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This section contains 5,326 words
(approx. 18 pages at 300 words per page)
Critical Essay by R. S. Sharma
SOURCE: "Vision and Form in N. Scott Momaday's House Made of Dawn," in Indian Journal of American Studies, Vol. 12, No. 1, January, 1982, pp. 69-79.
In the following essay, Sharma explores Momaday's focus on spirituality and depiction of the Native vision of the world in House Made of Dawn.
Though initially received with cautious condescension, N. Scott Momaday's House Made of Dawn has now come to be regarded as a major statement by a major American Indian writer. Confused by the novel's "rapidly shifting and sometimes ambiguous chronological frame of reference," earlier reviewers and critics found the novel nothing but "an interesting variation of the old alienation theme"; "a social statement rather than … a substantial artistic achievement"; "a memorable failure," "a reflection, not a novel in the comprehensive sense of the word" with "awkward dialogue and affected description"; "a batch of dazzling fragments" which made one critic "itch for a blue pencil to knock out all the interstitial words that maintain the sophoric flow." They criticised its lack of a proper narrative continuity, its haziness, its ethereal characters, its indistinct plot line and its language on the rather unacceptable ground that "American Indians do not write novels and poetry as a rule or teach English in top ranking universities either," referring obviously to the author as a professor of English. Now, there is a greater recognition of Momaday's fictional art and critics have come to recognise its unique achievement as a novel which succeeds in "interpolating and translating" one for another culture. Despite a qualified reception the novel had succeeded in making its impact even on earlier critics though they were not sure of their own responses. They found it "a story of considerable power and beauty," "strong in imaginative imagery," creating a "world of wonder and exhilarating vastness." In more recent criticism there are signs of greater clarity of understanding of Momaday's achievement. In his review [appearing in Western American Literature 5 (Spring 1970)], John Z. Bennett had pointed out how through "a remarkable synthesis of poetic mode and profound emotional and intellectual insight into the Indians' perduring human status Momaday's novel becomes at last the very act it is dramatizing, an artistic act, a 'creation hymn.'" In ["The Novel as Sacred Text: N. Scott Momaday's Myth-Making Ethic," Southwest Review 63 (Spring 1978)] Baine Kerr has elaborated this point to suggest that Momaday has used "the modern Anglo novel [as] a vehicle for a sacred text," that in it he is "attempting to transliterate Indian culture, myth, and sensibility into an alien art form, without loss."
That the novel is an embodiment of the American Indian's vision and his deepest spiritual yearnings is beyond doubt. How this vision has been translated into the language of fiction remains yet to be examined. In this paper, I intend to examine how Momaday translates the Indian's "eye and action" view of the world in fictional terms. A proper understanding of Momaday's vision of the American Indian is, therefore, an essential prerequisite for a grasp of the novel's complexity.
Momaday on the Role of Language in House Made of Dawn:
I believe that as soon as Abel leaves his traditional ground, his language begins to deteriorate. He is bombarded and threatened by the language around him. He is threatened by the currency of the English language, and so he is isolated in his own language, and finds that it does not operate for him outside its context. And so little by little, as this is driven home to him, he falls silent. In the court scene, where everybody is not only talking in something other than his language but talking in a language that is even more highly artificial than languages in general—legalese—at that point he's just done in. Language becomes his enemy. It has turned on him, and he understands that there's nothing he can do about that. So he turns his back and remains silent. And that's the loss of his language—the loss of his voice. What could be more devastating? In the scene where Abel wants to say something and can't, he is reduced to something almost subhuman. He's very nearly lost his life at that point.
N. Scott Momaday, in an interview with Charles L. Woodward in his Ancestral Voice: Conversations with N. Scott Momaday, 1989.
The novel, a blend of many techniques, achieves its synthesis through the "eye" which is peculiar to the Indian. In an essay called "A Vision beyond Time and Space" [appearing in Life 71 (2 July 1971)] Momaday provides us many insights into the Indian's vision of life. Wonder, according to him, is the principal part of the Indian's vision.
