WHAT are we to do about Richard Wagner? Nothing in the years since his death in 1883 has succeeded in…
What are we to do about Richard Wagner? Nothing in the years since his death in 1883 has succeeded in mitigating the essential unpleasantness of his personality. Indeed, few men in the history of art can have been so unfortunate in so many of their admirers; few can have had a world outlook of such unparalleled evil erected in the image of their ideas of art and life. Whatever else Wagner was, the Nazis found a hero in him. And whatever else he was, this worshipper of power wherever he found it remains one of the famous anti-Semites of history.
It thus might have been thought that Wagner—man and artist alike—would have forever lain entombed in the ruins of Hitler’s Valhalla. But on the contrary, admiration for Wagner’s art, which even during the darkest days of World War II had not been completely extinguished among Germany’s Western enemies, began a steady rise after 1945. The first sign of this popularity was the worldwide interest in the reopening of the Bayreuth Festival in 1951, devoted as always to the performance of Wagner’s ten major operas. The 1951 festival, which featured a revolutionary staging by the composer’s grandson, Wieland Wagner, of both Parsifal and Der Ring des Nibelungen, has now been folowed by the celebration of the hundredth anniversary of the founding of the festival in 1876. Since Bayreuth was established as a stage for the presentation of the Ring, it is only fitting that the centennial season should have presented still another controversial production of that cycle, this time by the young French director, Patrice Chéreau.
Apart from the vast number of performances of his music the world over in recent years, the publishing industry has also been busy supply the Wagner market. At long last, Ernest Newman’s classic biography has been reprinted, and in paperback.1 In the last two years, Hans Gal’s short biography has appeared in English translation,2 and we now have, inter alia, a small picture book by the Verdi specialist Charles Osborne,3 a consideration of the tangled relationship between Wagner and Nietzsche by the singer Dietrich Fischer-Dieskau,4 and a detailed examination of Wagner’s compositional sketches for the Ring by Curt von Westernhagen.5 Two large-format volumes have also been produced for the gift trade, one a collection of documents and illustrations,6 and the other a history of the Bayreuth Festival by Hans Mayer.7
Since the treatment of Wagner’s life is naturally marked by perplexity that such greatness could have been produced by so tarnished an instrument, it is not surprising that much of the major concentration in this Wagner “boom” should be on the works themselves, and in particular, given then-greater excellence, on the operas of Wagner’s maturity: Tristan und Isolde (1865), Die Meistersinger (1868), Parsifal (1882), and the four parts of the Ring—Das Rheingold (1869), Die Walküre (1870), Siegfried (1876), and Götterdämmerung (1876). And of these, it is the Ring which has attracted the greatest amount of intellectual concern. This giant creation myth, beginning and ending in the waters of the Rhine, includes in its approximately fourteen hours of music drama all the primitive instinctual emotions of love and lust, ambition and greed, incest and betrayal, envy and hate, played out by a fascinating mixture of gods with limited powers, strong giants and cunning dwarfs, and heroic but doomed men and women.
The plot of the Ring, an amalgamation of the Volsunga Saga, the Nibelungenlied, the Eddie poems, and Wagner’s own personal touches, is a complex story of events antecedent to the action of the operas as well as events occurring offstage. The Ring is started when the Nibelung dwarf, Alberich, forswears love and robs the Rhine of its gold. From the gold he forces the other Nibelungs to forge for him a ring which gives the wearer world dominion. The great god Wotan, upon the advice of the tricky fire god Loge, steals the treasure from Alberich in order to pay the giants for building Valhalla, the fortress from which the gods hope to rule the world. Alberich places a curse upon the future owners of the ring, and the gods take possession of their new home.
In order to deal with his two problems—defending Valhalla and restoring the treasure (which he has not kept, but which he did steal)—Wotan starts two new families. The children of one family, sired by Wotan and a mortal woman, are Siegmund and Sieglinde. These two fall in love, though Sieglinde is already married. Their union is condemned by Fricka, Wotan’s consort, who is the guardian of the family. Wotan thus must let Siegmund die. When Brünnhilde, the daughter of Wotan and the earth goddess Erda—Wotan’s second family—attempts to protect the doomed Siegmund, Wotan casts her out from among the gods and sentences her to remain asleep on a rock surrounded by fire until she is awakened by a fearless hero. Both father and daughter know this hero will be Siegfried, the as-yet-unborn son of Siegmund and Sieglinde.
Siegfried is brought up in the forest by Mime, the smith brother of Alberich. Mime is unable to forge a proper sword for the future hero, but, acting out Wotan’s prophecy to Mime, Siegfried forges the sword himself out of the fragments of his father’s shattered weapon. With it he slays Fafner, the dragon into which one of the giants has turned himself in order to protect the treasure. Then, after killing Mime, in whom he has divined murderous intentions, Siegfried goes forward, armed with sword and ring, to awaken and win Brünnhilde, and then out into the world in search of adventure.
On his travels, he meets two Gibichungs, Gunter and Gutrune, and their half-brother Hagen, the son of Alberich, who has been plotting to recover the treasure. Even before Siegfried arrives, Hagen has proposed that the hero be induced by magic to forget Brünnhilde and win her for Gunter, while Siegfried himself will marry Gutrune. Siegfried, drugged by a potion, agrees, and overpowers the unwitting Brünnhilde. Hagen then suggests vengeance to the betrayed Brünnhilde, and she supplies him with the information necessary to kill Siegfried, which he treacherously does. Brünnhilde, at last aware that he whom she had loved had not betrayed her but had instead been betrayed, realizes the working out of both the curse and the fate of the gods. She takes the ring from the dead Siegfried and immolates herself. As the waters of the Rhine rise to reclaim the ring and the gold, the fire sets Valhalla ablaze and the gods go up in flames.
From the time of its writing, the Ring has tempted critics to find an explanation of its inner meaning. What was perhaps Wagner’s conscious purpose—to demonstrate the power of love to redeem—has long seemed insufficient to account for either the massiveness of the work’s structure or the awesome power it possesses to move its audience. Until the past generation, undoubtedly the most impressive interpretation of the Ring in extra-musical terms was that of George Bernard Shaw. In The Perfect Wagnerite (1899), Shaw found the Ring to be an allegory of capitalism, a vivid portrayal of the exploitation of labor in the interests of a greedy moneyed class blinded to humanity by the worship of gold.
In point of fact, support for Shaw’s theory could be found in Wagner’s early political allegiances; he had been a close friend of the anarchist Bakunin and was himself an active participant in the German revolution of 1848-49, sufering exile for his efforts. But unfortunately Shaw’s explanation suffered a fate common to all such reductive attempts to interpret works of art; the glorious mystery of the Ring remained intact long after the ingenious analysis had first been found obvious and finally trivial and irrelevant.
Where Shaw’s socialist scheme failed, psychology eventually stepped in. The regnant psychological explanation of the Ring is of the Jungian variety; no extended Freudian interpretation has yet appeared. Thus in Wagner’s Ring and its Symbols,8 Robert Donington assimilates Wagner’s combination of Nordic myth and Schopenhauerian pessimism to the vocabulary of depth psychology, and sees the Ring as a symbolic story both of Wagner’s own psychic struggles on the road to emotional maturity and of mankind’s reliance on archetypal fantasies and patterns as a means of understanding the world.
Whatever may be said of such interpretations—one may question whether they do anything more than substitute a sophisticated myth for a primitive one—it cannot be denied that depth psychology has had a significant influence on the way Wagner in general and the Ring in particular have been staged since World War II. It was Wieland Wagner’s intelligence—as well as a desire to distance himself from his mother’s enthusiastic support of Hitler—which led him consciously to bring to bear upon his grandfather’s operas those 20th-century insights of psychology and anthropology which had not previously been allowed admittance to the Bayreuth shrine.
In keeping with the modern conception of the racial unconscious and its origin in primitivism, Wieland banished realistic elements as well as bright light from his Bayreuth Ring productions. In their place, he substituted in 1951 the Weltenscheibe, a large raised disc on which all the action was to take place in an atmosphere of darkness and gloom broken only by the occasionally spotlighted singers. The disc and the gloom combined to present each character as a lonely symbolic figure battling with all-powerful instincts and natural forces.
This style—dubbed “neo-Bayreuth” when it has been used by others outside the control of the Wagner family as well as by the Wagners themselves—has become the prevailing orthodoxy in Ring productions. In the form devised by Herbert von Karajan for the 1967 Salzburg Easter Festival, it became the basis for the Metropolitan Opera production finally seen complete in New York in 1975. Recently, however, Bayreuth itself has returned to a kind of Marxist interpretation of the Ring, in the realistic new production staged by Chéreau at the 1976 centennial. Here the audience was presented with well-dressed capitalists, with Mime as an old Jew, and with the gods’ fortress Valhalla as Wall Street; the production, in the words of the New Yorker, offered “a bleak look at the dehumanized society spawned by the Industrial Revolution.”
There seems little chance that the new Bayreuth production—or anything similarly audacious—will be seen in New York in the near future. Indeed, no plans have so far been announced for doing the Ring again in New York at all; it is significant that the 1975 Metropolitan production was the first at that opera house since the 1961 season. The San Francisco Opera does do individual operas from the cycle with fair frequency, and Seattle has been presenting a full Ring in both German and English. But the Seattle production, to judge from the critical response, has not been of international quality, and in any case the Metropolitan remains, for better or worse, in artistic and financial resources the premier opera company in the United States.
Exactly how much the Ring must be seen to be experienced is a difficult question to answer. Richard Wagner was himself disillusioned with the staging—nominally under his control—of the first Bayreuth production. He is often quoted to this effect:
How I abhor the atmosphere of grease paint and mummery! When I think that a character like Kundry will henceforth be mimed, I am at once reminded of those disgusting masquerades, and now that I have created the invisible orchestra [a reference to the hidden, recessed orchestra pit at Bayreuth], I would like to invent the invisible stage.
These words were cited by Wieland Wagner to head an important 1951 article entitled “Tradition and Innovation,” in which he not only defended new approaches to staging but also admitted that Wagner’s is a music
which transmits [the composer’s] visions in so expressive a language that it is well-nigh impossible to duplicate the vision for the eye. The onlooker will inevitably fall behind the listener, even though the scenic problems may happily have been solved . . . we must still admit that the stage can, at its best, provide only a sparse reflection of that which is triumphantly conveyed from the orchestra pit.
In any case, while one need hardly deny the added dimension which is provided by visual means, today’s recorded versions of the Ring provide, in the absence of staged performances, a magnificent opportunity to experience the music.
Until recently, the phonograph literature of this music was anything but plentiful, although excerpts have long been available, including performances by some of the greatest voices ever to sing Wagner. Available today on LP transfers, the work of Frieda Leider,9 Lauritz Melchior,10 and Friedrich Schorr11 shaped the standards by which their successors have been judged. The sound of these records, advanced for their day, remains acceptable, if of limited brilliance and depth.
Yet, of all opera, this music may be the least amenable to extraction of its highlights. Such skimming certainly does violence to Wagner’s basic goal, the replacement of the succession of set pieces formerly characteristic of opera—arias, ensembles, and interludes—by an integrated and continuous flow of dramatic plot and musical development. As a result of the music’s great length and the creative nature of the works themselves, adequate representation of the Ring on records awaited the arrival of the LP in 1948. But even then, coverage was slow in coming. Though LP transfers were made of the 1935 Bruno Walter-Lotte Lehmann-Melchoir Act I of Die Walküre12 and of the 1945 Walküre Act III13 with Artur Rodzinski, Helen Traubel, and Herbert Janssen, the longest new recording in the early years of the LP was another Walküre Act III,14 this time from Bayreuth with Herbert von Karajan, Astrid Varnay, and Sigurd Björling. From Rheingold there was as yet nothing, and from Siegfried and Götterdämmerung only the very end of each opera, passages which had been obtainable in several versions on 78’s.
In the early 50’s, however, a complete Ring was a gleam in the eye of John Culshaw, a young producer with English Decca. He had been involved in Decca’s abortive attempt to record the Ring in Bayreuth in 1951. Later, he had encouraged Decca to release what he felt to be an insufficient—but complete—Götterdämmerung from Oslo with Kirsten Flagstad as Brünnhilde.15 Finally, in 1958, he was able to go ahead with a recording of Rheingold—using Flagstad, at the end of her career, as Fricka—with Georg Solti and the Vienna Philharmonic.16 This recording, released to the widest critical enthusiasm and unexpectedly large commercial success, inaugurated the present era of the Ring on records. It was followed by Siegfried17 in 1962, Götterdämmerung18 in 1964, and finally, though out of order, Walküre19 in 1965. Not to be outdone, Deutsche Grammophon, between 1967 and 1970, recorded Karajan’s Salzburg production with the Berlin Philharmonic.20
These two complete sets are “studio” recordings (as is a third “budget” effort on Westminster with Hans Swarowsky conducting the Southwest German Philharmonic). Although made in a hall, they were done in sections, repeated as necessary, without the presence of an audience; not until later were the parts assembled into a complete performance. Such a procedure—though it runs the risk of losing both spontaneity and the sense of cohesion and integration which can only result from a performance done before people and progressing straight through from beginning to end—nonetheless provides the ultimate in control over recording characteristics and errors of notes and balances. As a result, these recordings must inevitably be considered the norm; “live” recordings, even though perhaps pieced together out of several performances, must always justify their technical shortcomings and (relatively) inferior recorded sound by their special feeling of life and drama.
Such “live” recordings of the Ring do exist. One was made in Bayreuth in 1966 and 1967 at festival performances and rehearsals conducted by Karl Böhm.21 Another, an English National Opera production, is three-quarters of the way toward commercial release on EMI. Rheingold,22 Walküre23 (both marketed here by Angel), and Siegfried24 have already been issued, with Götterdämmerung soon to follow (most of Act III has been available for several years in a studio recording on another label25). These recordings, made during actual performances, are conducted by the Englishman Reginald Goodall, feature English (and Commonwealth) singers, and are sung in English.
