It was, not surprisingly, employed to describe such various works as Haydn’s Creation, Sylvia Plath’s “Ariel,” and Peter Shaffer’s Amadeus. But it was also applied to dozens of pop-music albums, among them the Beach Boys’ Pet Sounds, Beyoncé’s Lemonade, and Radiohead’s Kid A, and movies as dissimilar as Captain America: Civil War and Charlie Chaplin’s City Lights, as well as the Audi 8 automobile, Disneyland, Nintendo Game Boy, a 1959 hairdryer designed by Richard Sapper, and a four-hitter pitched by Chris Sale of the Chicago White Sox.
In addition, I ran across the definition of “masterpiece” found in the Cambridge Academic Content Dictionary: “Something made or done with great skill, esp. an artist’s greatest work.” This is the usage with which educated people over the age of 50 are most familiar. It implies that the artist in question is the sole creator of at least one work of high art that is thought to be of permanent interest. This usage is embodied far more often than not in the works chosen for inclusion in “Masterpiece,” a weekly Wall Street Journal column that has in the past year featured George Balanchine’s Serenade, Mahler’s Eighth Symphony, Michelangelo’s Bruges Madonna, and Shakespeare’s Cymbeline—but also the Beatles’ “Strawberry Fields Forever,” a 1967 record described by Allan Kozinn as “one of rock’s most enduring masterpieces, a rich-textured, dark-hued four-minute essay in musical and lyrical psychedelia that both captures and transcends its time.”
Nowadays, it seems, anything and everything can qualify as a masterpiece: a hit single, a theme park, even a video game. And while the artistic merits of some of these objets d’art can be defended, it is tempting to suggest that the word itself has become, like “fascist” and “racist,” devalued by indiscriminate usage to the point of vacuity. But most people still feel the need for such a word in everyday discourse, which suggests that the idea of the masterpiece has not yet been emptied of meaning. Its meaning, however, has shifted—and this shift is not merely a function of our increased willingness under the aspect of postmodernity to take the fruits of popular culture as seriously as we do high art.
Most under-50 art lovers take pop culture very seriously indeed. So they should, not merely because it is popular but because so much of it, especially in this country, is so good. It may well be that our popular art is on balance of higher quality than the “serious” art of the present moment. True or not, a case can certainly be made that the best popular art has long aspired to, and often attained, a degree of aesthetic and emotional seriousness that is comparable to all but the greatest works of high art. Anyone who doubts the merits of (say) a rock album like the Beatles’ Revolver, a movie like Chinatown, or a TV series like The Wire is simply not paying attention to them. Like the masterpieces of earlier eras, these works infuse familiar forms and materials with a creative energy that allows them to transcend their mundane origins. They are, in the poetic sense, elevated, and to experience them elevates us.
Yet they still differ from their predecessors in a way that is fundamental, not superficial. Nor am I referring to the fact that they are less ambitious, be it in their structure (no rock musician has ever successfully engaged with the problem of large-scale organically developed form) or their genre-bound subject matter (most of the best TV series of the past decade have been about crime). No, something else distinguishes these “masterpieces” from their high-art counterparts, something that is implicit in the very act of their creation—and is central to the nature of pop culture itself.
As the Cambridge Academic Content Dictionary reminds us, the word “masterpiece” once referred to the single greatest work of a master. (The French equivalent, “chef d’oeuvre,” literally means “leading work.”) A master was an artist ranked among the outstanding figures in his medium, a creator of all-encompassing technical skill and, even more important, a uniquely personal, immediately recognizable creative vision. Today’s museumgoers have no trouble identifying the styles of Raphael or Rembrandt, even though both men maintained workshops in which some of “their” paintings were executed in part or whole by other hands. Long before the atelier system began to die out, the individuality of such artists was already acknowledged as central to their significance, and it became paramount once it was taken for granted that a truly great painting or sculpture would always be the unaided work of the artist who signed it.
When, in the 19th century, the novel emerged as the dominant form of literary narrative in the West, its practitioners emulated this model, as did composers of classical music. No one helped Tolstoy write War and Peace, any more than Beethoven used an orchestrator for his Fifth Symphony. Even in theater, by definition a collaborative art form, critics and audiences alike viewed the playwright (or, in opera, the composer) as chiefly responsible for the works for which he received principal credit.
But then came Hollywood movies, commercial products manufactured not by individual artists but by teams of artisans whose members collaborate so closely that it is often difficult to the point of impossibility to ascribe principal creative credit to any one of them. Even in the case of a distinguished film like Chinatown, it can prove unexpectedly hard to say “whose” work it is. Roman Polanski directed Chinatown, but the project was conceived by Robert Towne, who wrote the screenplay. At that point, though, Polanski cut and edited the script extensively and insisted over Towne’s objections that the film end tragically. In addition, Chinatown was scored by Jerry Goldsmith, whose brooding music is central to its total effect—and he was hired not by Polanski but by Robert Evans, the producer, who brought him in at the last minute after scrapping the original score. Who, then, is the “author” of Chinatown? No one, in the usual meaning of the word. It is the result of a collective process of creation, a masterpiece without a master.1
It makes sense that Hollywood, with its quasi-industrial methods of production, should have become the center of an industry devoted to mass-producing such products. American culture, after all, was—and still is—essentially popular. Not only is our high art shallowly rooted in the culture at large, but modernism, with its pronounced tendency to sacralize and hermeticize art of all kinds, alienated the baby boomers, many of whose parents, raised on the accessible middlebrow art of World War II and the postwar era, had once aspired to higher things. Not so their children, who mostly preferred the more immediately palatable fruits of pop culture. As a result, movies had by the ’60s supplanted the novel as the master narrative medium in American art, just as younger music lovers turned away from classical music to embrace rock-and-roll—a music created in the same way as are movies.
We are seeing a permanent diminishment of the place of the masterpiece in American culture—which may help to explain the extraordinary appeal of Lin-Manuel Miranda’s HamiltonAllan Kozinn’s Wall Street Journal column about the making of “Strawberry Fields Forever” is a case study of how a record by a rock group embodies a collective artistic vision rather than an individual one. While John Lennon was solely responsible for the words and melody of “Strawberry Fields Forever” and sang all of the vocal parts heard on the record, the instrumental backing, which is no less crucial to the song’s artistic effect, was improvised in the studio by all four Beatles, then extensively elaborated after the fact by George Martin, their producer. Martin wrote and scored the overdubbed orchestral accompaniment and was also responsible for the overall structure of the record, which he created in the control room through tape editing. Hence “Strawberry Fields Forever” is “signed” not by Lennon but by the Beatles as a group.
One can see a similar process in TV series, which are written not by one person but by staffs of writers who work on individual episodes under the supervision of a “showrunner,” usually the same person who devised the original concept for the series and who typically writes the first and last episodes of each season. The Wire is credited to David Simon, its “creator” and executive producer, who came up with the idea for the series, wrote many of its episodes (usually in collaboration with other writers), and served as showrunner throughout its five-season run. But The Wire, though it bears Simon’s unmistakable imprint, is not “by” him in the same way that Angels in America is by Tony Kushner or Nighthawks is by Edward Hopper. It is, rather, a collectively created work of popular art—almost an assembly-line product.
Where will the increasing cultural dominance of such collective forms of creation ultimately lead us?
It is important to keep in mind that novels and live theater were not killed off by the rise of movies and TV. They have simply reverted to their “normal” place in the culture, which at midcentury had been grossly inflated by the coming of what I have elsewhere called the “middlebrow moment” in American life. Even after that moment was over, first-rate novelists continued to find publishers, and first-rate playwrights are still able to get at least some of their work produced. And while fewer serious artists can now make a living doing what they do best, it is possible, at least for the moment, for certain of them to use pop culture to subsidize their highbrow activities. Tony Kushner pays the rent by writing films like Steven Spielberg’s Lincoln, and no one criticizes him for doing so, any more than William Faulkner was criticized for working on The Big Sleep.
Nevertheless, something is bound to be lost in a culture where the best-known art is created collectively for commercial purposes rather than being motivated solely by the individual artist’s own need for self-expression. For all their self-evident excellence, movies like Chinatown and Francis Ford Coppola’s first two Godfather films and cable-TV series like The Wire, Breaking Bad, and Justified are all thrillers of one kind or another. To be sure, they use the familiar conventions of genre fiction to explore many other aspects of American life, but somebody almost always gets shot in the last reel, just as a pop song, no matter how well-crafted and emotionally moving it may be, is rarely ever more than four minutes long.
The very best modern American artists, by contrast, have not accepted the narrow restrictions imposed by pop culture. They go their own way—and do their own work. Not only are novels like Flannery O’Connor’s Wise Blood, plays like Tennessee Williams’s The Glass Menagerie, musical compositions like Aaron Copland’s Piano Sonata, paintings like Jackson Pollock’s Blue Poles, ballets like Jerome Robbins’s Dances at a Gathering, and buildings like Frank Lloyd Wright’s Fallingwater more expressively ambitious than their popular counterparts, but they were not conceived collectively. As a result, they reflect in every way the creative visions of their makers, whose styles are personal to a degree that no collectively made work of art can hope to rival. They are masterpieces in the purest sense of the word.
Man cannot and need not live by such masterpieces alone, so long as he never loses sight of what makes them masterly. But that is what seems to be happening under the aspect of group-made pop-culture art. Indeed, it is possible that we are seeing a permanent diminishment of the place of the masterpiece in American culture—which may help to explain the extraordinary appeal of Lin-Manuel Miranda’s Hamilton. Not only did Miranda write the show’s music, lyrics, and book, but he is its star as well. Might it be that Hamilton has been so successful in part because it is not a collectively made work of art? For in the end, there can be no fully satisfying alternative to the unswervingly personal interior vision that is and will always be the mark of the masterpiece. If we are henceforth to do without such works, then we will surely be the lesser for it.