His active life is nothing but "an affirmation of the wonder and regard, a testament to the realization of a quest for vision." "This native vision, this gift of seeing truly, with wonder and delight into the natural world" according to him "is informed by a certain attitude of reverence and self-respect. It is a matter of extrasensory as well as sensory perception…. In addition to the eye, it involves the intelligence, the instinct and the imagination. It is the perception not only of objects and forms, but also of essences and ideals." To quote him, "Most Indian people are able to see in these terms." This vision is "peculiarly native and distinct, and it determines who and what they are to a great extent." It is indeed "the basis upon which they identify themselves as individuals and as a race." It is the "very nucleus" of their self residing in their blood. Thus, in Momaday's world view the Indian is identified in his ability to see differently. Commenting on the "cultural nearsightedness" of contemporary Americans, he says: "our eyes, it may be, have been trained too long upon the superficial, and artificial, aspects of our environment … and consequently we fail to see into the nature and meaning of our own humanity." He emphasizes the need "to enter upon a vision quest of our own, that is, a quest after vision itself" and feels that the American Indian was "perhaps the most culturally secure of all Americans" because he was gifted with a vision: "In the integrity of his vision he is wholly in possession of himself and of the world around him; he is quintessentially alive."
The "equations" that constitute this vision are "a sense of heritage, of a vital community in terms of origin and destiny, a profound investment of the mind and spirit in the oral traditions of literature, philosophy and religion." House Made of Dawn is essentially a realisation of these equations. It is about vision, about perception, articulation, repossession and reenactment of this vision. It is Genesis and Apocalypse at the same time. The fusion of vision and form in this novel which [Marshall Sprague writes in "Anglos and Indians," New York Times Book Review 63 (9 June 1968)] is "as subtly brought out as a piece of Navajo silverware" is a unique achievement in contemporary fiction; it has [according to Baine] "mythified Indian consciousness into a modern novel." The novel demands of the reader an intuitive grasp of the Indian vision. Momaday himself defines this vision in terms of a song [in "I am Alive," in Jules B. Billard's 1974 The World of the American Indian]:You see, I am alive,
You see, I stand in good relation to the earth,
You see, I stand in good relation to the Gods,
You see, I stand in good relation to all that is beautiful,
You see, I stand in good relation to you,
You see, I am alive, I am alive.
Thus, "a sense of place, of the sacred, of the beautiful, of humanity" are essential components of the Indian vision which is at once spiritual, moral and esthetic. It is woven in the very fabric of Indian life. For the Indian, every creative act is an act of "blood recollection,… a whole and inevocable act of the imagination." It is a "synthesis," not a general experience and in this "there is an evocation of tribal intelligence, an exposition of racial memory." Indian art, according to Momaday "is the essence of abstraction, and the abstraction of essences" and this understanding "of order, and spatial relationships, proportion and design," is most fully realized in language, in the oral tradition. "The oral tradition of Indian," says Momaday "even more than his plastic arts, is vast and various." In its stories and songs, its legends and love and prayers, it is not only "exceptionally rich and imaginative," it also reflects "an understanding of, and belief in, the power and beauty of language" that is lost on those "who have, by and large, have only the experience of a written tradition." This vision is one of "great moment and beauty" but it "has certainly to be believed in order to be seen." We can see House Made of Dawn only if we believe in this vision. The key to this vision apparently lies in an understanding of the oral tradition that Momaday seeks to translate in terms of fiction.
The novel begins and ends with fragments of a traditional song as Abel, the protagonist and symbolic carrier of this tradition, joins the dawn runners in a ritual enactment of a primitive ceremony after the death of his grandfather Francisco. Thus, Abel and Francisco are the two major characters of the novel, linking the past, present and future. In their polar lives, the two re-enact the "quintessential life of the Indian."