Two live performances in the more usual meaning of the term are also available, both of them conducted by Wilhelm Furtwängler. The first preserves the Ring cycle at La Scala in 1950,26 and is distinguished by the presence of Flagstad as Brünnhilde. In this case, though the tapes on which these recordings are based were obviously made for radio broadcast rather than commercial release, it is impossible to know the extent to which they have been pieced together, as each cycle was given three times during the 1950 season, and tapes of at least two of those cycles are in existence. This Ring, which is currently available at an absurdly low price, only reached a wide market in 1976; a later Furtwängler cycle,27 initially broadcast at a concert performancer (sung but not staged) in Rome in 1953, was released after many years of legal difficulties in 1972.
Nor do these commercially available discs exhaust present opportunities to hear the Ring. In recent years, due to the proliferation of tape recorders, every important broadcast has been caught on tape, and a flourishing, if for legal reasons necessarily quiet, market has grown up around them. Many Rings are available in this form; among them are the performances from Bayreuth in 1957 conducted by Hans Knappertsbusch, from the Met in 1975 with Sixten Ehrling, and the 1976 Bayreuth cycle staged by Chéreau and led by Pierre Boulez. Unfortunately, the recorded sound of these “private” tapes is highly variable, ranging from excellent in the 1975 Met broadcasts to opaque and fuzzy in those from Bayreuth.
Taken all together, these recorded performances provide a remarkable chance not only to hear the music of the Ring but also to examine how this masterpiece of the 19th century has been interpreted by different artists over a period encompassing more than a generation. The first cycle, from La Scala in 1950, uses a star pre-war cast and conductor, while in 1976 at Bayreuth the cast was comprised of singers relatively young and little known in this country, and the conductor, Boulez, was from a non-German tradition and in any case new to the music. Here, then, is an entire history of musical performance concentrated on what is perhaps the largest single integrated body of music ever written. By scrutinizing the way it has been done, we may learn where these operas are, where they have been, and perhaps even where they may be going.
The obvious place to start is with the singing. As might be expected in performances involving so many people, the range of quality is enormous. It is also not surprising that no one cast contains all the best singers, and that no singer is always in his or her best voice. One cannot, however, help noticing how many good singers these records offer. At the same time, few remain in the mind as memorable.
In considering, for example, the central role of Brünnhilde, it is clear that the challenge is so great that the response must be imperfect. (Perhaps this reflects the truth contained in Artur Schnabel’s remark that he only wanted to perform music that was better than he could play it.) The Brünnhildes in these performances include the most important Wagnerian sopranos of our time. Among them, in addition to Flagstad, are Birgit Nilsson, Astrid Varnay, Martha Mödl, and Helga Dernesch. Flagstad’s, in the first Furtwängler records, remains the most beautiful sound; Nilsson, on both the Böhm and Solti sets as well as the 1975 Met broadcasts, is chiefly remarkable for the physical strength and ease of her vocalism. Like Flagstad, though more impassioned, she seems unable to delineate varied moods in her singing. For such an achievement one must go to Mödi and Varnay, the Brünnhildes of the later Furtwängler and the Knappertsbusch Rings. But here, as always in singing, dramatic personal qualities conflict with pure vocal beauty; Dernesch, in the Karajan set, offers what may be the best available compromise.
Among the leading male roles—Siegmund in Walküre, Siegfried in the last two operas of the cycle, and the Wotans of Rheingold, Walküre, and Siegfried (where Wotan is called the Wanderer)—there are perhaps even fewer singers of the highest stature. Of the nine singers doing Wotan, only one, Ferdinand Frantz (in both Furtwängler sets), bears comparison with such earlier singers as Schorr, Rudolf Bockelmann,28 and, at least on one excerpt, Alexander Kipnis.29 And even Frantz does not demonstrate the roundness and individuality of character which a singer must convey to be more than vocally arresting. The situation is little different among the Siegmunds and Siegfrieds of these performances; only Jon Vickers, Karajan’s Siegmund, is of a classic level, though Helge Brilioth in Karajan’s Götterdämmerung is perhaps the most nearly adequate Siegfried of our time.
In the smaller though still often frighteningly difficult male and female roles, there are many fine singers. Among the performances which will not easily be equaled may be mentioned the hauntingly fragile Sieglinde of Gundula Janowitz in the Karajan Walküre, the Mime of Julius Patzak on the later Furtwängler discs, and the Fricka of Josephine Veasey (Karajan). In general, the men seem more comfortable and less wobbly than the women throughout the entire range of these performances.
Beyond the individual merit of the singers involved, and with the exception of one set, every Ring discussed here provides singing easily sufficient to communicate the music. Moreover, even after making allowances for technical quality and the conditions under which each recording was made, no one set can be said to be vocally vastly better or worse than another. The exception is the Bayreuth Ring of 1976, where the vocalism justified Harold Schonberg’s earlier comment that as far as dramatic sopranos and heroic tenors are concerned, “we are in trouble on a worldwide basis.” The work of this youngish cast seems especially discouraging coming as it does on the heels of the 1975 Met broadcasts, which were marked by some excellent singing from a remarkably old cast. Many reservations apply as well to the singing in the English National Opera Ring, where the tenors sound all too often as if they were singing light opera, the lower male voices are over-smooth and avuncular, and the women tend to sound plummy and tremulous.
One has the impression that, aside from the specific vocal styles of the English National Opera singers, their difficulties stem in part from the use of English as the language of performance. Much has been made of the new translation clone for the production by the well-known English music critic, Andrew Porter.30 The translation is clear and simple, and, as such things go, singable. But three comments suggest themselves. First, despite what are obviously the best efforts of singers and recording engineers alike, many, if not most, of the words are lost; this is invariably true when the music is loud, and often even when it is soft. This would seem to undercut the basic reason for doing opera in English—so that the audience can follow the story. Still, there is no reason to believe that an English-speaking audience is in any worse position than a German audience listening to a performance in the original; the music simply is not kind to an easy perception of the text.
Second, and more serious, is the effect the characteristic sounds of the English language have on the listener’s perception of the music. The distinctiveness of one vocal music as opposed to another is determined by more than pitch and rhythm, melodic contours and phrasing; it is also determined by the very sounds of the words, whatever their meaning. Such is especially the case in the Ring, where Wagner writes in a highly personal, alliterative German style. What is lost and distorted in translation may easily be demonstrated by listening to recordings of excerpts from the Ring in French. Here the singers involved, Marjorie Lawrence31 and Germaine Lubin.32 are significant Wagnerians of the 1930’s. And yet the mere sound of the words, with their French vowels and consonants, makes one think involuntarily of the music of Massenet. (Remarkably, this is true not only of Germaine Lubin but also of the younger singer, Marjorie Lawrence, even though she was not French but Australian!)
Finally, and most important, the use of a translated text, rather than bringing the performer and the audience closer to a work of art, may well erect an additional barrier to it. Opera, like any other art form, is the product of an entire cultural complex which shapes a composer’s innermost thought since birth and which finds concrete expression in the language in which he writes. To learn foreign languages in order to perform French or German or Italian or Russian works is of course an added burden for a singer, but art asks a great deal from its performers, just as it does from its audiences.
If the English National Opera productions were presented as something in the nature of a necessary substitute, to be recommended on the basis of their didactic and pedagogic service, it would not be hard to welcome them; if they were instructive and enjoyable as well, that would be quite enough to ask. But it would seem that in the minds of their promoters, these productions have a special textual and therefore artistic value. In the notes accompanying the ENO recording of Rheingold, Peter Moores, whose foundation is supporting the records, writes:
Often the translation can not only make the work comprehensible and thus available and immediate to each member of the audience by speaking to him in his own language, but also clarify a text which exists in a dated or obscure form.
And he goes on to recommend a review of the ENO’s Siegfried by a German critic writing in Die Welt:
The English are now the owners of the 20th-century Ring while we, with our teeth that are losing their bite, still have to chew away at the language of Wagner, which sounds more and more discordant as the years go by.
Would this be argued about Shakespeare in Spanish, or about Racine in Italian? Or is this approach good only for opera, which some see in any case as an intellectually déclassé art? One wonders whether all the claims for the English-language Ring are really fully believed in by its proponents, or whether the real meaning of all the ballyhoo surrounding this and similar efforts is not in the first instance part of an attempt to encourage local artists, and in the wider sense part of the campaign to boost the flagging self-confidence of today’s troubled England.
Although one cannot deny the high importance of singing in this music, even more fundamental is the role of the conductor. In these mature works of Wagner the orchestra is the foundation of the drama, extending and commenting on the work of the singers, and often serving as the sole carrier of the theatrical as well as of the musical material. An orchestra of such size and complexity is powerless without a leader; to conduct a Ring cycle is to undertake perhaps the most important task which can face a performing musician.
A conductor may be an inspiring force, responsible for the basic conception of a performance as well as for its execution. Or he may be a traffic cop, a manager striving for the most orderly and efficient use of the widely disparate artistic forces which make up his vocal and orchestral cast. Of the eight conductors represented in these recordings, Karl Böhm is the best exemplar of the manager. His 1966-67 Bayreuth recordings are first-class instances of the work of the Kapellmeister. Clear, efficient, forward in tempo, and healthy in momentum, his efforts enable the music to be heard to advantage. The same can be said for his singers. Without injecting much of his own personality into the music, he gets on with his work, leaving the audience satisfied, if perhaps not terribly moved. In a like vein, though lacking something of Böhm’s polished vitality, is the work of Sixten Ehrling at the Met in 1975.
The case of Pierre Boulez is more complicated. Though lacking the immense experience of a Böhm, he too is clear and efficient, as well as inclined to quickness. A general feature of his work, here as elsewhere, is the curiously unaccented playing of the orchestra, an avoidance of strong beats or of stress at the beginning of bars. The musical effect is to combine local flatness and placidity with a long-run accumulation (due to the lack of rubato) of a good deal of momentum. The removal of sentimentality from his conducting is welcome in an age of glamor conductors; whether Boulez will ever make any deeply felt personal contribution to this music remains to be seen.
The work of Georg Solti in his Ring set is difficult to evaluate. He seems to have concentrated upon the exaggeration of short-range effects, and in particular upon giving more prominence to the brass than has any other conductor. Many of these effects are startling, as are his frequent sharp changes of tempo in excess of Wagner’s indications. Regardless of the individual excellence of many passages, his Ring lacks an overall conception, whether musical or perhaps philosophical, that would go beyond the separate characters and their scenes to the question of the wider image of the entire work.
This qualified appraisal of Solti’s Ring owes something to the fact that his recording is so clearly a phonographic document, a revelation of what advanced techniques can do to supply the listener with what he misses through the absence of staging. These techniques involve the addition of sound effects like crowd noises and thunderstorms, various exaggerated clanking noises produced by a literal following of Wagner’s stage instructions, and special acoustical environments for several of the characters. This triumph of the recording over the music may well be the result in this case of a parallel triumph of the producer—John Culshaw—over the conductor. In his book about the making of the Ring records,33 Culshaw tells how Solti had to be convinced some time after the music had been recorded of the Tightness of adding some non-musical noises (no doubt suggested by Wagner’s direction that Gutrune and others emit horrified cries as Siegfried’s arm rises when Hagen attempts to snatch the ring from his hand) toward the end of the last act of Götterdämmerung:
For some reason Solti was against any sound at the point, possibly because he felt it might interfere with the hushed music that accompanies Brünnhilde’s entrance. At the time [when the music was being recorded] we had more urgent things to worry about, so I determined to add the sound of the cries afterwards. (I felt sure that Solti would accept the point as dramatically valid once he had heard it done properly, and this turned out to be true, though he still does not let his singers do it in a stage production.)
The “hushed music” Culshaw refers to consists in fact of three chords drawn from earlier material but in this form suggesting strongly the Dresden Amen which Wagner used in Parsifal (where it is called the motive of the Grail); Culshaw’s exaggerated introduction of “the sound of the cries” robs the passage of its architectural function in setting off Brünnhilde’s taking of all the action of the opera into her own hands. The quotation conveys very well the extraordinary role played by Culshaw in the making of the Solti Ring.
An overall conception of the Ring is precisely what Wilhelm Furtwängler, in both his sets, provides. Solid, rich, built up from the deepest instruments of the orchestra, his Ring offers a musical tribute to Wagner’s dedication of the operas: lm Vertrauen auf den deutschen Geist entworfen (“Conceived with trust in the German Spirit”). The Furtwängler performances—of which the earlier is more dramatic and the later more reflective—are also notable for the conductor’s mastery of pacing, and his absolute justice in balancing contrast and continuity of Both dynamics and tempi; fortunately, the recorded sound of his performances, though by no means up to the brilliant level of the Solti set, is good enough to communicate what. Furtwängler does. Compared to him, Knappertsbusch and Goodall are so heavy and over-serious as to strain even the German-opera lover’s tolerance of boredom. Goodall in particular favors tempi so slow and so stodgy that his performances become stuck in self-contemplation.
If Böhm is the highest type of the efficient conductor, and Furtwängler the noble German traditionalist, Herbert von Karajan has provided a new, singularly different, and vastly moving conception of the Ring. In the past, Karajan’s conducting has often been called ice-cold; his Ring recordings have suffered a similar criticism, and his Götterdämmerung in particular has been described as a “positive glorification of evil.” True, there is in Karajan’s Ring very little of uplift, of optimism, or of justification for the brutal and indeed evil nature of so much of what goes on in the operas, and it is possible to see what is meant when his performance is called cold—it is humanly unredeeming. Yet Karajan has been able to contain this brutal world within the limits of art because he presents it to us as a dream heard clearly, but as if from another place. Through magnificent orchestral clarity, transparent recording, and the careful husbanding of his beautiful but often small voices, Karajan has created a Ring that is bearable because the strength of its vision is matched by the unreality of that vision. There is in Karajan’s conception nothing to comfort us save the knowledge that we can survive the nightmare. That he has succeeded in projecting and even imposing this frightening conception is the surest sign of his achievement as perhaps the most significant conductor to emerge since World War II.