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“ There’s an enormous amount of shouting in the wild west of conservative media. That has its place, and is often a sign of the energy on the right. But amidst the cacophony there’s a special need for serious, considered, and compelling argument, presented in the hope of persuading, not just punishing. This is where COMMENTARY has always shined, perhaps more now than ever before. It aims to tackle the best arguments of its intellectual opponents, not just the easiest targets. It’s a journal I’ve read for nearly 30 years and I can’t think of a time when I’ve valued it more. „

Jonah Goldberg
“ There is more commentary in the world than ever before—whether in print, on the air, or on the Internet. But there is still a dearth of serious, informed commentary that reports, analyzes, and argues without ever stooping to name-calling or vitriol. If you further narrow down the segment of the commentariat that looks at the world from a conservative and Jewish perspective—well, you’re left with only one choice. The magazine you are now reading. COMMENTARY has changed over the years—for instance, it now publishes this blog—but one thing that has not changed is its steadfast commitment to providing the best analysis from the most informed writers of the most important ideas in the world, all written in clear prose that appeals to a general audience. There is nothing else like it. Never has been, never will be. „

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“ In 1975 the Economist said of COMMENTARY: “The world's best magazine?” Take away the question mark and that statement still stands, thirty-eight years later. It's still the magazine America's liberals dread most, and the one America's enemies can't afford to ignore. It's the point of the conservative spear in the never-ending fight against the insanity of the left, whether it's in foreign policy or economic policy, social and cultural issues, or the arts—and no one does a better job standing up for Western culture and America's interests and those of its allies, including Israel. In fact, surviving the next three years—the Obama administration home stretch—and building the foundations for an American resurgence afterward will be impossible without reading COMMENTARY in print and online. „

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“ For decades, COMMENTARY has opened its pages to the most serious uncompromising defense of the American creed—exemplar of ordered liberty at home, pillar of the free world abroad—in an era when it has been most under attack. From the exceptionally influential manifestoes of Daniel Patrick Moynihan and Jeane Kirkpatrick to today's counterattack against the empowered advocates of the entitlement state and of American decline, COMMENTARY remains what it has been for more than a generation: fearless, informative, indispensable. „