The novel begins as Abel comes home after his shattering experience in the war in a "truck," while Francisco is going to receive him in his "wagon." It ends while Francisco is going to join the spirits of the dead and Abel goes with the dawn runners in quest of the vision of the race. The novel is about this "quest" for vision. It begins where it ends, producing the notion of a circularity that is interminable. There are points in it which give us an impression of terminality but there is no termination, each ending is a new kind of beginning. The novel is about a series of beginnings and a series of endings which keep turning on each other. It therefore does not offer us a plot but only fragments of a vision, the totality of which we can arrive at only if we read it "creatively" recreating the entire experience as it is enacted in racial memory. That way alone can we see its unity and its meaning, for there is a unity between the four sections "The Long Hair," "The Priest of the Sun," "The Night Chanter," and "The Dawn Runner," which are aspects of the same reality, the same experience, the same tradition. Though primarily concerned with Abel's quest for identity the novel is also about Francisco who, as Baine Kerr points out, "works as a structuring principle" in the novel and "acts as the lodestone to the novel's conflicting energies." Abel's tragedy lies in the fact that he does not have the vision which will enable him to see his own destiny. More specifically it lies in his failure to connect himself with the vision of his race available in the oral tradition. He must recover this vision before he can recover his self. The seemingly confused and hazy narrative suggests Able's incapacity to see properly his own place in the universe.
The novel begins during the "relocation" years, the most inglorious period in the history of the American Indian, but the choice of the period seems to be suggestive of the fact that before people "relocate" him, Abel and his people must "relocate" themselves, must find their proper place and destiny. Abel returns from the war totally disoriented, a long hair, and the novel records his progression towards the House Made of Dawn. He must recover the vision which he has lost and which alone will help him to become the dawn runner. He must "relocate" himself by repossessing what he has lost, his vision, his sense of place. Abel initially appears as one who has lost his sense of land. He cannot relate himself to any place. He is out of place everywhere. We cannot appreciate his predicament without taking into account the fact that away from the land he is like fish out of water, suggested in the beginning of the section "The Priest of the Sun." Cut off from their land, the Indians are like fish out of water that "writhe in the light of the moon, the moon, the moon," "the most helpless creatures on the face of the earth." This land-and-man equation is crucial to the understanding of the novel. To quote Momaday [from "I am Alive"],
the Indian conceives of himself in terms of the land. His imagination of himself is also and at once an imagination of the physical world from which he proceeds and to which he returns in the journey of his life. The landscape is his natural element; it is the only dimension in which his life is possible. The notion that he is independent of the earth, that he can be severed from it and remain whole, does not occur to him….
In his view the earth is sacred….
It is a living entity, in which living entities have origin and destiny. The Indian does not lose sight of it, even; he is bound to the earth forever in his spirit.
Abel's tragedy is that he is alienated from the land and in the process alienated from his true self. This connection between man and land is suggested repeatedly in the novel by reference to land and landscapes. The House Made of Dawn is rooted in a land "still and strong" "beautiful and around." This philosophy of landscape is most explicit wherever there are references to the sacred complex of the Indian society. Participating in the ceremony of eagle watching, Abel gets a sense of the "spatial majesty of the sky" and discovers a strange and brilliant light "that lies" upon the world, in which "all the objects in the landscape" are "washed clean and set away in the distance." In the landscape he also discovers a divinity, for
Such vastness makes for illusion, a kind of illusion that comprehends reality, and where it exists there is always wonder and exhilaration.
When Abel returns he discovers his loneliness, as if he were already miles and months away "from everything he knew and had always known." The land-life equation is more explicit in the section "July 28." Here life in form and motion seems to be emerging from the land itself. Each form of life has only a "tenure in land." Abel discovers his lost connection only when he is able to relate himself to the land sacred to his forefathers. The violence that man has done to nature is revealed in "an old copper mine" that is "a ghost," with its "black face" and its "gray wooden frame."
The way alienation from land cripples Abel's faculties is revealed in his incapacity to see and articulate. Abel discovers his lost sacrality and his place by participating in the rituals and ceremonies of the tribe that lead him to a greater and greater clarity of vision. He discovers his sense of place by perceiving "the culturally imposed symbolic order" inherited from his grandfather. In the beginning he is insecure, and inarticulate. He is cut off from his roots and consequently he has lost his voice. "One of the most tragic things about Abel," Momaday says [in an interview in Sun Tracks: An American Indian Literary Magazine 2 (1976)], "is his inability to express himself. He is in some ways a man without a voice…. So I think of him as having been removed from oral tradition." In the novel itself, Momaday refers to Abel's initial inability to speak. After his return from the town, he had tried "to speak to his grandfather," but "he could not say the things he wanted; he had tried to pray, to sing, to enter into the old rhythms of the tongue, but he was no longer attuned to it." The words are there "like memory, in the reach of hearing," words that could take hold "of the moment and make it eternal." He could get back his wholeness, "Had he been able to say … anything of his language which had no being beyond sound, no visible substance." He is dumb, not just silent but "inarticulate." He needs words and language to discover himself. When he is in the valley where "nothing lay between the object and the eye," he wants to make a song "out of the coloured canyon," but "he had not the right words together." He wants to write a creation song "of the first world, of fire and flood, and of the emergence of dawn from the hills." He is able to sing that song only when he becomes the dawn runner, when he is able "to see at last without having to think." As he discovers his vision, he runs and begins to sing, "There was no sound, and he had no voice; he had only the words of a song." He at last discovers the words that he needs to be a dawn runner but that comes only after he cuts his way through the Babel that surrounds him.