It is doubtful that Karajan’s achievement, requiring as it does a great conductor, hand-picked forces, and a particular tolerance and insight from the audience, can ever become a norm for the performance of the Ring. Yet whatever the level of performances may be in the future, the music, which triumphs through its performances, triumphs equally in spite of them. Performances are necessary, but they are transient. This may not be a comforting thought to performers, but lovers of the music, which endures forever, may find in it a peculiarly satisfying reassurance.
1 The Life of Richard Wagner, 4 vols., Cambridge University Press, 2429 pp., $33.95.
2 Richard Wagner, Stein & Day, 226 pp., $8.95.
3 Wagner and His World, Scribner's, 128 pp., $8.95.
4 Wagner and Nietzsche, Seabury, 232 pp., $12.95.
5 The Forging of the “Ring,” Cambridge University Press, 248 pp., $18.95.
6 Wagner: A Documentary Study, edited by Herbert Barth, Dietrich Mack, and Egon Voss, Oxford University Press, 256 pp., $37.50.
7 Richard Wagner in Bayreuth, Rizzoli, 248 pp., $18.50.
8 St. Martin's, 342 pp., $4.95 (paper).
9 Angel COLH 105.
10 Seraphim IB 6086.
11 Angel COLH 105; Preiser LV 23; Preiser LV 125.
12 Seraphim 60190.
13 Odyssey 32260018E.
14 Electrola IC 181-03 035/36M.
15 London 4603 (deleted); all of the music sung by Flagstad from this performance is currently available on Richmond RS-62019.
16 London OSA 1309.
17 London OSA 1508.
18 London OSA 1604.
19 London OSA 1509.
20 Deutsche Grammophon 2720051.
21 Philips 6747037.
22 Angel SDC 3825.
23 Angel SELX 3826.
24 EMI SLS 875.
25 Unicorn UNS 245/6.
26 Murray Hill 940477.
27 Seraphim IC-6076, IE-6077, 1E-6078, 1E-6079.
28 Preiser LV 165.
29 Preiser LV 165.
30 The Ring of the Nibelung (German text with English translation), Norton, 329 pp., $15.00.
31 Preiser LV 133.
32 Preiser LV 225.
33 Ring Resounding, Viking, 278 pp., 17.50. Culshaw's broadcast talks on the Ring have been collected in Reflections on Wagner's Ring, Viking, 105 pp., $6.95.
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Performing the “Ring&rdquo
Must-Reads from Magazine
Last year, we asked experts to examine Candidate Trump’s policy proposals. This year, we’ve asked them to examine how he has executed these proposals in office.
On Trade By Scott Lincicome
Last year, economic, legal, and geopolitical calamity lurked in the shadows of almost every trade-policy promise made by presidential candidate Donald Trump. Eight months into the Trump presidency, those problems have—thankfully—not yet materialized. Instead, Trump trade policy has been a mixture of bluster, disappointment, relief, and uncertainty. This last category warrants close attention: In the coming months, Trump’s dangerous trade ambitions could remain in check, thus keeping a global trade system alive. Or politics, legal ambiguity, and Trump’s own emotional impulses could deal that system a fatal blow.
There is no doubt that President Trump has already done serious damage to the United States’ longstanding position as a world leader on trade policy, the American political consensus in favor of trade liberalization, and Republican views of trade and globalization. His constant vituperation has offended U.S. allies and trading partners, causing them to turn to Europe, Asia, or Latin America in search of alternatives to the once-welcoming and predictable U.S. market. He has accelerated (not started) the American retreat from the World Trade Organization, further wounding a multilateral trading system that was a U.S. invention—an invention that has, contrary to popular belief, served U.S. economic and foreign-policy interests well since the 1940s.
Trump’s day-one withdrawal from the Trans-Pacific Partnership—the flawed-yet-deserving Asia-Pacific trade agreement started by President Bush and ultimately signed by President Obama—has left vacuums in both Asia-Pacific trade and international economic law. TPP was far from perfect, but it was widely supported by U.S. trade and foreign-policy experts because of its economic and geopolitical benefits. The deal contained important new rules for 21st-century issues such as e-commerce, GMOs, and state-owned enterprises. Moreover, it would have provided small but significant benefits for U.S. workers and the economy, while cementing the United States’s influence in a region increasingly covered by China’s shadow. Now, TPP parties are working to complete a “TPP-11” deal that excludes the United States, while China is negotiating its own version of the TPP—the Regional Comprehensive Economic Partnership. And many of TPP’s novel provisions are being relitigated in contentious NAFTA renegotiations with Canada and Mexico (both TPP parties).
All of this is disappointing, but it’s probably survivable and hardly the fire and brimstone of the Trump campaign trail (hence, the relief). Trump has repeatedly threatened tariffs and other forms of dangerous unilateral protectionism, but economic, legal, and political realities have intervened. For example, when Trump promised new “national security” tariffs on steel and aluminum under Section 232 of the Trade Expansion Act of 1962, the opposition from Congress, business groups, strategic allies, NGOs, and even members of Trump’s administration was unrelenting. As a result, planned tariffs have quietly been shelved (for now). Other presidential threats have similarly come and gone without major action, giving market participants some heartburn but little long-term pain. Only in the opaque area of trade remedies—antidumping, countervailing duty, and safeguard measures—has there been a marked uptick in U.S. protectionism. But this is the result of long and technical administrative proceedings initiated by U.S. industries or unions that formally petitioned the government under relevant domestic law—hardly the wave-of-the-hand actions that Trump promised.
Some measure of relief is warranted, but we’re not out of the woods just yet. Indeed, in the last eight months, Trump has publicly threatened to
- block steel and aluminum imports for national-security reasons or bring new cases against semiconductors and ships, under the aforementioned Section 232;
- withdraw from the North American Free Trade Agreement and the U.S.-Korea FTA;
- slap tariffs on Chinese imports under Section 301 of the Trade Act of 1974 because of alleged Chinese intellectual-property-rights violations; and
- impose onerous new “Buy American” requirements on U.S. pipelines and government-funded infrastructure projects.
And those are just the public threats. Behind closed doors, Trump has reportedly considered enacting sweeping import restrictions under the International Emergency Economic Powers Act. The president reportedly yelled, “I want tariffs. Bring me some tariffs!” when told by his “globalist” advisers that legal and economic realities prevent him from imposing broad-based protectionism on a whim.
None of the threats on Trump’s wish list is officially off the table, and any one of them would have serious economic consequences: Steel tariffs alone would put more than 1.3 million American jobs at risk; NAFTA withdrawal could destroy 250,000 more; and several nations have promised immediate retaliation against American goods, services, or investment in response to Trumpian protectionism. Trump’s actions would also raise major legal issues. For example, the World Trade Organization’s broad, subjective “national security” exception wasn’t intended to be used as a get-out-of-jail free-card for steel tariffs, and a dispute over a member’s right to invoke it could imperil the multilateral trading system. Meanwhile, Trump’s withdrawal from a free-trade agreement without congressional consent would raise major constitutional questions as to whether the president had that authority and what would happen to the myriad U.S. tariffs and other commitments that were embedded in legislation and passed into law. Lawsuits over these and other issues surrounding presidential trade powers would throw billions of dollars of cross-border trade and investments into legal limbo.
The president’s unpredictability, political weakness, and clear affinity for protectionism, combined with ample (though ambiguous) legal authority to act unilaterally, mean that any one of his trade threats could still materialize in the coming months. The White House’s internationalists may have won the early battles, but the war will rage for as long as Trump is president. Continued vigilance and advocacy for the benefits of freer trade remain critical.
And congressional legislation clarifying and limiting the president’s trade powers might not be a bad idea either…just in case.
Click here to read what Scott Lincicome wrote about Candidate Trump and trade last year.
Scott Lincicome is an international trade attorney, adjunct scholar at the Cato Institute, and visiting lecturer at Duke University Law School. The views expressed herein are his own and do not necessarily reflect those of his employer.
On Taxes By James Pethokoukis
At some point in his first term, President Donald Trump will likely sign legislation that cuts taxes by some amount for somebody. This modest prediction is based less on reading the political tea leaves than understanding conservative politics. If any issue made the modern Republican Party, it was tax cuts. Not surprising, then, that candidate Trump promised big cuts for individuals and businesses. And with the GOP now holding the White House and Congress, failure to deliver is almost unimaginable.
Of course it’s almost equally unimaginable that the Trump tax cuts will at all resemble the ambitious plans devised by Trump advisers during the campaign. There were two of those blueprints. The first, rolled out September 2015, proposed lowering the top personal rate to 25 percent from the current 39.6 percent, and cutting the corporate rate to 15 percent from the current 35 percent. Along with other changes, including eliminating the alternative minimum tax and estate tax, this initial plan might have lowered annual government revenue by a whopping $1 trillion a year or more (even if one assumes much faster economic growth).
This was, in other words, more a fantasy proposal cooked up by Reagan-era supply-siders than a serious effort to reform the tax code without worsening our historically high federal debt. Indeed, Trump’s sole purpose in signing on to the plan may have been to win over that very same group, still influential among base voters. Trump himself talked little about the plan while on the hustings, especially compared with immigration, trade, and The Wall.
The Trump campaign’s second bite at the apple a year later was a scaled-back plan, but still a colossal one. Instead of losing a trillion bucks a year, maybe the government would be out just a half trillion or so. Again, since the plan was unaccompanied by spending cuts elsewhere in the budget, it was more a set of glorified campaign talking points than a serious proposal. And like the first, Trump didn’t talk much about it.
So after Trump’s shock election, there really was no realistic Trump tax plan. No worries, however, since there was a House Republican tax plan all ready to go, with an enthusiastic House Speaker Paul Ryan ready to push it hard through the lower chamber. It was an ambitious proposal but one within reality, especially with a bit of fiscal tweaking. That plan called for, among other things, lowering the top personal rate to 33 percent and the corporate rate to 20 percent, immediately expensing new capital investment, and expanding the child tax credit.
And more so than the Trump campaign plans, the House plan intended to reform the tax code, not just cut taxes. For example, it eliminated all personal itemized deductions other than mortgage interest and charitable contributions. The House plan also made a stronger attempt to pay for the tax through a border-adjustment tax and limiting business-interest deductibility. All in all, the plan cost a couple of trillion dollars over a decade, not assuming economic feedback. On such a dynamic basis, according to Tax Foundation modeling, the House plan would reduce 10-year revenues by just under $200 billion.
So if Republicans really wanted to make their plan revenue neutral, it was certainly doable through relatively minor changes, such as less dramatic corporate or personal rate cuts. Yet the plan would still be a massive improvement over the status quo, both in terms of encouraging more domestic investment and providing middle-class tax relief.
With a detailed plan at the ready and Republicans running Washington, it is easy to understand why many in the GOP thought it reasonable to predict that Trump would be signing a mega tax bill by August of this year, just as Ronald Reagan did in the first year of his first term. Reagan did it from his ranch in Santa Barbara, California. Maybe Trump would repeat the feat from his Trump Tower penthouse in Manhattan.
But that did not happen. Then again, very little of Trump’s ambitious domestic agenda has happened as planned. Repeal and replace was promised by Easter, leaving plenty of time to hash out the fine details of tax reform and move legislation through the House and Senate. But the GOP health reform was a long slog consuming valuable time, attention, and political capital. Also deserving blame was Trump’s inability to focus on pushing policy priorities rather than pounding political opponents on Twitter. As of now, it seems highly unlikely that significant tax reform will occur in 2017. And 2018 looks challenging as well.
Yes, Trump has provided more distraction than leadership on this issue. And trying to pass major legislation in a midterm year only adds to the political difficulties. But the biggest problem is that there is no tax-reform plan for Republicans to push.
What happened to the ready-to-serve House plan? It suffered from not being a fantasy. It acknowledged both political and policy constraints, something the populist president almost never does. For instance: the House plan tried to pay for the tax cuts—a political necessity to placate debt-hawk Republicans. That requires making somebody somewhere unhappy. Ryan knew that without such an effort, it would be extraordinarily difficult to reduce the corporate tax rate to anywhere close to 20 percent. But while exporters supported the border tax, importers hated it, complaining that it would raise costs. Nor was the Trump White House happy about axing business-interest deductibility.
Still, as problematic as those pay-fors were, the alternatives—limiting tax breaks for mortgages, 401(k)s, and state and local taxes—are equally if not more so. The state and local tax deduction is a case in point. Pushed hard by Republican leaders as the primary revenue generator to replace border adjustment, it seems unlikely to survive criticism from blue-state Republicans. Eventual legislation is likely to be a far smaller and less comprehensive bill than first envisioned—more cut than reform—with some temporary parts designed to satisfy congressional budget rules. Indeed, Senate budget writers cleared room for just a $1.5 trillion tax cut, and even that might be overly ambitious. Expect Trump and his people to call whatever passes a “down payment” on true tax reform. Pro-growth conservatives should call it a missed opportunity.
Click here to read what James Pethokoukis wrote about Candidate Trump and taxes last year.
James Pethokoukis is the DeWitt Wallace Fellow at the American Enterprise Institute. He is also an official CNBC contributor.
‘The Wall’ By Linda Chavez
“We’re going to build a wall. That wall will go up so fast, your head will spin.” Donald Trump made this promise on August 23, 2016, repeated it throughout his presidential campaign, and has reiterated it in tweets and at press conferences and rallies ever since. But the only spinning going on lately has been the president’s own efforts to assure his base that he will eventually build a wall, or a fence, or some barrier along the U.S. border with Mexico, except maybe for those areas that don’t need one or already have one. Oh, and someone will pay for it—preferably Mexico, as he promised—but if not, Congress, unless Democrats or even Republicans refuse to go along. A year after winning the presidency, Trump’s most ubiquitous pledge, The Great Wall separating the U.S. from Mexico, remains largely a figment of his imagination and evidence of his supporters’ gullibility.