Charles Krauthammer
“ COMMENTARY isn’t just an important magazine. It’s an indispensable one. It’s been indispensable for half a century, and it is today. It’s indispensable for understanding the moment we live in, and it’s indispensable for laying out a path forward. The challenges we confront are great, but COMMENTARY is used to facing grave challenges without fearful cowering or wishful thinking. So we need COMMENTARY today as much as we ever have, and we need it to be as strong as it’s ever been. „

William Kristol
“ COMMENTARY’s writing is predictably engaging and edgy, but its content is anything but homogeneous. Center-right perspectives characterize contributions, but not predictably so. Jewish affairs are thematic, but not always. Controversies of the day are the usual subjects, yet offered only with reflection well apart from the frenzied 24/7 news cycle. Intellectual honesty and analytical rigor characterize COMMENTARY and that is why even its political critics concede that they are still enlightened by the very arguments they often oppose. „

Victor Davis Hanson
“ COMMENTARY is an indispensable read on the Arab Spring, the Afghan war, the future of American conservatism, and all the other crazy stuff out there. But you already knew that. What I really love about it is that it’s a full-service operation, and its back-of-the-book guys—the fellows who write about music, literature, and all the things that make life worth living as the world goes to hell—are the best in the business. There is an observation in a Terry Teachout piece on the wonderful singer Nancy LaMott about “Moon River” that has stayed with me for almost two decades. I fished it out from the back of my mind to impress a gal at a Goldwater Institute reception only the other day, and it worked a treat. So thank you, COMMENTARY! Likewise, my differences with the arts’n’culture crew unsettle me far more than the geopolitical ones: reasonable people can disagree on how large a nuclear arsenal those wacky mullahs should be permitted to own, but I’m still agog at the great Andrew Ferguson’s mystifying praise for the New York Times obituaries page a couple of issues back. That’s COMMENTARY for you—provocative to the end, on matters large and small. In these turbulent and dismaying times, we can all use a huckleberry friend waiting round the bend, in the mailbox each month and on the computer screen every morning. For any journal of opinion, as “Moon River” teaches us, there’s such a lot of world to see. COMMENTARY sees most of it with piercing clarity: it can’t know all the answers, but it asks all the right questions, and with great farsightedness. It deserves your wholehearted support. „

Mark Steyn
“ COMMENTARY has played an invaluable role in American political discourse for decades, offering thoughtful analysis on issues rather than sound bites or bumper stickers. Especially when it comes to U.S. foreign and defense policy, COMMENTARY has time and time again been ahead of the crowd, anticipating trends and developments that others react to only after the fact. I can't imagine not being a COMMENTARY subscriber. „

John Bolton
“ In the midst of today’s political rancor, COMMENTARY Magazine provides a rare venue for thoughtful discussion. COMMENTARY’s talented writers provide insightful analysis of foreign affairs, domestic policy, and the politics of the day. COMMENTARY is a treasure not only for conservatives, but for anyone looking for in-depth exploration of the issues that influence America’s public dialogue and shape the nation’s future. „

Karl Rove
“ It's notorious, and true, that government officials hardly read anything. Memos, sure; nowadays, emails and tweets as well. But magazines? People barely have time to eat lunch or see their kids, so how can an intellectual monthly affect public affairs? The question is a good one. How did COMMENTARY do it? The answer is that officials, like all citizens following American foreign policy, need a way to understand the world around them. When prevailing theories fail, when conventional wisdom is clearly at variance with what they see before their eyes, the outcome for senators and congressmen and White House officials is what the shrinks call cognitive dissonance. They may say one thing but believe another, or simply be unable to square previous beliefs and policies with the clear effects of U.S. conduct. They've lost the ability to explain the world. And then came COMMENTARY, offering month after month of piercing, bracing analysis—and value judgments of right and wrong, and clear writing about American gains and losses. Here was an insistence on looking reality in the face. Here was plain argument, seeking no quarter intellectually and giving none. And it mattered. It shamed some people, and emboldened others; COMMENTARY demanded that we conform policy to the opportunities and dangers that really faced America. In years of confusion and obfuscation, that striking clarity changed policies, and changed American conduct, because it changed the way we understood the world. „

Elliott Abrams
“ For more than 60 years, COMMENTARY has been a go-to source on matters of the greatest importance to our nation and our civilization. Today, its full-throated defense of the United States and freedom is as eloquent as it was a half-century ago, and no less urgent. Issues of the day will change, news cycles come and go, but COMMENTARY remains an indispensable authority in the battle of ideas that help to shape our world. Its continued success is both an indication, and source, of the country’s intellectual health. „

Donald Rumsfeld
“ COMMENTARY is America's most important monthly journal of ideas, period. For nearly seven decades it has published the best and most exciting writing from the most important thinkers: Saul Bellow and Lionel Trilling; Daniel Patrick Moynihan and Jeane Kirkpatrick; Paul Johnson and Ruth Wisse; Cynthia Ozick and—of course—Norman Podhoretz and Midge Decter. Is there anything remotely like it? No. It is the lamp by which America, and Israel, and the Jewish people, may find their way to safety. I'm proud to be published in its pages. „

Bret Stephens
“ Irving Kristol once called COMMENTARY the most influential magazine in Jewish history. Certainly, no publication had a greater influence on me as I evolved from adolescent reader (arguing over its articles with my father and older brother) into a “frequent contributor” who made it my intellectual home. The magazine did not exploit American freedom to escape from civilizing duty but rather activated the intertwined responsibilities of citizens and members of a group. American Jewry can boast of many contributions to the welfare of this country and the Jewish people, but few as fortifying as COMMENTARY. „

