Republic of morons

Jonathan Swift was right.

On CNN the handwringing began several hours ago, and it’s likely to go on for days and days. I dread the mawkish elegies for democracy I am expecting from the Atlantic, Timothy Snyder, and Anne Applebaum. And Volodymyr Zelenskyy is getting into the act with this (understandably) craven congratulatory message on x.com:

This is not to say that the Atlantic, Snyder, and Applebaum will be wrong, or that Zelenskyy isn’t playing as careful a game as he can. But in all this handwringing, the emphasis has been on how the Democrats and the Harris campaign blew it this time. Unfortunately we now have proof that all those Hallmark-card Benetton-ad sentiments about the American voter were based on a profound misunderstanding of the ability of that voter to practice even a modicum of critical thinking, and how narrowly that voter sees their self-interest, whether it’s the price of eggs or religious and cultural belief. Never mind, really, that Trump wound up over and over again in bankruptcy court, even losing money on a gambling casino, or that he regularly sat down for dinner with anti-Semites and racists. Never mind the grotesque misogyny, the careless personal smears, the crude jokes, the daily chaos of his first term, the smug shit-eating grimace that passes for a smile, the disparagement of scientific fact, the deep-rooted xenophobia, the shameless pandering, the irresponsible conspiracy-mongering, the felony convictions, the sexual assaults, the insults to veterans and soldiers, the vile demonization of journalists, the religious hypocrisy, the philistinism, the dismissal of the right to free speech and assembly, the breathtaking greed and corruption, the threats of retribution, the incitements to violence — the constant regurgitation of every possible stupidity of which the human mind is capable.

Last night, he won, fair and square. And I know people who voted for him. God bless America.

No, it wasn’t the fault of the Democrats or Kamala Harris. It was the fault of the American voter; this is what they want. The National Constitution Center in Philadelphia will now become a quaint and very expensive museum rather than a celebration of the democratic spirit in America.

So what to do next? I had been hoping to spend the next four years of my sixth decade bereft of the constant stomach-churning irresponsibility and unpredictability, the constant insults to the human spirit, of Trump’s first term, but those who voted for Trump have decided to deny me that. I blame them for that the most (though perhaps this is only proof that I can be as selfish as they are).

Oh, well. I can still turn to the elegance of Vienna and the German language, as well as the charms of Philadelphia. My family continues to give me the greatest pleasures, outstripping even those of Vienna and Philadelphia. There is good wine to drink, good music to listen to, good writing to read. There’s also my dwindling ability to do what I can to promote kindness, peace, and decency (though I seem to be in the minority here, based on the election results).

And laughter, they say, is the best medicine. I can continue to turn to the great American satire of Mark Twain (“Against the assault of laughter nothing can stand,” he wrote — perhaps wishful thinking, but I’ll take what I can get) and H.L. Mencken, to whom perhaps I should have been listening more closely. I doubted their misanthropy and mistrust of the American citizen; clearly, I was wrong.

And there is also Jonathan Swift, with whom I shall sign off today. In the second book of Gulliver’s Travels, the adventurer finds himself at the court of the Brobdingnagian king. “He desired I would give him as exact an account of the government of England as I possibly could; because, as fond as princes commonly are of their own customs (for so he conjectured of other monarchs, by my former discourses), he should be glad to hear of anything that might deserve imitation,” Gulliver (yclept Grildig in this country) explains. Gulliver describes the government of England to the Brobdingnagian king at considerable length. And, although England is a constitutional monarchy and the United States a representative democracy, I think the king’s response remains valid. Quoth Gulliver:

He was perfectly astonished with the historical account I gave him of our affairs during the last century; protesting “it was only a heap of conspiracies, rebellions, murders, massacres, revolutions, banishments, the very worst effects that avarice, faction, hypocrisy, perfidiousness, cruelty, rage, madness, hatred, envy, lust, malice, and ambition, could produce.”

His majesty, in another audience, was at the pains to recapitulate the sum of all I had spoken; compared the questions he made with the answers I had given; then taking me into his hands, and stroking me gently, delivered himself in these words, which I shall never forget, nor the manner he spoke them in: “My little friend Grildrig, you have made a most admirable panegyric upon your country; you have clearly proved, that ignorance, idleness, and vice, are the proper ingredients for qualifying a legislator; that laws are best explained, interpreted, and applied, by those whose interest and abilities lie in perverting, confounding, and eluding them. I observe among you some lines of an institution, which, in its original, might have been tolerable, but these half erased, and the rest wholly blurred and blotted by corruptions. It does not appear, from all you have said, how any one perfection is required toward the procurement of any one station among you; much less, that men are ennobled on account of their virtue; that priests are advanced for their piety or learning; soldiers, for their conduct or valour; judges, for their integrity; senators, for the love of their country; or counsellors for their wisdom. As for yourself,” continued the king, “who have spent the greatest part of your life in travelling, I am well disposed to hope you may hitherto have escaped many vices of your country. But by what I have gathered from your own relation, and the answers I have with much pains wrung and extorted from you, I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl upon the surface of the earth.”

Or, as P.J. O’Rourke once put it, in much the same spirit, “Authority has always attracted the lowest elements in the human race. All through history, mankind has been bullied by scum. Those who lord it over their fellows and toss commands in every direction and would boss the grass in the meadow about which way to bend in the wind are the most depraved kind of prostitutes. They will submit to any indignity, perform any vile act, do anything to achieve power. The worst off-sloughings of the planet are the ingredients of sovereignty. Every government is a parliament of whores. The trouble is, in a democracy the whores are us.”