No issue defined Trump’s campaign more viscerally than immigration, and on none was his position less ambiguous. Trump’s presidential record on immigration enforcement and policy, however, is decidedly more mixed. He continues to promise that construction of the wall is going to start soon: “Way ahead of schedule. Way ahead of schedule. Way, way, way ahead of schedule,” he said in February. But the cost, with estimates as high as $70 billion, and the sheer impracticality of erecting a solid barrier along 1,900 miles make little sense in light of recent trends in illegal immigration. Illegal immigration is at historically low levels today (roughly the same, in absolute numbers, as it was in the early 1970s) and has been falling more or less consistently since the peak in 2000, mostly because fewer people are crossing the border from Mexico. Apprehensions of Mexicans are at a 50-year low, as are all apprehensions along the southern border. Year-to-date in 2017, apprehensions at the Mexican border have dropped 24 percent compared with those in 2016, when a slight uptick occurred as more people tried to cross in advance of a feared Trump victory and border crackdown. The population of undocumented immigrants living in the U.S. is down as well and now stands at roughly 11 million, from a peak of 12.2 million in 2007; and two-thirds of these unauthorized immigrants have lived here a decade or longer. More Mexicans—whom Trump described as “bringing drugs. . . crime. They’re rapists”—are now leaving the U.S. than arriving. In 2013, for the first time since the 1960s, Mexico fell as the top source of immigrants to the U.S., behind both China and India.
Trump’s pledge to build a wall, of course, wasn’t his only promise on immigration, but he hasn’t lived up to his own hype in other areas either, which is a good thing. He said he’d end on day one the Obama administration’s Deferred Action for Childhood Arrivals (DACA), a program that provided temporary protection from removal for young people who arrived here illegally before age 16. Instead, Trump waited until September 5 to send his beleaguered Attorney General Jeff Sessions out to announce that DACA would end in six months unless Congress acted. Trump then almost immediately backtracked in a series of tweets and offhand statements. Polls show that large majorities of Americans, including some two-thirds of Trump voters, have no interest in deporting so-called Dreamers, half of whom came before they were seven years old and 90 percent of whom are employed and paying taxes. Trump’s own misgivings and the backlash over the policy’s announcement led him into a tentative deal with Democratic leaders Representative Nancy Pelosi and Senator Chuck Schumer in September to support legislation granting legal status for Dreamers who complete school, get jobs, or join the military. Trump’s most nativist supporters have already dubbed him “Amnesty Don” for even suggesting that Dreamers should be allowed to remain and gain temporary legal status, much less earn a path toward citizenship. But whether such legislation will make it through Congress is still uncertain. Similar bills have repeatedly passed one chamber and died in the other over the past 10 years, but the potential threat that the administration might begin deporting many of the 800,000 young adults who signed up for DACA should concentrate the minds of the Republican leadership to allow legislation to move forward. One of the complications in the House is the “Hastert Rule,” named after former Speaker Dennis Hastert, an informal agreement that binds the speaker from bringing a bill to the floor unless a majority of the majority party supports it.
To be sure, Trump’s rhetoric and his appointment of hard-line immigration restrictionists to posts in his administration have led to fear among immigrants, as have the administration’s erratic, irrational enforcement policies. Previous administrations, including Barack Obama’s, gave priority to detaining and deporting aliens convicted of serious crimes, but in one of his first executive orders and Department of Homeland Security memoranda, Trump broadened the priorities for detention and removal to include anyone even suspected of committing a crime, with or without charges or conviction. As a result, arrests for immigration offenses have increased under Trump and have swept up hundreds of individuals who pose no threat to safety or security, some picked up outside their children’s schools or when seeking court orders against domestic abuse. Actual deportations, on the other hand, are down slightly in Trump’s first eight months compared with the same period in Obama’s last year. This is largely because the overloaded system isn’t equipped for mass deportation. Trump promised to rid the country of a greatly exaggerated 2 million criminal aliens and “a vast number of additional criminal illegal immigrants who have fled or evaded justice.” But his boasting that “their days on the run will soon be over” has always been aimed less at promoting sensible immigration policy than at stoking nativist anger in pursuit of his own brand of identity politics. Trump’s America will be a less welcoming place for immigrants—legal as well as illegal—if Trump gets his way on proposed legislation to reduce legal immigration by half over the next decade. But labor shortages and an aging population make it unlikely that Trump’s efforts will succeed. The simple fact is that we need more, not fewer, immigrants if the economy is to grow. Building walls and deporting workers is exactly the wrong way to go about needed immigration reform, whether Trump and his hard-core base can admit it or not.
Click here to read what Linda Chavez wrote about Candidate Trump and ‘The Wall’ last year.
Linda Chavez is the president of the Becoming American Institute and a frequent contributor to Commentary.
On Infrastructure By Philip Klein
A massive infrastructure bill was supposed to be one of the early triumphs of President Trump’s administration. Instead, Trump’s inability to advance the ball on one of his signature issues has highlighted the lack of focus, inattention to detail, and difficulties working with Congress that are emblematic of his presidency to date.
The idea of rebuilding the nation’s infrastructure, though overshadowed by daily controversies during the wild 2016 campaign, wove together several elements of the Trump phenomenon.
His experience in building projects such as luxury hotels, resorts, skyscrapers, and golf courses became central to his argument that he had the skills required to get things done in Washington. By touting the economic benefits of infrastructure during his campaign, Trump also signaled that he was an unorthodox Republican, breaking with decades of conservative critiques of Keynesian stimulus projects. Trump also spoke of infrastructure in nationalist terms, integrating it into riffs about how the United States was constantly losing to China. “They have trains that go 300 miles per hour,” he said during the campaign. “We have trains that go: Chug. Chug. Chug.”
When Trump pulled off his election-victory upset, Washington insiders quickly focused on infrastructure as one issue on which he could get a legislative win and box Democrats into a corner. After all, could Democrats really resist passing a major policy priority that had eluded them when one of their own was in the White House?
In his Inaugural Address, Trump threw a jab at Bush-era Republicanism, declaring that the U.S. “spent trillions of dollars overseas while America’s infrastructure has fallen into disrepair and decay.” Going forward, he said, “America will start winning again, winning like never before.” He promised: “We will build new roads, and highways, and bridges, and airports, and tunnels, and railways all across our wonderful nation.”
Now in the fall of the first year of his presidency, any effort to advance infrastructure legislation has been drowned out by daily controversies involving White House intrigue, the investigation into Russian influence in the 2016 election, and Trump’s raucous Twitter feed. Congress, meanwhile, spent much of the year focused on repealing and replacing Obamacare.
This isn’t to say that the Trump administration didn’t try, in fits and starts, to push infrastructure. In May, with the release of his first budget, Trump included $200 billion in funding for infrastructure as the first step in his $1 trillion infrastructure initiative. He also released a six-page fact sheet outlining his vision for infrastructure, which remains the most detailed resource on his infrastructure goals.
The document, broadly speaking, argues that current infrastructure money is spent inefficiently. It proposes greater selectivity in using federal dollars for infrastructure investments that are in the national interest and recommends giving state and local governments more leeway over their own projects. It also calls for more public-private partnerships.
Specifically, the proposal would create a nongovernment entity to manage the nation’s air-traffic-control system. It would also support private rest stops, give states the ability to work with private companies to manage their toll roads, and streamline the environmental-review process. The proposal received little attention, as it was rolled out during a week when Russia hearings took center stage in Congress and Trump was traveling in Europe and the Middle East.
Such inattention was supposed to end in early June, when White House officials announced “Infrastructure Week.” This was a carefully orchestrated campaign in which Trump was supposed to deliver speeches and lead staged events to highlight different aspects of his infrastructure initiative. But during this week, Washington was captivated by testimony of fired FBI Director James Comey, and Trump veered way off message in his speeches and on his favorite social-media platform.
He went on a Twitter tear. Trump attacked his own Justice Department for pursuing a “watered down” travel ban, took a shot at the mayor of London in the wake of a terrorist attack, unloaded on “fake news” outlets, and hit Comey as a liar. During a speech meant to make the case for both parties to get behind his infrastructure effort, Trump went off on a tangent, blasting Democrats as “obstructionists” on health care.
In truth, any hope of getting Democrats on board for the Trump infrastructure push had been fading even before this implosion. Liberals had already pressured lawmakers to pursue a policy of total resistance to Trump. But during Trump’s big policy push, Senate Minority Leader Chuck Schumer declared overtly that Democrats had no appetite for his infrastructure initiative due to its reliance on privatization.
Before long, the phrase “Infrastructure Week” had become a punch line—an ironic metaphor for a presidency gone off the rails.
Trump has made little progress on infrastructure since then, beyond issuing an executive order in August aimed at making the permitting process for building roads, bridges, and pipelines more efficient. But again, this announcement was overshadowed, as it came during the same news conference in which he blamed “both sides” for the violence in Charlottesville and complained about the slippery slope of removing the Robert E. Lee statue.
On the other hand, by striking a deal with Democratic leaders on the debt ceiling and negotiating with them on immigration, Trump has revived talk about the possibility that he could be ready to compromise with them to get infrastructure legislation passed as well. It is important to note, however, that in both cases—DACA and the debt ceiling—there was a ticking-time-bomb element that forced action. No such urgency exists when it comes to infrastructure.
From the perspective of a limited-government conservative, Trump’s inability thus far to negotiate a trillion-dollar federal infrastructure package with Democrats is nothing to shed tears about. But if we’re looking at the issue through the broader lens of whether or not Trump has been able to deliver on his ambitious campaign promises and make the transition from being a bombastic reality-television star to governing, it’s a case study in failure.
Click here to read what Philip Klein wrote about Candidate Trump and infrastructure last year.
Philip Klein is managing editor of the Washington Examiner.
On NATO By Tod Lindberg
On the campaign trail, Donald Trump was unsparing in his disparagement of U.S. alliances. In a word, allies were freeloaders—complacent in their reliance on the United States to provide them security, contributing nothing like their “fair share” of the cost of their defense, and lavishing the dividend on their domestic needs. Maybe that was acceptable when they were flat on their backs after a war that left the United States on top, but now that they are prospering and the United States has pressing needs of its own, it’s time for the allies to pay up. He also mused about NATO being “obsolete.”
This was alarming (to put it mildly) to most American foreign-policy specialists—to say nothing of the reaction of U.S. allies. The postwar alliance structure in Europe has been the backbone of security on a continent where the United States fought two wars. The North Atlantic Treaty Organization underpinned the postwar revival of Western Europe and subsequently, after the collapse of the Warsaw Pact and the demise of the Soviet Union, of Central and Eastern Europe. The relevance of the alliance has gained renewed salience with Russia’s aggression against its neighbors, first in Georgia in 2008, then in Ukraine in 2014.
At the heart of the alliance is Article 5 of the Washington Treaty of 1949—the commitment of each member to regard an armed attack on any as an attack on all. In practical terms, the meaning of Article 5 is that American power provides a security guarantee for Europe, a commitment upheld and explicitly reiterated by U.S. presidents since Harry S. Truman. The treaty is binding, yet equally in practical terms, it is the
American president whose commander-in-chief powers will dictate the response of the U.S. military to any attack—and by extension, the sincerity of his commitment determines the deterrent value of Article 5 against potential aggressors. Would a President Trump abrogate the U.S. commitment? Or hold it hostage to defense-spending increases by allies—perhaps even by demanding the payment of a much larger past-due bill, as the candidate suggested on at least one occasion?
In Asia, the biggest long-term challenge is the rise of China; the U.S. alliances with Japan, South Korea, Australia, and the Philippines (as well as the more complicated commitment enshrined in the Taiwan Relations Act) represent the underpinning of Pacific security. Would this, too, be up for grabs under Trump? Was “America First” shorthand for an isolationist retooling of U.S. relations with the rest of the world? The short answer to these questions turns out to be no. Trump has no apparent intention to do away with U.S. alliance relationships, however cumbersome and expensive he perceives them to be, and he evinces no intention to try to replace the postwar security architecture with something new and different, whatever that might be. So what happened? Were his many critics sounding the alarm therefore wrong about his intentions? Did he change his mind? Is the question of alliances now settled? Since Trump has taken office, alliance policy seems to have operated on two tracks within the U.S. government. The first track is the president’s own. He has continued to warn allies that they need to pay up—though his demands have moderated considerably, coalescing around the 2 percent of GDP that allies have pledged to spend on defense (though very few do). And although he has reaffirmed the U.S. Article 5 commitment on some occasions, on others when it would have been appropriate for him to do so, he has declined, apparently intentionally. Still, he has never repudiated the commitment. There seem to be two possibilities here: either a deliberate exercise in ambiguity, or incompetence and confusion of the kind his critics have long diagnosed.
I think the evidence points distinctly toward the former. That evidence is the second track of policy within the government. Vice President Mike Pence, Secretary of State Rex Tillerson, and Secretary of Defense James Mattis—as well as officials junior to them—have been on something close to a nonstop reassurance tour of U.S. allies and partners since the beginning of the administration. National Security Adviser H.R. McMaster has joined the chorus since he stepped in to replace the ousted Michael Flynn. Their message has been unambiguous: The United States stands by its security and alliance commitments, and allies must contribute more to collective defense. True, some allies continue to harbor doubts centered on the persona of Trump. Yet—therefore?—many are moving to spend more on defense.
Now, the simple fact is that Trump could order his Cabinet members and senior staff to desist from repeating the first half of their message—the reassurance. Trump might have had some resignations to cope with, but it is well within his power to issue such an edict, and he hasn’t done so. The most likely reason he hasn’t is that he has concluded that too much is riding on these alliances. To continue in this speculative vein, what Trump knew to be true about U.S. allies during the campaign season was that they weren’t contributing enough; that’s a message that Washington has been sending with little effect for decades. What he didn’t know on the campaign trail and has since determined is how central these alliances are to U.S. national security. U.S. alliances aren’t quite so fragile as some feared. The case for them, competently made by the likes of Mattis, must be compelling, including to the skeptic in chief.