Ruth R. Wisse
“ Edward Shils noted that there are four means of education in the modern world: the classroom, bookstores (especially used-bookstores), the conversation of intelligent friends, and intellectual magazines. For me intellectual magazines were more important than any of the other three, and no magazine among them more so than COMMENTARY. I first happened on COMMENTARY as a student browsing in the University of Chicago Bookstore in 1957. I have not missed an issue since. The magazine spoke to my intellectual interests and passions, and still does. As a reader and as a writer, I should be lost without it. „

Joseph Epstein
“ Why does COMMENTARY matter? Since 1945, no other monthly magazine has so consistently published serious, provocative argument and analysis. No other monthly magazine has viewed America and the world through such a wide angle, encompassing economics, politics, society, culture, religion, and diplomacy. No other monthly magazine has published such a celebrated and wide-ranging list of editors and contributors. Cerebral, critical, and committed, the point of view found in its pages is as unique as it is formidable. And in a world of Iranian nukes, rising anti-Semitism, radical Islam, American disarmament, bipartisan neo-isolationism, and disintegrating institutions, reading COMMENTARY is more than a pleasure. It is a necessity. „

Matthew Continetti
“ COMMENTARY has long been an unmissable landmark on the American intellectual landscape. These days it shapes debate, propels argument, and explains society with renewed vigor and force. It is one of the small group of essential reads for anybody engaged in politics, Judaism, foreign policy, national manners, and morals. „

David Brooks
“ Anyone looking for a definitive exposition of a significant historical moment—whether UC Berkeley's Free Speech Movement, say, or the battles over "general education" at Harvard—has at his fingertips an inestimable gift: COMMENTARY's archives, which contain countless gems of reporting and analysis. Today's generation of COMMENTARY writers is building an equally invaluable store of knowledge for future researchers and scholars. „

Heather Mac Donald
“ I first subscribed to COMMENTARY in 1973, as a recovering liberal who had invested four years of my young life in writing speeches for a constellation of McGovernite candidates and office-holders. Living in Berkeley at the time, I relished COMMENTARY as a guilty pleasure, feeling grateful that the magazine arrived each month discreetly disguised in a plain, brown wrapper that concealed its suspiciously neo-conservative content. In the militantly leftist community in which I functioned forty years ago, receiving regular monthly installments of the most degrading porn would have produced far less embarrassment than my growing devotion to the persuasive prose of Norman Podhoretz and Co. Yes, my personal journey from left to right-center involved the usual biographical factors, including the three P’s: paychecks, parenthood, and prayer. Paychecks, because they arrived with shocking subtractions in the form of onerous and incomprehensible taxes; parenthood, because responsibility for a new generation forced a longer-term perspective; and prayer, because my own growing Jewish observance led to the conclusion that my “idealistic” ’60s generation, with all its narcissism and preening self-regard, might not provide life’s ultimate answers after all. Fortunately for me, reading COMMENTARY with near-religious regularity helped to organize my onrushing insights and experience into a more coherent world view. In a dark time in our nation’s history, while surviving (temporarily) in the most unhinged corner of the continent, this incomparable publication persuaded me that I wasn’t alone. „

Michael Medved
“ Just as one begins to despair of hearing the strong voice of sanity and courage, leavened with charm and good humor, in our modern polity, COMMENTARY arrives, and once a month one can be reminded that there are indeed some clear-sighted and articulate people who seem actively to enjoy the battle for truth. „

Andrew Roberts
“ In a time of passion, COMMENTARY champions reason. Against lies, COMMENTARY speaks for truth. Confronting those who would doom to death the Jewish people, COMMENTARY is a magnificent continuing achievement of American Jewish life. „

David Frum
“ COMMENTARY has become my new go-to website for news analysis because it is measured, substantive, thoughtful, and written for news consumers of all shapes and sizes. When juggling all the issues of the day and thinking them through, I find myself going back to COMMENTARY again and again to see if there’s anything more that can help me add the ingredients needed to finalize an argument. I like the mix of foreign policy and national political news, as well as the discussions about America’s place in the world and what it should be. I’m a print subscriber and a frequent website visitor, and I follow all of the writers on Twitter. Thank you, COMMENTARY, for providing such consistently helpful content. „