25 years of Mineshaft

The mailman slipped me the latest issue of Mineshaft #45 last week — the 25th anniversary issue of the magazine that published its first issue back in the last century. I read through just about the whole thing in one sitting, but “read” may not be entirely accurate: each issue is a world in itself of visual and linguistic acrobatics from writers and artists old and new. It seems churlish to pick out just a few highlights, since Mineshaft is best read from first page to last, but in #45 you’ll find:

  • First, that splendid, endlessly fascinating wraparound cover by Aaron Horkey
  • Simone F. Baumann’s depiction of her very brief career in a hooker bar
  • A memoir of pre-teen transvestism by Billy Childish
  • Mary Fleener’s comic travelogue through the current state of the humanities in academia
  • R. Crumb’s portraits of two great blues masters
  • Drew Friedman’s rendering of popular Chaplin imitators

And there’s more, much more, besides.

In the sixth part of his continuing saga about life with Mineshaft, publisher/editor Everett Rand muses upon the magazine’s continuing appeal. “[The] magazine is an attempt, by me, to keep control of my world. I’ve always enjoyed the possibility of living in art, rather than always being stuck in real life. That’s what a great painting or book does for me. They give me another world that I can step into and inhabit for a while.” He continues:

My own editorial vision … is always pushing artists and writers to send us their best work, and there’s no money in it. People can resent this, or not have the time for it. … Despite the sacrifice and hardship, I think people come on board because of the community, in order to be a part of the experience. The generosity of the Mineshaft community is really what keeps Mineshaft alive. Everybody comes together to help make something tangible, that is nicely put together, and that otherwise wouldn’t exist. It’s not practical and you have to be a bit of a dreamer and idealist. The readers are a big part of this community too.

It is, it must be said, not a big community. Only 1,350 copies of Mineshaft #45 were printed, but that community is always inviting new members who want to share that world with the contributors, and the community’s arms are always open. That’s why you should subscribe. Each issue is a new universe, a brief time away from what Rand calls “real life” (though, I suggest, that life is no more nor less real than that found in the pages of Mineshaft). “Long live MINESHAFT!” Crumb says. How can I disagree?

Richard Foreman

This semester, New York University’s “Archives on Stage” series will focus on the work of Richard Foreman, founder of the Ontological-Hysteric Theatre and one of the major American theatre artists of the 20th century. The slate of events begins on September 30 with Richard Foreman’s Work as a Sledgehammer: Criticism, Aesthetics, and the Ontological-Hysteric Legacy, a panel discussion featuring a variety of top-flight names from the American avant-garde theater, including Elizabeth LeCompte, Kate Valk, Tom Sellar, and others. More information about the entire series can be found here.

I have off-and-on written about Foreman’s theater myself and contributed the introduction to Plays with Films, his 2013 collection of late-period plays from Contra Mundum Press, and have sat with him on a panel or two as well. A few years ago I gathered a collection of my writings about Foreman and his theatre; that collection is below. His new play, Suppose Beautiful Madeleine Harvey, will be produced by Object Collection at La MaMa in December. I raise my glass to him and NYU’s series and am delighted that his work continues to garner attention.

Continue reading “Richard Foreman”

A toast to … Arnold Schönberg

Today marks the 150th anniversary of Arnold Schönberg’s birth, and the Austrian Cultural Forum here in New York will celebrate next week on Friday, September 19, with the opening of Arnold Schönberg: 150 Years, an exhibition running through November 8 devoted to the life and work of the modernist composer, a collaboration with Vienna’s Arnold Schönberg Center. The celebration will get under way next Friday with a concert from Trio Callas, which will be performing the composer’s Verklärte Nacht and Charles Ives’s Piano Trio, following opening remarks from Dr. Ulrike Anton, the newish director of the Schönberg Center. This event is sold out, alas, but I’ll look forward to the exhibition itself.

As I raise my glass of Moric’s Haus Marke Red tonight, I’ll be listening to Hilary Hahn’s splendid rendition of Schönberg’s violin concerto, accompanied by the Swedish Radio Symphony Orchestra under the baton of Esa-Pekka Salonen. While the actual Deutsche Grammophon CD release is to be preferred, here’s the YouTube version — better than nothing — for all you cheapskates out there. And really, if you’re going to listen to this music, get yourself a real stereo system whydon’tcha.

“That’s why the rats are back”

Deborah Sengl, The Last Days of Mankind. Stuffed rats and requisites on wooden pedestals, height dimension of the scene: variable, © Deborah Sengl, 2014. Photo: Mischa Nawrata, Wien.

At the Museum Dorotheergasse of the Jüdischen Museum Wien, the exhibition of Deborah Sengl’s taxidermic interpretation of Karl Kraus’s The Last Days of Mankind will continue through September 29, and if you’re in Vienna, you certainly should stop in and see it. (And with any luck the Austrian Cultural Forum here in New York will sit up and take notice.) I’ve written before about Sengl’s revealing perspective on Kraus’s great satiric masterpiece, and the museum itself offers its rationale for exhibiting the work right now:

The year 2024 is an election year. Throughout Europe, parties dreaming of “illiberal democracies” are gaining strength and attempting to persuade us that the term is not a contradiction. Society is polarized, with the social media echo chambers serving their own clientele and stirring up animosity to others. Pandemic and war have polarized public opinion even further, and the gap between rich and poor grows daily. Antisemitism and racism are omnipresent. Many people see this as a premonition of the last days of democracy, and Kraus, who celebrates his 150th anniversary this year, is more relevant than ever. That’s why the rats are back.

One of them will be on the debate stage in Philadelphia tonight. More information about the exhibition can be found here.