It’s here that we may be getting a little lesson in the cunning of history. From his skeptical premise, Trump sparked a very broad debate over alliances. Senior officials of his administration have probably devoted more time and energy to making the public case for NATO and our Pacific alliances during his first 10 months in office than their predecessors did in the previous 10 years. The latter had taken the utility of alliances to U.S. national security as a given.
All this attention has had an effect on public opinion. But the effect has not been, as many feared, a groundswell of support for isolationist or anti-alliance sentiment. Just the opposite. For the past three years, the Chicago Council Survey has asked, “How effective do you think [maintaining effective alliances is] to achieving the foreign-policy goals of the United States?” In 2015, 32 percent of all respondents responded “very effective.” In 2016, the figure was 40 percent. In 2017? Forty-nine percent. Specifically on NATO, 69 percent say the alliance is “essential” to U.S. security, a slight increase from 65 percent in 2016 and well above the 57 percent who said the same when the Chicago Council first asked the question in 2002.
For the first time in the history of the survey, a majority of Americans, 52 percent, say they would support “the use of U.S. troops…if Russia invades a NATO ally like Latvia, Lithuania, or Estonia.” The Trump administration has had little to say about the Russian threat to the Baltics but a great deal to say about the danger of North Korea’s nuclear weapons and missile program. A year ago, 47 percent said they would favor “the use of U.S. troops…if North Korea invaded South Korea.” That was the view of 26 percent of Americans in 1990. Today, it’s what 62 percent think.
Finally, on the question of allies paying up, the survey asked which comes closer to the respondent’s views: “The United States should encourage greater allied defense spending through persuasion and diplomatic means” or “The United States should withhold its commitment to defend NATO members” until they actually spend more. Overall, 59 percent said persuasion and diplomacy; 38 percent (including 51 percent of Republicans) would put Article 5 at risk. Maybe I’m hearing things, but that sounds to me more like a warning to our allies to take seriously American insistence that they spend more on defense starting now than it does an abrogation of the commitments at the center of U.S. national-security strategy for 70 years.
Click here to read what Tod Lindberg wrote about Candidate Trump and NATO last year.
Tod Lindberg is a member of the Chicago Council Survey’s foreign policy advisory board.
On Asia By Michael Auslin
Despite continued Russian threats in Eastern Europe and the lurking danger of an Iranian race to a nuclear bomb, it is Asia that has vaulted to the top of the national-security agenda. Barack Obama had warned Donald Trump that North Korea would be the major national-security threat he would face, and North Korean dictator Kim Jong Un has proved him right. Kim is on the threshold of fielding a reliable intercontinental ballistic missile (ICBM) that can reach U.S. territory in the Pacific and even the American homeland. He is within striking distance of achieving his family’s long-held dream of possessing the ultimate weapon. Not since 1994, when Bill Clinton initially ordered and then called back an air strike on Pyongyang’s nascent nuclear facilities, has the region seemed so close to war.
Beyond the Korean peninsula, Asia has arguably been Trump’s central foreign preoccupation since his entry into politics. He talked during his campaign about a 45 percent tariff on Chinese goods. And despite his noninterventionist affect, he began his transition phase by getting tough on China for its increasingly assertive actions during the Obama years, including the successful building and militarization of islands in contested waters in the South China Sea.
Then Trump retreated from his tough stance toward Beijing, initiating a period of seesawing between cooperation and confrontation and mixing together trade and economic concerns with security and diplomatic issues. His explicit linkage of the two, carefully separated by previous presidents, has been particularly unnerving to Beijing. China’s regime has warned of the risks of a larger trade war if Trump continues to threaten economic retaliation for disagreement on security issues. Of equal concern to Beijing has been his recent willingness to permit more frequent freedom-of-navigation operations by the U.S. Navy in the disputed South China Sea waters off the Spratly and Paracel Islands.
Trump’s initial hard line, including an unprecedented transition-period phone call to Taiwan’s president, put Beijing on its back foot. But his subsequent inconstancy has led to a reassertion of Chinese activism on economic and diplomatic issues. His withdrawal from the Trans-Pacific Partnership and general anti-free-trade stance have allowed Chinese President Xi Jinping to claim the mantle of global economic leadership—promoting free-trade alternatives and grandiose policies such as the “Belt and Road Initiative,” in which Xi has promised more than $1 trillion of infrastructure investment to link the world in a trading network centered in China.
In contrast, Trump’s relations with America’s Asian allies, particularly Japan and South Korea, have been surprisingly smooth. Again backing down from campaign rhetoric, Trump early on reaffirmed the importance of both alliances, and buried talk of making the two pay more for hosting U.S. forces on their territory. His bond with Japanese Prime Minister Shinzo Abe has been particularly close, and his conversations with South Korea’s new left-leaning president, Moon Jae In, have gone better than some expected. Far from scaling back the alliances, Trump and his top officials, including Secretary of Defense James Mattis, have put them at the center of American strategy in the Pacific, especially with respect to North Korea.
It is North Korea, however, that remains the first great test of the Trump administration. Trump clearly inherited a failed policy, stretching over past Democratic and Republican administrations alike, and was doubly cursed in coming to office on the eve of Kim Jong Un’s nuclear and ICBM breakout.
Yet despite Trump’s heated rhetoric, he and his team have actually moved cautiously on North Korea. Like its predecessors, the administration has combined shows of force, such as flying B-1 bombers over the peninsula, with appeals to the United Nations for further sanctions on Pyongyang. Two new rounds of sanctions, in July and September, may indeed have been harder than those previously levied, but, just as in the past, the administration had to settle for less than it wanted. More worrying, Trump appears to be adopting the long-held goal of presidents past: North Korean denuclearization. This is a strategic mistake that threatens to lock him into an unending series of negotiations that have served over the past quarter-century to buy time for Pyongyang to develop its nuclear and missile capabilities. I believe it would be a far more realistic move for Trump to drop the chimera of denuclearization and instead tacitly acknowledge that North Korea is a nuclear-weapons-capable state. This would free up the administration to focus on the far more important job of deterring and containing a nuclear North Korea. Since Trump is almost certainly sure to avoid a preventive war to remove Kim’s nuclear weapons, given the associated military and political risks, he will be forced in the end to accept them. That then mandates a credible and comprehensive policy to restrict North Korea’s actions abroad while making clear that any nuclear use will result in a devastating counterstrike. Washington has been deterring North Korea ever since the end of the Korean War. This new approach explicitly makes deterrence the center of U.S. policy, dropping the unobtainable goal of denuclearization or the imprudent goal of normalizing relations with North Korea. To be successful, Trump will need to get the support of both Seoul and Tokyo, which is a tall order. The alternative, however, is another round of Kabuki negotiations and the diversion of U.S. attention from the far more necessary task of ensuring that Kim Jong Un is kept in his nuclear box.
Click here to read what Michael Auslin wrote about Candidate Trump and Asia last year.
Michael Auslin is the Williams-Griffis Fellow in Contemporary Asia at the Hoover Institution, Stanford University, and the author of The End of the Asian Century (Yale).
On Israel By Daniella J. Greenbaum
As a candidate, Donald Trump’s positions on Israel were a blend of incoherence and inconsistency. He was an isolationist, except he was also Israel’s biggest supporter; he would enforce the Iran deal, except he wanted to rip it up on day one; he was the most pro- Israel candidate on the stage, except that he wanted to be “the neutral guy”; he wouldn’t commit to a policy on Jerusalem, except he declared his plan to immediately move the American Embassy to Israel’s eternal and undivided capital.
Words—especially a president’s—matter, but until Trump took office, it was impossible to predict how his administration would treat the Jewish state. Some Israel advocates became convinced that Trump’s victory would lead to the fulfillment of their bucket list of Middle East dreams—in particular, resolution of the long-simmering issue involving the location of the U.S. Embassy in Israel. The Jerusalem Embassy Act, which became law in 1995, recognized that “each sovereign nation, under international law and custom, may designate its own capital” and that “since 1950, the city of Jerusalem has been the capital of the State of Israel.” It ordered that “the United States Embassy in Israel should be established in Jerusalem no later than May 31, 1999.”
And yet, despite all that, the American Embassy has remained in Tel Aviv. (Presidents were given the power to push the date back on national-security grounds.) Much like then-candidates Bill Clinton and George W. Bush, Trump pledged to move the embassy if elected president. In a March 2016 speech to the American Israel Public Affairs Committee’s Policy Conference, Trump said unequivocally: “We will move the American Embassy to the eternal capital of the Jewish people, Jerusalem.”
The American Embassy belongs in Jerusalem, and Trump’s evolution on the issue was, for the most part, encouraging. (Early on in his candidacy, he was booed at the Republican Jewish Coalition’s annual meeting after refusing to take a position on Jerusalem’s status.) But for Israelis, who face myriad threats on a daily basis—both physically, from their many hostile neighbors, and economically, through an international boycott, divestment, and sanctions campaign—the location of the embassy ranks low on the list of urgent political matters. Even the most ardent proponents of this policy shift acknowledge it has the potential to inflame tensions in the region. Like his predecessors, Trump signed the waiver and suspended the move.
Next on the bucket list: discarding Barack Obama’s cataclysmic Iran deal. When Trump was a candidate, his intentions for the Joint Comprehensive Plan of Action (JCPOA) were anything but clear. He told AIPAC, “My number-one priority is to dismantle the disastrous deal with Iran.” But he also said, “We will enforce it like you’ve never seen a contract enforced before folks, believe me.” It’s hard to know which part of his schizophrenic speech the audience—and the country—was supposed to believe. The schizophrenia has continued during his tenure, with Trump certifying the Iran deal twice before announcing in October his decision not to recertify a third time. Despite signaling his extreme displeasure with the deal, Trump has so far opted not to terminate it. But, by refusing to recertify, he has instead left to Congress the decision whether or not to reimpose sanctions.
Most important, perhaps, to pro-Israel forces was Trump’s choice of foreign-policy team. While Jared Kushner’s lack of political experience made him an odd choice for Middle East maven—Trump exclaimed at an inauguration event: “if [he] can’t produce peace in the Middle East, nobody can”—there is no denying that Kushner is a Zionist. Along with Jason Greenblatt, Trump’s envoy to the Israeli–Palestinian peace process, Kushner visited Israel this summer to determine whether restarting peace talks was a viable course of action. The duo have articulated their desire to refrain from repeating the mistakes of previous administrations: “It is no secret that our approach to these discussions departs from some of the usual orthodoxy. … Instead of working to impose a solution from the outside, we are giving the parties space to make their own decisions about the future,” Greenblatt explained. Maybe that’s why Benjamin Netanyahu seems so elated. Bibi’s friction with Obama was well documented, and the prime minister has expressed his jubilation at the changed nature of his relationship to Washington. During the United Nations General Assembly, he tweeted: “Under your leadership, @realDonaldTrump, the alliance between the United States and Israel has never been stronger.”
During the campaign, it was hard to imagine that might be the case. Trump’s repeated use of the phrase “America First,” a classic isolationist trope with anti-Semitic overtones, was deeply concerning to pro- Israel voters. He continually insisted that foreign governments were a drain on the American economy: “I want to help all of our allies, but we are losing billions and billions of dollars. We cannot be the policemen of the world. We cannot protect countries all over the world…where they’re not paying us what we need.” According to a 2016 report from the Congressional Research Service, “Israel is the largest cumulative recipient of U.S. foreign assistance since World War II.” The report calculates that the United States has, over the years, provided Israel with more than $127 billion in bilateral assistance. If words and campaign promises meant anything to Trump, the candidate who insisted that Israel could pay “big league” would have metamorphosed into the president who ensured that it did.
But Trump’s campaign promises seem to have had no bearing on his actions. In an appropriations bill, Congress pledged an extra $75 million in aid to Israel, on top of the annual $3.1 billion already promised for this year. As part of negotiations for the 2016 Memorandum of Understanding, the Israeli government promised to return any funds that surpassed the pre-negotiated aid package. In what was doubtlessly a major disappointment to Trump’s America-first base, the State Department confirmed it will not be asking the Israelis to return the additional funds.
His behavior toward Israel during his eight months in office has confirmed what was evident throughout the campaign: Donald Trump’s words and actions have, at best, a haphazard relationship to each other. So far Israel has benefited. That may not always be the case.
Click here to read what Jordan Chandler Hirsch wrote about Candidate Trump and Israel last year.
Daniella J. Greenbaum is assistant editor of Commentary.
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Of Hobbes and Harvey Weinstein
In man’s natural state, with no social or religious order to impose limits upon his hungers and passions, “notions of right and wrong, justice and injustice have there no place. Where there is no common power, force and fraud are…the cardinal virtues.” Thus did Thomas Hobbes, in 1651, anticipate and describe the sordid story of the film producer Harvey Weinstein.
The reason Weinstein’s three decades of monstrous personal and professional conduct are so appalling and fascinating in equal measure is that he was clearly functioning outside the “social compact” Hobbes said was necessary to save men from a perpetual state of war they would wage against one another in the state of nature. For that is what Weinstein was doing, in his own way: waging Hobbesian war against the women he abused and finding orgasmic pleasure in his victories.
And Weinstein did so while cleverly pretending to leadership within the social compact and disingenuously advocating for its improvement both through political change and artistic accomplishment. Hobbes said the life of man in the state of nature was nasty, brutish, and short, but he did not say the warrior could not be strategic. Rochefoucauld’s immortal declaration that hypocrisy is the tribute vice pays to virtue is entirely wrong in this case. Weinstein paid off feminists and liberals to extend his zone of protection and seduction, not to help support the virtues he was subverting with his own vices.