This philosophy of the soundless word is beautifully adumbrated in the sermons of Tosamah, the Priest of the Sun. In his sermons, reinterpreting the Biblical "Principio Verbum," Tosamah offers a severe indictment of a dominantly verbal culture. Abel's final song is thematically linked with Tosamah's Genesis story:
It was almost nothing in itself, the smallest seed of sound—but it took hold of the stillness and there was motion forever; it took hold of the silence and there was sound and everything began.
The indictment of a purely verbal culture comes sharply in Tosamah's indictment of the Anglo love for words:
Now, brothers and sisters, old John was a white man and the white man has his ways. Oh gracious me, he has his ways. He talks about the word. He talks through it and around it. He builds upon it with syllables, with prefixes, and suffixes and hyphens and accents. He adds and divides and multiplies the word. And in all this he subtracts the truth.
This indictment is followed by criticism of a culture based on the manipulation of mere words:
The white man takes such things as words and literatures for granted, as indeed he must, for nothing in his world is so commonplace. On every side of him there are words by the millions…. He has diluted and multiplied the word, and words have begun to close in upon him…. It may be that he will perish by the word.
Abel's final triumph comes, therefore, not in a verbal triumph, but in a formal movement, a ritual that relates him at once to his forefathers and to a spirituality of motion and movement. The race is a manifestation of a newly earned knowledge that is power. Momaday comments on the significance of the race [in his essay "The Morality of Indian Hating"]:
It is a long race, and it is neither won nor lost. It is an expression of the soul in the ancient terms of sheer physical exertion. To watch these runners is to know that they draw with every step some elementary power which resides at the core of the earth and which, for all our civilized ways, is lost upon us who have lost the art of going in the flow of things. In the tempo of that race there is time to ponder morality and demoralization, hungry wolves and falling stars.
His novel is not only about the recovery of this vision but it is also about the way it is recovered. It is not only about seeing, it is also about doing. The illusion of mist and haziness that Momaday creates initially is related to Abel's incapacity to see. He recovers his vision and with that his other faculties only gradually by participating in the collective heritage, which is mythic and historical at the same time. It comes to have through the discovery of the sacrality of life, another major equation of the Indian vision. Abel repossesses his sense of the sacred by participating in the ceremonies and rituals of the race. In them he is "restored as a man and as a race." Through his narrative Momaday wants his readers also to participate in this sacred ritual of recovery. The novel, therefore, assumes the nature of a sacred text in which the ethos and mythos of the Indian are embodied in a manner that is peculiar to the Indian mind.
Momaday, therefore, narrates the story not in the conventional manner but rather in the Indian manner, the manner of the oral tradition. It is [according to Momaday] a fictional transfer of a memory "that persists in the blood and there only," a memory that remains "beyond evolutionary distances." It is "a blood recollection," "an intricate image" indeed, composed of innumerable details "vivid and immediate." That the novel seeks to recapture the rhythms of the oral narrative is suggested not only in the story of Abel but also in those of Tosamah, The Priest of the Sun and Francisco, The Night Chanter. The narrative validates the oral tradition which helps Abel recover his identity finally, and operates through a series of powerful images which leave an overwhelming impact on our consciousness. Those images are seen through the consciousness of Abel and that is why they come in fragments, but through them and with Abel we see the "sense of beauty of proportion and design" that is the essential qualification of the dawn runners. The section "The Long Hair" is a series of such "intricate images" which leave us disturbed, looking for order, for patience, for connection, imposing upon us the need for a vision, a vision where all things "are related simply by having existence in the perfect vision of a bird."