Dana Perino
Subscribing to COMMENTARY gives you full access to every article, every issue, every podcast—the latest stories as well as over 70 years of archives, the best that has been thought and written since 1945.
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Gawkermania
Mediacracy
Matthew Continetti 2016-06-16
aking sense of the fight between Hulk Hogan, Peter Thiel, and Gawker Media is as difficult as figuring out where Hulk Hogan the wrestling character ends and Terry Bollea, the man who portrays that character, begins. It’s a complicated, weird, and tawdry saga that also perfectly illustrates the confused way liberals think about freedom.
Here’s a primer. In October 2012, Gawker.com published a sex tape of the famous wrestler without, needless to say, obtaining his permission. That same month, Hogan sued for invasion of privacy and “emotional stress and harm.” Hogan wanted $100 million in damages. Unsurprisingly, the two sides failed to reach a settlement. Trial began on March 7 of this year and concluded on March 18 when the jury awarded Hogan $115 million. Another $25 million was added later, bringing the total to $140 million. Appeal was denied in May.
It was also in May that Peter Thiel, the founder of PayPal and a board member of Facebook, revealed in an interview with the New York Times that he had financed Hogan’s lawsuit for about $10 million. Thiel had waited years to repay Gawker for a 2007 article publicizing the fact that he was gay. “I saw Gawker pioneer a unique and incredibly damaging way of getting attention by bullying people even when there was no connection with the public interest,” Thiel said. It wasn’t revenge he wanted. It was “specific deterrence.”
He got a lot more than that. When Gawker Media filed for bankruptcy on June 10, liberal journalists blamed Thiel for threatening the First Amendment and a free press. “Thrilled to live in this new world where billionaires can bankrupt publications out of nothing more than pique,” tweeted Jamelle Bouie of Slate. “Terrible precedent,” tweeted the Freedom of the Press Foundation. “You can bet he won’t be the last billionaire who will try to bleed a news org into bankruptcy.” Author Michael Casey tweeted: “Self-censoring journos? Do we want to live in THAT place?”
Hulk Hogan sure does. Nor is it hard to see why. Lost in the criticism of Thiel was any mention of the basis of the wrestler’s suit: a completely gratuitous invasion of privacy totally unrelated to reasonable public debate. The republic was not saved because of Gawker’s actions, and it’s not as though the Internet is in dire need of more pornography. Hulk Hogan isn’t Richard Nixon, and this most definitely was not the lost Watergate tape.
Liberals made the category error of mistaking invasion of privacy for a First Amendment case. Gawker is not the Washington Post, it’s a gossip blog that regularly crosses the line separating the private sphere from the “public’s right to know.” This is the same website that maliciously published Sarah Palin’s personal emails in September 2008 with the words, “It looks legit!” The same site that in 2015 removed a story outing a married father with children after journalists and editors condemned it for venal, petty, and unwarranted gay shaming. “That article is reprehensible beyond belief,” wrote Glenn Greenwald at the time. “It’s deranged to publish that.” Here’s some advice: When Edward Snowden’s publicist says you’ve revealed too much information, it’s time to step back and think about how you spend your days.
Because Gawker is so hard to defend, liberals had to make their case against Thiel prospectively rather than retrospectively. “Sure, Gawker has published items that walk the line of ethical journalism,” wrote Davey Alba and Jennifer Chaussee in Wired. “But there’s little to stop any other billionaire with a score to settle against a free press performing its most basic function: holding the powerful accountable.”
As an editor who has been threatened with lawsuits, I appreciate the danger news outlets run when the material they publish offends the rich and powerful and litigious. But I also know that publishing carries responsibilities.Ah yes, the power Hulk Hogan exercises over the cowed and bewildered citizenry of the United States of America—thank you, Gawker, for letting us know that a man who plays a fake sport isn’t who he says he is!
“What’s tough about defending Gawker is, well, defending Gawker here,” wrote Ezra Klein at Vox. But he’s clever and managed to do so anyway. “Thiel’s method of reprisal is dangerous,” Klein wrote. Why? Because “billionaires might have the resources to fund endless lawsuits that bury their media enemies beneath legal fees, but that doesn’t mean they should use that freedom.”
I know you’re just blown away by the profundity of this moral reasoning. It’s worthy of Kant. Of course, Gawker might also have had the resources to publish a sex tape of a has-been celebrity from the ’80s, but that doesn’t mean it should have used that freedom. Right, Ezra?
“The Facebook board member and Silicon Valley demigod just gave the world a master class in how a billionaire can achieve enormous ends with a relatively modest investment,” wrote Felix Salmon at Fusion. “Thiel’s tactics in going after Gawker are very, very frightening for anybody who believes in freedom of speech,” Salmon went on, because “he has created a whole new weapon which can be used by any evil billionaire against any publisher.”
And this “new weapon” waiting to be picked up by the next “evil” billionaire is—well, what? The judiciary? A jury? Public opinion? Privacy law? Salmon is remarkably vague. In his piece he seems worried that Thiel might inspire Mark Zuckerberg to “wage scorched-earth campaigns against private media organizations.” I’m not as worried. If the “private media organizations” in question expect to feel no consequences after flagrantly violating people’s privacy, here is another scorched-earth campaign this warmongering neocon can support.
As an editor who has been threatened with lawsuits, I appreciate the danger news outlets run when the material they publish offends the rich and powerful and litigious. But I also know that publishing carries responsibilities: that the information you convey is factual, that it is relevant, that you give the other side a chance to respond, that you refer controversial stories to legal counsel prior to publication. Not doing these things can result in big trouble for your publication—this was the situation before Gawker’s fight with Thiel and Hogan, and it will remain the case after the story is long forgotten.
Just because a Trump-supporting billionaire funded Hogan’s lawsuit doesn’t mean Hogan had no case. Wealth does not automatically corrupt all it touches, despite what our idealistic egalitarian Twitterati might say. “Ask not for whom the oligarchy tolls, it tolls for thee,” wrote Marcus Wohlsen in Wired. Well sure, I guess, if thee are a malevolent scandal sheet that ought never to have violated Hulk’s privacy in the first place.

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“ There’s an enormous amount of shouting in the wild west of conservative media. That has its place, and is often a sign of the energy on the right. But amidst the cacophony there’s a special need for serious, considered, and compelling argument, presented in the hope of persuading, not just punishing. This is where COMMENTARY has always shined, perhaps more now than ever before. It aims to tackle the best arguments of its intellectual opponents, not just the easiest targets. It’s a journal I’ve read for nearly 30 years and I can’t think of a time when I’ve valued it more. „

Jonah Goldberg
“ There is more commentary in the world than ever before—whether in print, on the air, or on the Internet. But there is still a dearth of serious, informed commentary that reports, analyzes, and argues without ever stooping to name-calling or vitriol. If you further narrow down the segment of the commentariat that looks at the world from a conservative and Jewish perspective—well, you’re left with only one choice. The magazine you are now reading. COMMENTARY has changed over the years—for instance, it now publishes this blog—but one thing that has not changed is its steadfast commitment to providing the best analysis from the most informed writers of the most important ideas in the world, all written in clear prose that appeals to a general audience. There is nothing else like it. Never has been, never will be. „

Max Boot
“ Every month in print, and every day online, COMMENTARY somehow manages to pull off a dazzling balancing act: intellectual but unpretentious, serious but never boring, timely but not fleeting. On the leading questions of the day, it offers fresh and unfamiliar insights. And on the emerging questions that will dominate the years to come, it often sees things first and clearest. It is simply indispensable. „