Hobbes said that in the state of nature there was “no arts; no letters; no society.” But if the man in the state of nature, the nihilistic warrior, coexists with people who live within the social compact, would it not be a brilliant strategy to use the arts, letters, and society as cover, and a means of infiltrating and suborning the social compact? Harvey Weinstein is a brutal thug, a man of no grace, more akin to a mafioso than a maker of culture. And yet as a movie producer he gravitated toward respectable, quality, middlebrow, elevated and elevating fare. People wanted to work with him because of the kinds of movies he made. I think we can see that was the whole point of the exercise: It was exciting to be called into his presence because you knew you would do better, more socially responsible, more praiseworthy work under his aegis than you would with another producer.
And then, garbed only in a bathrobe, Weinstein would strike.
Weinstein was universally known to be a terrible person long before the horrifying tales of his sexual predation, depredation, and assault were finally revealed. And—this is important—known to be a uniquely terrible person. His specific acts of repugnant public thuggishness were detailed in dozens of articles and blog items over the decades, and were notable precisely because they were and are not common currency in business or anywhere else. It was said of him after the latest revelations that he had mysterious abilities to suppress negative stories about himself, and perhaps he did; even so, it was a matter of common knowledge that he was the most disgusting person in the movie business, and that’s saying a lot. And that’s before we get to sex.
To take one example, Ken Auletta related a story in the New Yorker in 2001 about the director Julie Taymor and her husband, the composer Eliot Goldenthal. She had helmed a movie about Frida Kahlo produced by Weinstein. There was a preview screening at the Lincoln Square theater in Manhattan. The audience liked it, but some of its responses indicated that the plotline was confusing. Weinstein, whose hunger to edit the work of others had long since earned him the name “Harvey Scissorhands,” wanted to recut it to clarify the picture. Taymor didn’t, citing the audience’s favorable reaction. Then this happened:
He saw Taymor’s agent…and yelled at him, “Get the fuck out of here!” To Goldenthal, who wrote the score for Frida, Weinstein said, “I don’t like the look on your face.” Then, according to several witnesses, he moved very close to Goldenthal and said, “Why don’t you defend her so I can beat the shit out of you?” Goldenthal quickly escorted Taymor away. When asked about this incident, Weinstein insisted that he did not threaten Goldenthal, yet he concedes, “I am not saying I was remotely hospitable. I did not behave well. I was not physically menacing to anybody. But I was rude and impolite.” One member of Taymor’s team described Weinstein’s conduct as actually bordering on “criminal assault.”
Weinstein told the late David Carr in 2002 that his conduct in such cases had merely been the result of excess glucose in his system, that he was changing his diet, and he was getting better. That glucose problem was his blanket explanation for all the bad stories about him, like this one:
“You know what? It’s good that I’m the fucking sheriff of this fucking lawless piece-of-shit town.” Weinstein said that to Andrew Goldman, then a reporter for the New York Observer, when he took him out of a party in a headlock last November after there was a tussle for Goldman’s tape recorder and someone got knocked in the head.
Goldman’s then-girlfriend, Rebecca Traister, asked Weinstein about a controversial movie he had produced. Traister provided the predicate for this anecdote in a recent piece: “Weinstein didn’t like my question about O, there was an altercation…[and] he called me a c—.”
Auletta also related how Weinstein physically threatened the studio executive Stacey Snider. She went to Disney executive Jeffrey Katzenberg and told him the story. Katzenberg, “one of his closest friends in the business,” told Weinstein he had to apologize. He did, kind of. Afterward, Katzenberg told Auletta, “I love Harvey.”
These anecdotes are 15 years old. And there were anecdotes published about Weinstein’s behavior dating back another 15 years. What they revealed then is no different from what they reveal now: Weinstein is an out-and-out psychopath. And apparently this was fine in his profession…as long as he was successful and important, and the stories involved only violence and intimidation.
Flash-forward to October 2017. Katzenberg—the man who loved Harvey—publicly released an email he had sent to Weinstein after he was done for: “You have done terrible things to a number of women over a period of years. I cannot in any way say this is OK with me…There appear to be two Harvey Weinsteins…one that I have known well, appreciated, and admired and another that I have not known at all.”
So which Weinstein, pray tell, was the one from whom Katzenberg had had to protect Stacey Snider? The one he knew or the one he didn’t know? Because they are, of course, the same person. We know that sexual violence is more about power than sex—about the ultimate domination and humiliation. In these anecdotes and others about Weinstein, we see that his great passions in life were dominating and humiliating. Even if the rumors hadn’t been swirling around his sexual misconduct for decades, could anyone actually have been surprised he sought to secure his victory over the social compact in the most visceral way possible outside of murder?
The commentariat’s reaction to the Weinstein revelations has been desperately confused, and for once, the confusion is constructive, because there are strange ideological and moral convergences.
The most extreme argument has it that he’s really not a unique monster, that every working woman in America has encountered a Weinstein, and that the problem derives from a culture of “toxic masculinity.” This attitude is an outgrowth of the now-fashionable view that there have been no real gains for women and minorities over the past half-century, that the gains are illusory or tokenish, and that something more revolutionary is required to level the playing field.
As a matter of fact in the Weinstein case, this view is false. Women have indeed encountered boors and creeps in their workplaces. But a wolf-whistler is not a rapist. Someone who leers at a woman isn’t the same as someone who masturbates in front of her. Coping with grotesque and inappropriate co-workers and bosses is something every human being, regardless of gender, has had to deal with, and will have to deal with until we are all replaced by robots. It’s worse for women, to be sure. Still, no one should have to go through such experiences. But we all have and we all do. It’s one of the many unpleasant aspects of being human.
Still, the extreme view of “toxic masculinity” contains a deeper truth that is anything but revolutionary. It takes us right back to Hobbes. His central insight—indeed, the insight of civilization itself—is that every man is a potential Weinstein. This clear-eyed, even cold-eyed view of man’s nature is the central conviction of philosophical conservatism. Without limits, without having impressed upon us a fear of the legal sanction of punishment or the social sanction of shame and ostracism, we are in danger of seeking our earthly rewards in the state of nature.
The revolutionary and the conservative also seem to agree there’s something viscerally disturbing about sex crimes that sets them apart. But here is where the consensus between us breaks down. Logically, if the problem is that we live in a toxic culture that facilitates these crimes, then the men who commit them are, at root, cogs in an inherently unjust system. The fault ultimately is the system’s, not theirs.
Harvey Weinstein is an exceptionally clever man who spent decades standing above and outside the system, manipulating it and gaming it for his own ends. He’s no cog. Tina Brown once ran Weinstein’s magazine and book-publishing line. She wrote that “strange contracts pre-dating us would suddenly surface, book deals with no deadline attached authored by attractive or nearly famous women, one I recall was by the stewardess on a private plane.” Which means he didn’t get into book publishing, or magazine publishing, to oversee the production of books and articles. He did it because he needed entities through which he would pass through payoffs both to women he had harassed and molested and to journalists whose silence he bought through options and advances. His primary interest wasn’t in the creation of culture. It was the creation of conditions under which he could hunt.
Which may explain his choice of the entertainment industry in the first place. In how many industries is there a specific term for demanding sexual favors in exchange for employment? There’s a “casting couch”; there’s no “insurance-adjustor couch.” In how many industries do people conduct meetings in hotel rooms at off hours anyway? And in how many industries could that meeting in a hotel room end up with the dominant player telling a young woman she should feel comfortable getting naked in front of him because the job for which she is applying will require her to get naked in front of millions?
Weinstein is entirely responsible for his own actions, but his predatory existence was certainly made easier by the general collapse of most formal boundaries between the genders. Young women were told to meet him in private at night in fancy suites. Half a century earlier, no young woman would have been permitted to travel alone in a hotel elevator to a man’s room. The world in which that was the norm imposed unacceptable limitations on the freedoms of women. But it did place serious impediments in the paths of predators whose despicable joy in life is living entirely without religious, spiritual, cultural, or moral impediment.
Hobbes was the great philosopher of limits. We Americans don’t accept his view of things; we tend to think better of people than he did. We tend to believe in the greater good, which he resolutely did not. We believe in self-government, which he certainly did not. But what our more optimistic outlook finds extraordinarily difficult to reckon with is behavior that challenges this complacency about human nature. We try to find larger explanations for it that place it in a more comprehensible context: It’s toxic masculinity! It’s the residue of the 1960s! It’s the people who enabled it! The truth is that, on occasion—and this is one such occasion—we are forced to come face to face with the worst of what any of us could be. And no one explanation suffices save Hamlet’s: “Use every man after his desert, and who should ’scape whipping?”
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The education-reform outfit’s hard-left shift
In remaking itself, TFA has subtly downgraded the principles that had won it allies across the spectrum. George W. Bush, Mitch McConnell, John Cornyn, Chris Christie, and Meg Whitman are a few of the Republicans who championed TFA. The group attracted such boldface names, and hundreds of millions of dollars from some of the largest American firms and philanthropies, because it stood for a simple but powerful idea: that teacher quality is the decisive factor in the educational outcomes produced by schools.
Judging by its interventions in recent debates, it isn’t all that clear that senior TFA executives still believe this. These days, TFA’s voice on charters, accountability, and curricular rigor is decidedly muffled. Such education-reform essentials have been eclipsed in TFA’s discourse by immigration, policing, “queer” and transgender-identity issues, and other left-wing causes. TFA’s message seems to be that until numerous other social ills are cured—until immigration is less restricted, policing becomes more gentle, and poverty is eliminated—an excellent education will elude the poor. That was the status-quo defeatism TFA originally set out to challenge.
Wendy Kopp conceived TFA when she was a senior at Princeton in 1989. Unable to get a New York City teaching job without a graduate degree and state certification, Kopp wrote a thesis calling for the creation of a nontraditional recruitment pipeline that would bring America’s most promising young people to its neediest classrooms. TFA members would teach for two years, applying their energy and ambition to drive achievement at the classroom level. She speculated that some would stay in education, while others would go on to careers in law, medicine, business, journalism, etc. But all would remain “lifelong leaders in the effort to end educational inequity.”
The following year, Kopp launched TFA with a corps of 489 new teachers who were dispatched to schools in six regions—a virtuoso feat of social entrepreneurship. Since then some 50,000 teachers have completed the program. This year’s corps counts around 6,400 members, serving 53 regions from coast to coast.
By the time I joined, in 2005, TFA had distilled the experience of its best corps members into a theory of educational transformation called “Teaching as Leadership.” Most people, it said, aren’t natural-born educators. But they could rise to classroom greatness by setting “big goals” for all students, planning engaging lessons, continually assessing their students, maintaining tough discipline, and investing parents and the wider community in their goals.
Mostly, great teachers work hard—really hard. TFA brought the work habits usually associated with large law firms and high-end management consultancies to America’s K–12 failure factories. Its “summer institute” for new recruits was a grueling ordeal of tears, sweat, and 16-hour days. When I was a corps member, we were told that this is what it would take to overcome the forces of the status quo, which were chronically low expectations; broken homes and criminality in the streets; messy, undisciplined classrooms; and bloated bureaucracies that put the needs of adults above those of children.
The TFA worldview diverged sharply from the one that predominated in the education industry. The leading lights of the profession held that the achievement gap was a product of inadequate funding and larger social inequalities. Thus they transferred blame for classroom outcomes from teachers to policymakers and society at large. Teachers’ unions were particularly fond of this theory, since it provided cover for resisting accountability and high expectations.
TFA raged against all this. The assumption that some kids were doomed to underachievement was wrong and, indeed, bigoted. Ditto for the notion that inner-city children couldn’t be expected to behave like young scholars. These children could pull themselves up, provided they had dedicated educators who believed in them. This wasn’t to say that external factors were discounted altogether. But TFA concentrated on the things that educators and school leaders could control. It would emphasize self-help and uplift. And it would accept friends and allies across political divides to fulfill the promise of educational equality.T oday’s Teach for America is a different story. TFA’s leaders have now fully enlisted the organization in the culture war—to the detriment of its mission and the high-minded civic sensibility that used to animate its work.
This has been most visible in TFA’s response to the 2016 election. TFA chief executive Elisa Villanueva Beard, who took over from Kopp four years ago, doesn’t bother to mask either her progressivism or her revulsion at the new administration. When, a couple of weeks after the election, the president-elect announced his choice of Betsy DeVos to lead the Department of Education, Beard’s response was swift and cold.
A November 23 TFA news release began by decrying Trump’s “indisputably hostile and racially charged campaign” and called on DeVos to uphold “diversity, equity, and inclusiveness.” The statement went on to outline 11 TFA demands. Topping the litany was protection of the previous administration’s Deferred Action for Childhood Arrivals, or DACA, program, which granted legal status to certain illegal immigrants brought into the country as children. Then came the identity-politics checklist: “SAFE classrooms for LGBTQ youth and teachers,” “safe classrooms for students and teachers with disabilities,” “safe classrooms for Muslim students and teachers,” “culturally responsive teaching,” and so on.
Of the 11 demands, only three directly touched core education-reform areas—high expectations, accountability, and data-driven instruction—and these were couched in the broadest terms possible. Most notably, there wasn’t a single kind word for DeVos: no well wishes, no hope of “working together to achieve common goals,” no call for dialogue, nothing but angry demands. This, even though the secretary-designee was a passionate charter advocate and came from the same corporate philanthropy and activism ecosystem that TFA had long inhabited.
It is true that inner-city educators were horrified at the election of a candidate who winked at David Duke and suggested that a federal judge’s Mexican heritage was disqualifying. TFA’s particular concern about DACA makes sense, since many corps members work with illegal-immigrant children in border states. (My own stint took me to the Rio Grande Valley region of South Texas.)