The visual impact of the Indian eye can be felt in the narrative skills of Momaday. It is most powerfully felt in the scene depicting the flight of the golden eagles in the air, in the narration of the feat of Santiago, and in the bear hunt. They give us a vision which is peculiarly Indian, revealing his sense of form and beauty. For in all their inchoateness they have a unity that transcends all. The insects, birds and animals that populate the novel are part of the Indian's consciousness; he sees himself and the divine and the sacred through them. Francisco, who is snaring the sacred in the bird initially, discovers it finally in the bear. This sense of the sacred, which is peculiar to the Indian, can be seen in all that Francisco does. In and through him Abel relates himself to his heritage. In the section "The Long Hair," Abel returns to his grandfather physically; his final return to him is rituo-symbolic.
Abel has a mixed heritage, a heritage in which the racial line between the Red and the White is totally blurred—the Indian is distinguished not by his colour but by his vision. His genealogy is confused, "He did not know who his father was. His father was a Navajo, they said, or a Sia or an Isleta, an outsider anyway," which makes him an archetypal Indian, representing all Indians. On the other hand, through his grandfather he inherits an ancestry which links him with the white Christian race. Through Francisco he is at once connected with Father Fray Nicholas and Porcingula Pecos. The historic identity of Fray Nicholas is established through the concrete device of Diary and Letters, but Porcingula remains enigmatic, the archetypal mother in her various aspects. She is, as Kerr puts it "many things; the totem of Bahkyush; a Christian saint (Maria de los Angeles); a whore; Francisco's lover; and in remote yet richly possible connections Pony, Angela, and most importantly Tai-me, Momaday's heartfelt creation deity." Through her, Abel participates in the diaspora of Bahkyush, the feast of Santiago, the holy rites and rituals of regeneration and reawakening. From Fray Nicholas he also inherits a legacy of sin and guilt, which he keeps confronting again and again. It relates him not only to the eagle hunters but also to the "marauding bands of buffalo hunters and thieves." It reminds him of a long lost war, which impinges on his consciousness again in the image of the tank and disorients him for the time-being.
The novel is about his reorientation, the most crucial aspect of which is his understanding of evil. Momaday's treatment of evil is subtle, complex and profound; for him evil is what the Indian is not. In his treatment of evil Momaday again shows [what he terms] the humanity of the Indian's perception, "a moral regard for the beings, animate and inanimate, among which man must live his life." Consequently, the novel is free from the kind of racial violence that characterizes the fiction of some of the black writers. Evil does not have a specific identity in the novel though [Alan R. Velie has pointed out in his "Cain and Abel in N. Scott Momaday's House Made of Dawn," Journal of the West 17 (April 1978)] that by making Abel an Indian, Momaday has indirectly led many [to] reexamine the identity of Cain. It is definitely associated with whiteness, but by making it a matter of chance in the case of the Albino, Momaday seems to imply that pigmentation is only accidental: "Whiteness has an ambiguity that is creative in the Albino—the white man, the Albino, that equation whatever it is." It is "in the Melvillian sense," as Velie put it "the intensifying agent in things most appalling to mankind." What the novel succeeds in communicating is the fact that despite repeated betrayal the Indian continues to be the carrier of the seed of life, a source of renewal and regeneration. The other characters of evil in the novel are similarly vague and shadowy, almost spectral. They are evil presences like the Albino, who follows the movements of Francisco and whom we vaguely identify through the "coloured glass." The evil figures appear as those who seek to deprive Abel of his sacred heritage or of his mobility, most characteristically expressed in his manual movements. It is significant that Martinez, the culebra, seeks to destroy Abel by destroying his hands, "And his hands were broken; they were broken all over." The characters of evil disappear as soon as they appear, never to be heard of again. By universalizing evil and by reducing whiteness to a metaphysical and ambiguous dimension, Momaday strikes a positive note in Red-White relationship.