Yuval Levin
“ In 1975 the Economist said of COMMENTARY: “The world's best magazine?” Take away the question mark and that statement still stands, thirty-eight years later. It's still the magazine America's liberals dread most, and the one America's enemies can't afford to ignore. It's the point of the conservative spear in the never-ending fight against the insanity of the left, whether it's in foreign policy or economic policy, social and cultural issues, or the arts—and no one does a better job standing up for Western culture and America's interests and those of its allies, including Israel. In fact, surviving the next three years—the Obama administration home stretch—and building the foundations for an American resurgence afterward will be impossible without reading COMMENTARY in print and online. „

Arthur Herman
“ For decades, COMMENTARY has opened its pages to the most serious uncompromising defense of the American creed—exemplar of ordered liberty at home, pillar of the free world abroad—in an era when it has been most under attack. From the exceptionally influential manifestoes of Daniel Patrick Moynihan and Jeane Kirkpatrick to today's counterattack against the empowered advocates of the entitlement state and of American decline, COMMENTARY remains what it has been for more than a generation: fearless, informative, indispensable. „

Charles Krauthammer
“ COMMENTARY isn’t just an important magazine. It’s an indispensable one. It’s been indispensable for half a century, and it is today. It’s indispensable for understanding the moment we live in, and it’s indispensable for laying out a path forward. The challenges we confront are great, but COMMENTARY is used to facing grave challenges without fearful cowering or wishful thinking. So we need COMMENTARY today as much as we ever have, and we need it to be as strong as it’s ever been. „

William Kristol
“ COMMENTARY’s writing is predictably engaging and edgy, but its content is anything but homogeneous. Center-right perspectives characterize contributions, but not predictably so. Jewish affairs are thematic, but not always. Controversies of the day are the usual subjects, yet offered only with reflection well apart from the frenzied 24/7 news cycle. Intellectual honesty and analytical rigor characterize COMMENTARY and that is why even its political critics concede that they are still enlightened by the very arguments they often oppose. „

Victor Davis Hanson
“ COMMENTARY is an indispensable read on the Arab Spring, the Afghan war, the future of American conservatism, and all the other crazy stuff out there. But you already knew that. What I really love about it is that it’s a full-service operation, and its back-of-the-book guys—the fellows who write about music, literature, and all the things that make life worth living as the world goes to hell—are the best in the business. There is an observation in a Terry Teachout piece on the wonderful singer Nancy LaMott about “Moon River” that has stayed with me for almost two decades. I fished it out from the back of my mind to impress a gal at a Goldwater Institute reception only the other day, and it worked a treat. So thank you, COMMENTARY! Likewise, my differences with the arts’n’culture crew unsettle me far more than the geopolitical ones: reasonable people can disagree on how large a nuclear arsenal those wacky mullahs should be permitted to own, but I’m still agog at the great Andrew Ferguson’s mystifying praise for the New York Times obituaries page a couple of issues back. That’s COMMENTARY for you—provocative to the end, on matters large and small. In these turbulent and dismaying times, we can all use a huckleberry friend waiting round the bend, in the mailbox each month and on the computer screen every morning. For any journal of opinion, as “Moon River” teaches us, there’s such a lot of world to see. COMMENTARY sees most of it with piercing clarity: it can’t know all the answers, but it asks all the right questions, and with great farsightedness. It deserves your wholehearted support. „

Mark Steyn
“ COMMENTARY has played an invaluable role in American political discourse for decades, offering thoughtful analysis on issues rather than sound bites or bumper stickers. Especially when it comes to U.S. foreign and defense policy, COMMENTARY has time and time again been ahead of the crowd, anticipating trends and developments that others react to only after the fact. I can't imagine not being a COMMENTARY subscriber. „

John Bolton
“ In the midst of today’s political rancor, COMMENTARY Magazine provides a rare venue for thoughtful discussion. COMMENTARY’s talented writers provide insightful analysis of foreign affairs, domestic policy, and the politics of the day. COMMENTARY is a treasure not only for conservatives, but for anyone looking for in-depth exploration of the issues that influence America’s public dialogue and shape the nation’s future. „

Karl Rove
“ It's notorious, and true, that government officials hardly read anything. Memos, sure; nowadays, emails and tweets as well. But magazines? People barely have time to eat lunch or see their kids, so how can an intellectual monthly affect public affairs? The question is a good one. How did COMMENTARY do it? The answer is that officials, like all citizens following American foreign policy, need a way to understand the world around them. When prevailing theories fail, when conventional wisdom is clearly at variance with what they see before their eyes, the outcome for senators and congressmen and White House officials is what the shrinks call cognitive dissonance. They may say one thing but believe another, or simply be unable to square previous beliefs and policies with the clear effects of U.S. conduct. They've lost the ability to explain the world. And then came COMMENTARY, offering month after month of piercing, bracing analysis—and value judgments of right and wrong, and clear writing about American gains and losses. Here was an insistence on looking reality in the face. Here was plain argument, seeking no quarter intellectually and giving none. And it mattered. It shamed some people, and emboldened others; COMMENTARY demanded that we conform policy to the opportunities and dangers that really faced America. In years of confusion and obfuscation, that striking clarity changed policies, and changed American conduct, because it changed the way we understood the world. „

Elliott Abrams
“ For more than 60 years, COMMENTARY has been a go-to source on matters of the greatest importance to our nation and our civilization. Today, its full-throated defense of the United States and freedom is as eloquent as it was a half-century ago, and no less urgent. Issues of the day will change, news cycles come and go, but COMMENTARY remains an indispensable authority in the battle of ideas that help to shape our world. Its continued success is both an indication, and source, of the country’s intellectual health. „

Donald Rumsfeld
“ COMMENTARY is America's most important monthly journal of ideas, period. For nearly seven decades it has published the best and most exciting writing from the most important thinkers: Saul Bellow and Lionel Trilling; Daniel Patrick Moynihan and Jeane Kirkpatrick; Paul Johnson and Ruth Wisse; Cynthia Ozick and—of course—Norman Podhoretz and Midge Decter. Is there anything remotely like it? No. It is the lamp by which America, and Israel, and the Jewish people, may find their way to safety. I'm proud to be published in its pages. „