Even so, TFA’s allergic reaction to the Trump phenomenon reflects faulty strategic thinking. Beard isn’t Rachel Maddow, and TFA isn’t supposed to be an immigration-reform outfit, still less a progressive think tank. With Republicans having swept all three branches of the federal government, as well as a majority of statehouses and governors’ mansions, TFA must come to terms with the GOP. Condemning the new education secretary as barely legitimate wasn’t wise.
Beard is also making a grave mistake by attempting to banish legitimate conservative positions from the reform movement. In the wake of the bloody white-nationalist protests in Charlottesville, Virginia, she blasted an email to the organization that denounced in one breath opposition to affirmative action and “racist and xenophobic violence.” Some two-thirds of Americans oppose race-based affirmative action. Will these Americans give TFA a fair hearing on educational reform when the organization equates them with alt-right thugs? In a phone interview, Beard said she didn’t intend to link white nationalism with opposition to affirmative action.
As for DACA, the amount of attention TFA devotes to the fate of those affected is out of all proportion. TFA has a full-time director for DACA issues. A search of its website reveals at least 31 news releases, statements, and personal blogs on DACA—including a 2013 call for solidarity with “UndocuQueer students” that delved into the more exotic dimensions of intersectionality. As one education reformer told me in an interview, “They are super-concerned with ‘can’t wait’ issues—DACA and so on—and so much of their mental space [is filled up] by that kind of thing that less of their attention and time is being spent” on central priorities. “Personally, I think that’s such a shame.” (This reformer, and others I interviewed for this article, declined to speak on the record.)
By contrast, TFA didn’t call out Mayor Bill de Blasio on his attempts to roll back charter schools in New York. The organization has rarely targeted teachers’ unions the way it has ripped into Trump. But it is the National Education Association and the American Federation of Teachers that pose the main obstacle to expanding school choice and dismissing ineffective teachers. It is the unions that are bent on snuffing out data-driven instruction. It was a teachers’ union boss (Karen Lewis of Chicago), not the 45th president, who in 2012 accused TFA of supporting policies that “kill and disenfranchise children.”T
each for America’s turn to the harder left predated Trump’s ascent, and it isn’t mainly about him. Rather, it tracks deeper shifts within American liberalism, from the meritocratic Clintonian ideas of the 1990s and early aughts to today’s socialist revival and the fervid politics of race, gender, and sexuality.
Culturally, TFA was always more liberal than conservative. Educators tend to be liberal Democrats, regardless of the path that brings them to the classroom. But education reformers are unwanted children of American liberalism. They are signed up for the Democratic program, but they clash with public-sector labor unions, the most powerful component of the party base.
As TFA went from startup to corporate-backed giant, it sustained withering attacks from leftist quarters. On her influential education blog, New York University’s Diane Ravitch (a one-time education reformer who changed sides) relentlessly hammered corps members as “woefully unprepared,” as scabs “used to take jobs away from experienced teachers,” as agents of “privatization” and the “neoliberal attack on the public sector.” It was Ravitch who publicized Lewis’s claim that TFAers “kill” kids.
Michelle Rhee, the Korean-American alumna who in 2007 was tapped as chancellor of the District of Columbia system, became a lightning rod for anti-TFA sentiment on the left. Rhee’s no-nonsense approach to failing schools was summed up in a Time magazine cover that showed her holding a broom in the middle of a classroom. When D.C. Mayor Adrian Fenty didn’t win reelection in 2010, it was seen as a popular verdict against this image of TFA-style reform.
In 2013, one university instructor, herself a TFA alumna, urged college professors not to write letters of recommendation for students seeking admission to the organization. Liberal pundits took issue with TFA’s alleged elitism and lack of diversity, portraying it as the latest in a long line of “effete” white reformist institutions that invariably let down the minorities they try to help. TFA, argued a writer in the insurgent leftist magazine Jacobin, is “another chimerical attempt in a long history of chimerical attempts to sell educational reform as a solution to class inequality. At worst, it’s a Trojan horse for all that is unseemly about the contemporary education-reform movement.” By “unseemly,” the writer meant conservative and corporate.
The assaults have had an effect. Applications to TFA dropped to 37,000 last year, down from 57,000 in 2013. Thus ended a growth spurt that had seen the organization increase the size of its corps by about a fifth each year since 2000. Partly this was due to more jobs and better salaries on offer to elite graduates in a rebounding private sector. But as Beard conceded in a statement in April 2016, partly it was the “toxic debate surrounding education” that was “pushing future leaders away from considering education as a space where they can have real impact.”
The temptation for any successful nonprofit crusade is to care more about viability and growth than the original cause. Wounded by the union-led attacks, TFA leaders have apparently concluded that identity politics and a progressive public presence can revive recruitment. With its raft of corporate donors and the massive Walton-family endowment, TFA would never fit in comfortably with an American liberalism moving in the direction of Bernie Sanders and Elizabeth Warren. But talk of Black Lives and “UndocuQueers” might help it reconnect with younger millennials nursed on race-and-gender theory.
Thus, TFA leads its current pitch by touting its diversity. Beard opened her keynote at last year’s 25th-anniversary summit in Washington by noting: “We are more diverse than we have ever been. . . . We are a community that is black, that is Latino, that is white, that is American Indian, that is Asian and Pacific Islander, that is multiracial. We are a community that is lesbian, gay, bisexual, queer and trans.” The organization’s first priority, Beard went on, will always be “to build an inclusive community.”
It makes sense to recruit diverse teachers to lead classrooms in minority-majority regions, to be sure. But one can’t help detecting a certain liberal guilt behind this rhetoric, as if TFA had taken all the attacks against it to heart: We aren’t elite, we swear! Yet the 90 percent of black children who don’t reach math proficiency by eighth grade need good math teachers, period. Their parents don’t care how teachers worship (if at all), what they look like, or what they get up to in the bedroom. They want teachers who will put their children on a trajectory out of poverty.
Minority parents, moreover, fear for their kids’ well-being in chaotic schools and gang-infested streets. Yet to hear many of the speakers at TFA’s summit, you would have thought that police and other authority figures represent the main threat to black and Hispanic children. At a session titled “#StayWoke,” a TFA teacher railed against the police:
I teach 22 second-graders in Southeast D.C., all of them students of color. Sixteen of them are beautiful, carefree black and brown boys, who, despite their charm and playfulness, could be slain in the streets by the power that be [sic], simply because of the color of their skin, what clothes they wear, or the music they choose to listen to.
Educators must therefore impart “a racial literacy, a literacy of resistance.” Their students “must grow up woke.” Another teacher-panelist condemned anti-gang violence initiatives that
come from the same place as the appetite to charge black and brown people with charges of self-destruction. The tradition of blaming black folk keeps us from aiming at real sources of violence. If we were really interested in ending violence, we would be asking who pulled the trigger to underfund schools in Philadelphia? Who poisoned our brothers and sisters in Flint, Michigan? Who and what made New Orleans the incarceration capital of the world? We would teach our students to raise these questions.
Throughout, he led the assembly in chants of “Stay Woke!”
Talk of teaching “resistance” represented a reversion to the radical pedagogy and racial separatism that left a legacy of broken inner-city schools in the previous century. TFA’s own experience, and that of TFA-linked charter networks such as the Knowledge Is Power Program, had taught reformers that, to thrive academically, low-income students need rigid structure and order. Racial resentment won’t set these kids up for success but for alienation and failure—and prison.
Another session, on “Academic Rigor, Social and Political Consciousness, and Culturally Relevant Pedagogy,” pushed similar ideas. Jeff Duncan-Andrade, an associate professor of “Raza studies” at San Francisco State University, urged teachers to develop an ultra-localized race-conscious curriculum:
Don’t even essentialize Oakland’s culture! If you’re from the town, you know it’s a big-ass difference between the west and the east [sic]. We talk differently, we walk differently, we dress differently, we speak differently. The historical elements are different. So if you use stuff from the west [of Oakland] you have to really figure out, ‘How do I modify this to be relevant to the communities I’m serving in East Oakland?’ Develop curriculum, pedagogy, assessment that is responsive to the community you serve. You gotta become an ethnographer. You gotta get on the streets, get into the neighborhoods and barrios…talk to the ancestors…
If your curriculum is not building pathways to self-love for kids who at every turn of their day are taught to hate themselves, hate the color of their skin, hate the texture of their hair, hate the color of their eyes, hate the language they speak, hate the culture they come from, hate the ‘hood that they come from, hate the countries that their people come from, then what’s the purpose of your schooling?
Other sessions included “Native American Community Academy: A Case Study in Culturally Responsive Pedagogy”; “What Is the Role of White Leaders?”; “Navigating Gender Dynamics”; “Beyond Marriage Equality: Safety and Empowerment in the Education of LGBTQ Youth”; “A Chorus of Voices: Building Power Together,” featuring the incendiary Black Lives Matter activist and TFA alumnus DeRay McKesson; “Every Student Counts: Moving the Equity Agenda Forward for Asian American and Pacific Islander Students”; “Intentionally Diverse Learning Communities”; and much more of the kind.
Lost amid all this talk of identitarian self-love was the educator’s role in leading poor children toward things bigger and higher than Oakland, with its no doubt edifying east–west street rivalries—toward the glories of the West and the civic and constitutional bonds that link Americans of all backgrounds. You can be sure that the people who participate in TFA see to it that their own children learn to appreciate Caravaggio and Shakespeare and The Federalist. The whole point of the organization was to ensure that kids from Oakland could do the same.
Twenty-seven years since Teach for America was founded, the group’s mission remains vital. Today fewer than 1 in 10 children growing up in low-income communities graduate college. The basic political dynamics of education reform haven’t changed: Teach for America, and the other reform efforts it has inspired, have shown what works. The question is whether Teach for America is still determined to reform schools and fight for educational excellence for all—or whether it wants to become a cash-flush and slick vehicle for the new politics of identity.
Choose your plan and pay nothing for six Weeks!
Review of 'iGen' By Jean Twenge
n 1954, scientists James Olds and Peter Milner ran some experiments on rats in a laboratory at McGill University. What they found was remarkable and disturbing. They discovered that if electrodes were implanted into a particular part of the rat brain—the lateral hypothalamus—rats would voluntarily give themselves electric shocks. They would press a lever several thousand times per hour, for days on end, and even forgo food so that they could keep pressing. The scientists discovered that the rats were even prepared to endure torture in order to receive these shocks: The animals would run back and forth over an electrified grid if that’s what it took to get their fix. They enjoyed the shocks so much that they endured charring on the bottoms of their feet to receive them. For a long time afterward, Olds and Milner thought that they had discovered the “bliss center” of the brain—but this was wrong. They had discovered the reward center. They had found the part of the brain that gives us our drives and our desires. These scientists assumed that the rats must have been in a deep state of pleasure while receiving these electric shocks, but in reality they were in a prolonged state of acute craving.
Jean Twenge’s important new book, iGen: Why Today’s Super-Connected Kids Are Growing Up Less Rebellious, More Tolerant, Less Happy—and Completely Unprepared for Adulthood, talks about a new form of electronic stimulation that appears to be driving young people to extreme distraction. A professor of psychology at San Diego State University, Twenge has built her career on looking at patterns in very large samples of people across long periods of time. She takes data from the General Social Survey, which has examined adults 18 years and older since 1966; the American Freshman Survey, which has questioned college students since 1991; the Youth Risk Behavior Surveillance System; and the Monitoring the Future databases. She looks to see whether there have been any changes in behavior and personality across time for people the same age but from different generations. Prior to iGen, she was the author of The Narcissism Epidemic (2009), co-written with psychologist W. Keith Campbell, and Generation Me (2013), a book about self-entitled Millennials. Twenge knows whereof she speaks.
Unlike previous patterns of rising narcissism, the trends of self-regard and self-entitlement associated with those born after 1995 appear to have petered out. What Twenge does find, however, is that reversals in trends of narcissism have been replaced by sharp increases in anxiety. Rates of anxiety and depression are spiking rapidly in young people, while at the same time their engagement with adult behaviors is declining. Using dozens of graphs, Twenge shows the reader how teenagers today drink less, go out less, socialize less, are less motivated to get their driver’s license, work less, date less, and even have sex less.
At first glance, the data seem counterintuitive, because the social pressures to abstain from alcohol and casual sex have never been more relaxed. But, on further reading, it appears that young people’s avoidance of adult behaviors has at least something to do with the addictive and distracting nature of smartphones and social media. Of course, Twenge is careful to point out that this is all “correlational.” She does not have a smoking gun and cannot prove causality. But the speculation seems plausible. All of the changes she observes started accelerating after 2007, when smartphones became ubiquitous. She writes:
I asked my undergraduate students what I thought was a very simple question: “What do you do with your phone while you sleep? Why?” Their answers were a profile in obsession. Nearly all slept with their phones, putting them under their pillows, on the mattress, or at the very least within arm’s reach of the bed. They checked social media websites and watched videos right before they went to bed and reached for their phones again as soon as they woke up in the morning (they had to—all of them used it as their alarm). Their phone was the last thing they saw before they went to bed and the first thing they saw when they woke up. If they woke up in the middle of the night they often ended up looking at their phones. They talked about their phones the way an addict would talk about crack: “I know I shouldn’t, but I just can’t help it.”
Recent experiments also lend support to the hypothesis. In an experiment carried out in 2013, psychologists Larry Rosen and Nancy Cheever brought 163 university students into a room. Some students had their phones unexpectedly taken away and others were told to put their phones on silent and out of sight. All students were then asked to fill out a brief anxiety questionnaire in 20-minute intervals. Those who were the heaviest smartphone users and heaviest social-media users recorded anxiety levels that kept climbing over the 90-minute period. The kids who used their smartphones the least did not have any increase in anxiety. This experiment lends strong support to the hypothesis that smartphones, by their propensity to promote constant use, do in fact cause agitation.