This brings us to the consideration of the most controversial incident in the novel, the murder of the Albino. There is no "explicit explanation of motives" and the reader is left wondering about the exact nature of the entire episode. There is a strong element in the novel to suggest that Abel does not think of the Albino as a human presence. The narrative suggests him to be a kind of "presence" for when Abel and the Albino speak to each other, they say something so low "as if the meaning of what they said was strange and infallible." The Albino is constantly described as a "white man" whose laughter ends "in a strange, inhuman cry" and it "issued only from the tongue and teeth of the great evil mouth, and it fell away from the blue lips and there was nothing left of it." The language clearly suggests the image of a snake here and it is obvious that Abel sees the Albino as a snake. The narration of the murder also indicates that the Albino tries to kill Abel in a mortal coil, a fatal embrace, which has homosexual overtones. That Abel sees the Albino as a snake is again emphasized when he tells in the court, "Well, your honours, it was this way, see? I cut up a little snake meat out there in the sand." Father Olguin suggests it to be "An evil spirit," attributing it to a "psychology about which we know very little." For him it was "an act of imagination so compelling as to be inconceivable to us." Even otherwise it is indicated that Abel sees the Albino as a witch or sawah, for Abel's inexplicable behaviour in the war is also suggestive of his capacity to visualize evil in terms of his own psyche. It is obvious from the narrative that he responds to the tank not as a machine but as an evil presence, which so disorients him that he temporarily loses his sense of identity and his connection with land, "He reached for something, but he had no notion of what it was; his hand closed upon earth and the cold, wet leaves." Later in his delirium, he challenges it in the instinctive manner with a war dance, "And there he was, hopping around with his finger up in the air and giving it to that tank in Sioux or Algonquin or something." These incidents clearly refer to the instinctive self of Abel which is liberated from the white presence.
The snake-albino-whiteman-evil connection is too complicated to lead to any clear explanation, but it is apparent that Abel is striving to get rid of something not natural to his self. Earlier, he kills the young eagle to liberate it of its anguish, symbolically liberating himself from the hood that deprives him of his vision. It is quite possible that Abel kills the Albino, "as a frustrated response to the whiteman and Christianity," or in him he kills "the whiteman in the Indian" or "a part of himself and his culture which he can no longer recognize and control" [Lawrence J. Evers, "Words and Place: A Reading of House Made of Dawn," Western American Literature 11 (Winter 1977)]. Abel's responses after the incident are like that of a person bitten by a snake and Tosamah describes his case as that of a "snakebite."
Abel's reemergence is like a therapeutic process, a kind of exorcism, a process of healing in which the ritual of the sexual act has a tremendous significance. In the Indian world-view the act of sexual union is a sacred act in which all secrets, even those of sorcery and evil, are revealed to the participants. This is suggested by Momaday's detailed narration of the sexual act and its impact on the participants, whose natures are altered by the experience. Sex in the novel is a fertility rite which leads to healing and restoration of self. It is almost a rite of initiation through which the sacred enters into the human like the bear that Angela St. John thinks to have conceived. These episodes are thematically connected with the quest of the life-seed that Abel is looking for. The two most crucial of these rites are the ones between Angela and Abel and Porcingula and Francisco which initiate them into their heroic quests. The two episodes have a symbolic function, for, the union of Francisco and Porcingula is reenacted in the union of Abel and Angela St. John, who, identifying Abel with the bear, connects him with the bear that offers Francisco the secret of eternity and makes him the seer and medicine man of his people. In the two, myth and history become social reality. It is obvious that throughout the novel, Momaday's stress is not on race but on a vision and a participation mystique peculiar to a race. Abel overcomes all onslaughts on his self by discovering this vision which enables him to participate in a tradition that goes back to a mythic past. Momaday's art lies in his ability to give us glimpses of this lost world in a world now full of hatred, violence and bloodshed. In him vision and form become one and the same.
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Guinness Book of Astronomy
Intended for amateur enthusiasts and professional astronomers alike, this reference book reflects the many developments in the world of astronomy since the fourth edition was published. These include the comet impact on Jupiter, powerful telescopes such as the improved Hubble Space Telescope, recent theories about the origins of the universe, and planetary explorations by spacecraft. The book also contains a detailed star catalogue with finder charts, solar and lunar eclipses up to the year 2006, and potted sections on glows and atmospheric effects, star distances and movements, variable stars, clusters and nebulae. Lighter anecdotes tell of events such as the only cricket match to be interrupted by an eclipse, the narrowest escape anyone has had from a meteorite, and the asteroid that had its name auctioned off.