Bret Stephens
“ Irving Kristol once called COMMENTARY the most influential magazine in Jewish history. Certainly, no publication had a greater influence on me as I evolved from adolescent reader (arguing over its articles with my father and older brother) into a “frequent contributor” who made it my intellectual home. The magazine did not exploit American freedom to escape from civilizing duty but rather activated the intertwined responsibilities of citizens and members of a group. American Jewry can boast of many contributions to the welfare of this country and the Jewish people, but few as fortifying as COMMENTARY. „

Ruth R. Wisse
“ Edward Shils noted that there are four means of education in the modern world: the classroom, bookstores (especially used-bookstores), the conversation of intelligent friends, and intellectual magazines. For me intellectual magazines were more important than any of the other three, and no magazine among them more so than COMMENTARY. I first happened on COMMENTARY as a student browsing in the University of Chicago Bookstore in 1957. I have not missed an issue since. The magazine spoke to my intellectual interests and passions, and still does. As a reader and as a writer, I should be lost without it. „

Joseph Epstein
“ Why does COMMENTARY matter? Since 1945, no other monthly magazine has so consistently published serious, provocative argument and analysis. No other monthly magazine has viewed America and the world through such a wide angle, encompassing economics, politics, society, culture, religion, and diplomacy. No other monthly magazine has published such a celebrated and wide-ranging list of editors and contributors. Cerebral, critical, and committed, the point of view found in its pages is as unique as it is formidable. And in a world of Iranian nukes, rising anti-Semitism, radical Islam, American disarmament, bipartisan neo-isolationism, and disintegrating institutions, reading COMMENTARY is more than a pleasure. It is a necessity. „

Matthew Continetti
“ COMMENTARY has long been an unmissable landmark on the American intellectual landscape. These days it shapes debate, propels argument, and explains society with renewed vigor and force. It is one of the small group of essential reads for anybody engaged in politics, Judaism, foreign policy, national manners, and morals. „

David Brooks
“ Anyone looking for a definitive exposition of a significant historical moment—whether UC Berkeley's Free Speech Movement, say, or the battles over "general education" at Harvard—has at his fingertips an inestimable gift: COMMENTARY's archives, which contain countless gems of reporting and analysis. Today's generation of COMMENTARY writers is building an equally invaluable store of knowledge for future researchers and scholars. „

Heather Mac Donald
“ I first subscribed to COMMENTARY in 1973, as a recovering liberal who had invested four years of my young life in writing speeches for a constellation of McGovernite candidates and office-holders. Living in Berkeley at the time, I relished COMMENTARY as a guilty pleasure, feeling grateful that the magazine arrived each month discreetly disguised in a plain, brown wrapper that concealed its suspiciously neo-conservative content. In the militantly leftist community in which I functioned forty years ago, receiving regular monthly installments of the most degrading porn would have produced far less embarrassment than my growing devotion to the persuasive prose of Norman Podhoretz and Co. Yes, my personal journey from left to right-center involved the usual biographical factors, including the three P’s: paychecks, parenthood, and prayer. Paychecks, because they arrived with shocking subtractions in the form of onerous and incomprehensible taxes; parenthood, because responsibility for a new generation forced a longer-term perspective; and prayer, because my own growing Jewish observance led to the conclusion that my “idealistic” ’60s generation, with all its narcissism and preening self-regard, might not provide life’s ultimate answers after all. Fortunately for me, reading COMMENTARY with near-religious regularity helped to organize my onrushing insights and experience into a more coherent world view. In a dark time in our nation’s history, while surviving (temporarily) in the most unhinged corner of the continent, this incomparable publication persuaded me that I wasn’t alone. „

Michael Medved
“ Just as one begins to despair of hearing the strong voice of sanity and courage, leavened with charm and good humor, in our modern polity, COMMENTARY arrives, and once a month one can be reminded that there are indeed some clear-sighted and articulate people who seem actively to enjoy the battle for truth. „

Andrew Roberts
“ In a time of passion, COMMENTARY champions reason. Against lies, COMMENTARY speaks for truth. Confronting those who would doom to death the Jewish people, COMMENTARY is a magnificent continuing achievement of American Jewish life. „

David Frum
“ COMMENTARY has become my new go-to website for news analysis because it is measured, substantive, thoughtful, and written for news consumers of all shapes and sizes. When juggling all the issues of the day and thinking them through, I find myself going back to COMMENTARY again and again to see if there’s anything more that can help me add the ingredients needed to finalize an argument. I like the mix of foreign policy and national political news, as well as the discussions about America’s place in the world and what it should be. I’m a print subscriber and a frequent website visitor, and I follow all of the writers on Twitter. Thank you, COMMENTARY, for providing such consistently helpful content. „