Twenge’s chapter on mental health in the generation born after 1995 makes for the book’s most disturbing reading. Heavy smartphone and social-media use correlates with higher anxiety and increased feelings of loneliness, particularly in girls. Social media seems to allow girls to bully one another in much more subtle and effective ways than were previously available. They constantly include or exclude one another from online activities such as group “chats,” and they are forever surveilling their peers’ presentation and appearance. This means that if girls aren’t vigilantly checking their social-media accounts, they won’t know if they’re being gossiped about or excluded from some fun activity. Like the electrodes placed on Olds and Milner’s rats, this new technology seems to activate the reward center—but it does not induce states of contentment, satisfaction, or meaning. It also takes time away from other activities such as sports and in-person socializing that would induce feelings of contentment and satisfaction. For a young person who is developing his personality and his competencies in the real world, this could have a profound and long-lasting effect.
Twenge tries not to be alarmist, and she presents her findings in a cautious, conscientious manner. She takes care to make caveats and eschew emotionally laden language. But it’s hard not to be alarmed by what she has found. In the six years between 2009 and 2015, the number of high-school girls who attempted suicide increased by 43 percent and the number of college students who “seriously considered” ending their lives rose by 51 percent. Suicides in young people are carefully tracked—there can be no ambiguity in this data—and increasing rates of children killing themselves are strong evidence that something is seriously amiss. From 2007 (the year smartphones became omnipresent) to 2015, suicide among 15- to 19-year-olds rose by 46 percent, and among those aged 12 to 14, it rose by half. And this rise is particularly pronounced for young girls. Three times as many 12- to 14-year-old girls killed themselves in 2015 as in 2007; among boys that age, suicide doubled in the same period. The suicide rate is always higher for boys (partly because they use more violent methods), but girls are now beginning to close this gender gap.
Another startling chapter in Twenge’s book focuses on sex, relationships, and family formation. We all know that young people are putting off marriage and child-rearing until later years, often for sensible reasons. But what is less well known is that young people are dating a lot less and spending a lot more time alone. It appears that old-fashioned romance and courtship norms are out the window, and so too is sex among young people. Twenge writes:
[M]ore young adults are not having sex at all. More than twice as many iGen’ers and late Millennials (those born in the 1990s) in their early twenties (16 percent) had not had sex at all since age 18 compared to GenX’ers at the same age (6 percent). A more sophisticated statistical analysis that included all adults and controlled for age and time period confirmed twice as many “adult virgins” among those born in the 1990s than among those born in the 1960s.
But if 16 percent are virgins, that means 84 percent of young people are having sex. Perhaps, then, there’s only a small segment bucking the trend toward more libertine lifestyles? Not so. Twenge writes:
Even with age controlled [in samples], Gen X’ers born in the 1970s report having an average of 10.05 sexual partners in their lifetimes, whereas Millennials and iGen’ers born in the 1990s report having sex with 5.29 partners. So Millennials and iGen’ers, the generations known for quick, casual sex, are actually having sex with fewer people.
For decades, conservatives have worried about loosened social and sexual mores among young people. It’s true that sexual promiscuity poses meaningful risks to youths’ well-being, especially among women. But there are also risks that manifest at a broader level when there is a lack of sexual activity in young people. And this risk can be summed up in three words—angry young men. Anthropologists are well aware that societies without strong norms of monogamous pairing produce a host of negative outcomes. In such populations, crime and child abuse increase while savings and GDP decline. Those are just some of the problems that come from men’s directing their energies toward competing with one another for mates instead of providing for families. In monogamous societies, male-to-male competition is tempered by the demands of family life and planning for children’s futures.
These trends identified by Twenge—increased anxiety and depression, huge amounts of time spent on the Internet, and less time spent dating and socializing—do not bode well for the future of Western societies. It should come as no surprise that young people who struggle to connect with one another and young men who can’t find girlfriends will express their anxieties as political resentments. Twenge’s book reveals just how extensive those anxieties are.
Like the rats that forgo food to binge on electric shocks, teenagers are forgoing formative life experiences and human connection in order to satiate their desire for electronic rewards. But the problem is not necessarily insurmountable. Twenge identifies possible protective factors such as playing sports, real-life socializing, adequate sleep, sunlight, and good food. Indeed, phone apps designed to encourage good habits are becoming popular, as are those that lock people out of their social-media accounts for predetermined periods of time. Twenge also argues that iGen has several positive indicators. They are less narcissistic and are more industrious than the generation before them, and they are also more realistic about the demands of work and careers. But harnessing those qualities will require an effort that seems at once piddling and gargantuan. IGen’s future well-being, and ours, depends on whether or not they can just put down their phones.
Choose your plan and pay nothing for six Weeks!
Playwrights and politics
No similar incidents have been reported, but not for lack of opportunity. In the past year, references to Trump have been shoehorned into any number of theatrical productions in New York and elsewhere. One Trump-related play by a noted author, Robert Schenkkan’s Building the Wall, has already been produced off Broadway and across America, and various other Trump-themed plays are in the pipeline, including Tracy Letts’s The Minutes and Beau Willimon’s The Parisian Woman, both of which will open on Broadway later this season.
The first thing to be said about this avalanche of theatrical activity is that these plays and productions, so far as is known, all show Trump in a negative light. That was to be expected. Save for David Mamet, I am not aware of any prominent present-day American playwright, stage actor, director, or technician who has ever publicly expressed anything other than liberal or progressive views on any political subject whatsoever. However, it appears one can simultaneously oppose Trump and still be skeptical about the artistic effects of such lockstep unanimity, for many left-of-center drama critics have had unfavorable things to say about the works of art inspired to date by the Trump presidency.
So even a political monoculture like that of the American theater can criticize the fruits of its own one-sidedness. But can such a culture produce any other kind of art? Or might the Theater of Trump be inherently flawed in a way that prevents it from transcending its limitations?F rom Aristophanes to Angels in America, politics has always been a normal part of the subject matter of theater. Not until the end of the 19th century, though, did a major playwright emerge whose primary interest in writing plays was political rather than aesthetic. George Bernard Shaw saw himself less as an artist than as a propagandist for the causes to which he subscribed, which included socialism, vegetarianism, pacifism, and (late in his life) Stalinism. But Shaw took care to sugar the political pill by embedding his preoccupations in entertaining comedies of ideas, and he was just as careful to make his villains as attractive—and persuasive-sounding—as his heroes.
In those far-off days, the English-speaking theater world was more politically diverse than it is today both on and off stage. It was only in the late ’40s that the balance started to shift, at first slowly, then with steadily increasing speed. In England, this ultimately led to a theater in which it is now common to find explicit political statements embedded not merely in plays but also in such commercial musicals as Billy Elliot, a show about the British miners’ strike of 1984 in which a chorus of children sings a holiday carol whose refrain runs as follows: “Merry Christmas, Maggie Thatcher / We all celebrate today / Cause it’s one day closer to your death.”
As this example suggests, postwar English political theater is consumed with indictments of the evils arising from the existence of a rigid class system. American playwrights, by contrast, are typically more inclined to follow in the footsteps of Arthur Miller and Tennessee Williams, both of whose plays portray (albeit for different reasons) the spiritual and emotional poverty of middle-class life. In both countries, most theater is neither explicitly nor implicitly political. Nevertheless, the theater communities of England and America have for the last half-century or so been all but unanimous in their offstage political convictions. This means that when an English-language play is political, the views that it embodies will almost certainly be left-liberal.
This unanimity of opinion is responsible for what I called, in a 2009 Commentary essay about Miller, the “theater of concurrence.”1 Its practitioners, presumably because all of their colleagues share their political views, take for granted that their audiences will also share them. Hence they write political plays in which no attempt is made to persuade dissenters to change their minds, it being assumed that no dissenters are present in the theater. In the theater of concurrence, disagreement with left-liberal orthodoxy is normally taken to be the result either of invincible ignorance or a deliberate embrace of evil. In the U.S. and England alike, it has become rare to see old-fashioned Shavian political plays like David Hare’s Skylight (1995) in which the devil (in this case, a Thatcherite businessman in love with an upper-middle-class do-gooder) is given his due. Instead, we get plays whose villains are demoniacal monsters (Tony Kushner’s fictionalized portrayal of Roy Cohn in Angels in America is an example) rather than flawed humans who, like Tom in Skylight, have reached the point of no moral return.
All this being the case, it makes perfect sense that Donald Trump’s election should have come as so disorienting a shock to the American theater community, which took for granted that he was unelectable. No sooner were the votes tallied than theater people took to social media to angrily declare their unalterable resistance to the Trump presidency. Many of them believe both Trump and his supporters to be, in Hillary Clinton’s oft-quoted phrase, members of “the basket of deplorables . . . racist, sexist, homophobic, xenophobic, Islamophobic, you name it.”
What kind of theater is emerging from this shared belief? Building the Wall, the first dramatic fruit of the Trump era, is a two-character play set in the visiting room of a Texas prison. It takes place in 2019, by which time President Trump has been impeached after having responded to the detonation of a nuclear weapon in Times Square by declaring nationwide martial law and locking up every foreigner in sight. The bomb, it turns out, was a “false flag” operation planted not by terrorists but by the president’s men. Rick, the play’s principal character, has been imprisoned for doing something so unspeakably awful that he and his interlocutor, a sanctimonious black journalist who is interviewing him for a book, are initially reluctant to talk about it. At the end of an hour or so of increasingly broad hints, we learn that Rick helped the White House set up a Nazi-style death camp for illegal immigrants.
Schenkkan has described Building the Wall as “not a crazy or extreme fantasy,” an inadvertently revealing remark. It is possible to spin involving drama out of raging paranoia, but that requires a certain amount of subtlety, not to mention intelligence—and there is nothing remotely subtle or intelligent about Building the Wall. Rick is a blue-collar cartoon, a regular-guy Texan who claims not to be a racist but voted for Trump because “all our jobs were going to Mexico and China and places like that and then the illegals here taking what jobs are left and nobody gave a damn.” Gloria, his interviewer, is a cartoon of a different kind, a leftsplaining virtue signal in human form who does nothing but emit smug speeches illustrating her own enlightened state: “I mean, at some point in the past we were all immigrants, right, except for Native Americans. And those of us who didn’t have a choice in the matter.” The New York production of Building the Wall closed a month ahead of schedule, having received universally bad reviews (the New York Times described it as “slick and dispiriting”).
The Public Theater’s Julius Caesar, by contrast, received mixed but broadly positive reviews. But it, too, was problematic, albeit on an infinitely higher level of dramatic accomplishment. Here, the fundamental problem was that Eustis had superimposed a gratuitous directorial gloss on Shakespeare’s play. There have been many other high-concept productions of Julius Caesar, starting with Orson Welles’s 1937 modern-dress Broadway staging, which similarly transformed Shakespeare’s play into an it-can-happen-here parable of modern-day fascism. But Eustis’s over-specific decision to turn Caesar into a broad-brush caricature of Trump hijacked the text instead of illuminating it. Rather than allowing the audience to draw its own parallels to the present situation, he pandered to its prejudices. The result was a quintessential example of the theater of concurrence, a staging that undercut its not-inconsiderable virtues by reducing the complexities of the Trump phenomenon to little more than boob-baiting by a populist vulgarian.
Darko Tresjnak committed a venial version of the same sin in his Hartford Stage revival of Shaw’s Heartbreak House (1919), which opened around the same time as Building the Wall and Julius Caesar. Written in the wake of World War I, Heartbreak House is a tragicomedy about a group of liberal bohemians who lack the willpower to reconstruct their doomed society along Shaw’s preferred socialist lines. Tresjnak’s lively but essentially traditional staging hewed to Shaw’s text in every way but one: He put a yellow Trump-style wig on Boss Mangan, the bloated, parasitical businessman who is the play’s villain. The effect was not unlike dressing a character in a play in a T-shirt with a four-letter word printed across the chest. The wig triggered a loud laugh on Mangan’s first entrance, but you were forced to keep on looking at it for the next two hours, by which time the joke had long since grown numbingly stale. It was a piece of cheap point-making unworthy of a production that was otherwise distinguished.How might contemporary theater artists engage with the Trump phenomenon in a way that is both politically and artistically serious?
For playwrights, the obvious answer is to follow Shaw’s own example by allowing Trump (or a Trump-like character) to speak for himself in a way that is persuasive, even seductive. Shaw himself did so in Major Barbara (1905), whose central character is an arms manufacturer so engagingly urbane that he persuades his pacifist daughter to give up her position with the Salvation Army and embrace the gospel of high explosives. But the trouble with this approach is that it is hard to imagine a playwright willing to admit that Trump could be persuasive to anyone but the hated booboisie.
Then there is Lynn Nottage’s Sweat, which transferred to Broadway last March after successful runs at the Oregon Shakespeare Festival and the Public Theater. First performed in the summer of 2015, around the time that Trump announced his presidential candidacy, Sweat is an ensemble drama about a racially diverse group of unemployed steel workers in Reading, the Pennsylvania city that has become synonymous with deindustrialization. Trump is never mentioned in the play, which takes place between 2000 and 2008 and is not “political” in the ordinary sense of the word, since Nottage did not write it to persuade anyone to do anything in particular. Her purpose was simply to show how the people of Reading feel, and try to explain why they feel that way. Tightly structured and free of sermonizing, Sweat is a wholly personal drama whose broader political implications are left unsaid. Instead of putting Trump in the pillory, it takes a searching look at the lives of the people who voted for him, and it portrays them sympathetically, making a genuine good-faith attempt to understand why they chose to embrace Trumpian populism.
Sweat is a model for serious political art—artful political art, if you will. Are more such plays destined to be written about Donald Trump and his angry supporters? Perhaps, if their authors heed the wise words of Joseph Conrad: “My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel—it is, before all, to make you see.” Only the very best artists can make political art with that kind of revelatory power. Shaw and Bertolt Brecht did it, and so has Lynn Nottage. Will Tracy Letts and Beau Willimon follow suit, or will they settle for the pandering crudities of Building the Wall? The answer to that question will tell us much about the future of political theater in the Age of Trump.
1 “Concurring with Arthur Miller” (Commentary, June 2009)