Dana Perino
Subscribing to COMMENTARY gives you full access to every article, every issue, every podcast—the latest stories as well as over 70 years of archives, the best that has been thought and written since 1945.
Join the intellectual club, today.
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The Harm of Smarm
The Way We Live Now
Christine Rosen 2016-06-15
f you dare, spend some time browsing the Instagram accounts of popular self-appointed fitness and health gurus. Featuring perfectly lit shots of chia seed–sprinkled oatmeal with organic berries, along with many pictures of their killer abs, the images are supposed to be inspirational. Who wouldn’t want to emulate these beautiful happy people who always seem to be exercising outdoors (and who are brought to you with the help of sophisticated photo filters such as Perfect 365—a favorite of Kim Kardashian’s—that apply photoshopped makeup to images of your face so you can look amazing when you post that #iwokeuplikethis selfie).
What we’re talking about here is a phenomenon called “smarm.” Broadly speaking, smarm is a form of extremely ingratiating behavior—unctuous attempts to curry favor while remaining insistently “positive.” It’s always been around in mild form (mainly in the world of advertising), but in recent years it’s been on the rise in popular culture, journalism, and, more immediately, in politics.
Smarm’s imperial assault on the larger cultural conversation became evident a few years ago when the website BuzzFeed announced that it would no longer publish negative book reviews.
The decision was heralded by the site’s bosses as though it were a virgin birth. “Why waste breath talking smack about something?” the editor who announced the decision told Poynter news. “You see it in so many media-type places, the scathing take-down rip.” You can see the smarm at work in this statement, too, namely the earnestness combined with a thinly veiled sense of superiority about those other “media-type places.”
In an exuberantly entertaining dissection of BuzzFeed, published on Gawker, Tom Scocca pointed out that the smarm at work here is “an assumption of the forms of seriousness, of virtue, of constructiveness, without the substance. Smarm is concerned with appropriateness and with tone. Smarm disapproves . . . . Why, smarm asks, can’t everyone just be nicer?”
Why indeed? Last year, Huffington Post founder Arianna Huffington circulated a memo (inspired by a trip to Davos, naturally) demanding that her staff “double down” on covering positive stories rather than negative ones. Huffington said she wanted to “start a positive contagion by relentlessly telling the stories of people and communities doing amazing things.”
Recently, news broke that Arianna Huffington is expanding her empire by launching a media company called “Thrive” (Smarm peddlers love using positive one-word names for their ventures, preferably ones with just a whiff of compulsoriness—is “thrive” a suggestion or a demand?)
A culture that values sensitivity and diversity without figuring out how to adequately define either needs ways to monitor the behavior of others. Smarm has emerged as a kind of coping mechanism for a world beset by trigger warnings, safe spaces, and hypersensitivity.No less an authority than the Columbia Journalism Review defended “positive” approaches like that of BuzzFeed’s cruelty-free books section: “The explicitly positive tone is one way to set BuzzFeed’s vertical apart from the plethora of other literary sites and review sections,” the CJR noted enthusiastically. BuzzFeed editor Isaac Fitzgerald concurred: “I think BuzzFeed really works hard to get you to click and wbe satisfied by what you get and share it with other people. You don’t want to disappoint your reader because you want them to tell their friends.” Click and be satisfied: the new mantra of our smarmy age.
It’s not just BuzzFeed. This bias toward “positive” news that makes people feel happy has spread like kudzu across the cultural landscape. As University of Pennsylvania marketing professor Jonah Berger told the New York Times a few years ago, “When you share a story with your friends and peers, you care a lot more how they react. You don’t want them to think of you as a Debbie Downer.” Increasingly, the arbiters of culture online push people towards a feel-good, Upworthy world of the relentlessly positive. And how can more than half a billion people (that’s the number of Instagram visitors) be wrong?
Except that they are. Recent research shows that spending lots of time devouring the smarm of others actually makes you unhappy. Researchers from Utah Valley University found that the more time you spent on Facebook, the more likely you were to feel that others were happier and life was unfair. Another study, conducted by German researchers, described Facebook as a place where “invidious emotions” and a “rampant nature of envy” plagued heavy users. This is the dark side of smarm. All that happy uplifting content just makes you feel worse.
In a therapeutic culture such as ours, which is focused on personal well-being more than personal responsibility, it’s not surprising that we find smarm so compelling. We seem to worry less about the state of our souls than we do the minimalism of our closets or the carbon footprint of our last vacation.
But smarm is thriving for another reason as well. A culture that values sensitivity and diversity without figuring out how to adequately define either needs ways to monitor the behavior of others. Smarm has emerged as a kind of coping mechanism for a world beset by trigger warnings, safe spaces, and hypersensitivity to gender, race, and ethnic differences.
Or, as Scocca noted, in words that could be used to describe contemporary student activists on campus, “It is scolding, couched as an appeal to goodness, in the name of an absent authority.” If you can’t say something nice—or, more to the point, if can’t figure out if something you think is nice might be misconstrued as transphobic, racist, or sexist—just favorite that kitten video!
Smarm also provides an ersatz feeling of community. Today, more people are living alone than ever before, but at least they are all on Facebook. Why fret about a fractured nation bowling alone when you can read this or that “powerful story” on Upworthy? In the vacuum left by traditional behavioral norms and mores, smarm has emerged as our common cultural currency.
As for disagreement? Criticism? Smarm culture tends to call out as “haters” anyone who disagrees with liberal mainstream views. Do you have a problem with the government’s policy on transgender bathroom access? You’ll be dismissed as an extremist ranter with that favorite smarm catchphrase: Haters gonna hate. In a culture where being liked and followed and pinned and retweeted is the most important currency, saying something disagreeable (that is, out of the liberal mainstream) isn’t just curmudgeonly; it can be career-threatening. This is why the Internet, which promised to give authentic voice to the previously silenced, has instead given us a world in which mommy bloggers spend their days curating upbeat posts about the challenges of potty training in order to get kickbacks from diaper companies.
The Smarmer-in-Chief at present is Hillary Clinton. She and her followers insist we all respectfully acknowledge how she is “making history” even if we disagree with her politics (that’s smarm). She is praised (by Gawker!) for “shutting down the haters with one simple tweet” when she tells Donald Trump: “Delete your account.” That’s smarm, too, incidentally, a way of saying, “Oh, you’re so negative.”
The oppressive cheer of smarm helps explain the rise of Donald Trump, whose politically incorrect bombast is seen by his supporters as an appealing antidote to the smarmy liberalism and entitlement of Hillary Clinton. Trump supporters loudly and angrily reject the feel-good rhetoric of smarm. The anger it provokes in them is cathartic. The smarm peddlers eager to dismiss Trump, his supporters, and their anger as “childish” should take note of what has happened to our political culture: If you look closely at what Trump voters find most exhilarating about their candidate, it’s his willingness to say anything. In a culture increasingly overwhelmed by smarm, this seems about as close to bravery as you can get in contemporary public discourse. It’s false bravery, of course, especially on the part of Trump supporters who claim the mantle of political incorrectness to provide a cover for the actual hatred they spew. But that doesn’t invalidate the larger desire to cut through the crap, take off the blinders, and get at the truth. They who sow the smarm shall reap the whirlwind.

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