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The Action Figure and Toy Collecting and Discussion Thread!
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December 31 2012, 02:40 PM
Fleet Admiral
Location: The Warped Sector of the Demented Quadrant
Re: The Action Figure and Toy Collecting and Discussion Thread!
Major Holiday markdowns in effect at Walmart, guys, and not just on those exclusive 3-D action figures I mentioned and showed a couple of posts earlier.
Some of the post-Christmas deals on 2012 product
A couple of extra Dewback lizards would be cool, but unfortunately my area's Wally Worlds seem to be fresh out of their exclusive Dewbacks. There's also an exclusive Vulture Droid that's part of the sale but that one never interested me enough to buy it.
Now if they can just mark down and liquidate all the Clone Wars and Movie Heroes figures that nobody's wanted for the past ten or eleven months. Nobody wants to pay nine or ten bucks for a Super Battle Droid or animated Mace Windu, guys.
"Human instinct is pretty strong. You can't expect us to change overnight."
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Southwest Turkey Salad
12 Mar 2011
|Mild salsa
|2⁄3 Cup (10.67 tbs)
|Sour cream
|1⁄2 Cup (8 tbs)
|Ground cumin
|1 Tablespoon
|3⁄4 Teaspoon
|Ground black pepper
|1⁄2 Teaspoon
|Canned kidney beans
|15 Ounce (1 Can)
|Canned corn kernels
|17 Ounce (1 Can)
|Cooked turkey
|8 Ounce, cut in 1/2-inch cubes (2 Cups)
|Celery stalks
|3 , diced
|Lettuce leaves
|Tortilla chips
|2 Cup (32 tbs), shredded
Prepare dressing: In small bowl whisk together salsa, sour cream, cumin, salt and pepper.
Cover and refrigerate briefly while you make the salad.
Prepare salad: Place kidney beans in colander and rinse under cold running water.
Add corn and drain well.
With 5-inch Self-Sharpening Utility Knife, cut turkey into 1/2-inch cubes.
Place beans and corn in Batter Bowl, add turkey and celery, and toss lightly to mix.
To serve: Arrange lettuce on 4 dinner plates.
Spoon a quarter of the turkey salad over lettuce on each plate and garnish with tortilla chips.
Serve dressing on the side.
Recipe Summary
Difficulty Level:Easy
Course:Side Dish
Preparation Time:10 Minutes
Cook Time:10 Minutes
Ready In:20 Minutes
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On Mark Lilla on Hannah Arendt
**This post was originally published on November 15, 2013**
It is now more than 50 years since Hannah Arendt published Eichmann in Jerusalem. It is neither her best nor her most important book, yet it does contain essential and important insights. Above all, it offers us the example of a man who, as Arendt saw and understood him, moved fairly seamlessly from being an anti-Semite to a genocidal murderer. Arendt asked: How is it that Eichmann and others like him morphed so easily from an anti-Semite to a mass murderer?
Amor Mundi 11/17/13
Hannah Arendt considered calling her magnum opus Amor Mundi: Love of the World. Instead, she settled upon The Human Condition. What is most difficult, Arendt writes, is to love the world as it is, with all the evil and suffering in it. And yet she came to do just that. Loving the world means neither uncritical acceptance nor contemptuous rejection. Above all it means the unwavering facing up to and comprehension of that which is.
Every Sunday, The Hannah Arendt Center Amor Mundi Weekly Newsletter will offer our favorite essays and blog posts from around the web. These essays will help you comprehend the world. And learn to love it.
Hannah Arendt Amongst the Girls
In an excerpt in the LA Review of Books adapted from her new book Diving for Pearls: A Thinking Journey with Hannah Arendt; Kathleen Jones explores the depth and meaning of Hannah Arendt's friendships, and especially her intimate bonds with women. "In the landscape of friendship, Hannah Arendt's capacity stands luminous and large. From the time she was a young woman, she surrounded herself with a circle of friends with whom she exchanged gossip, ideas about politics and philosophy, opinions on culture and the state of the world, and, occasionally, romantic partners." Jones cites Alfred Kazin who said that Arendt "confronted you with the truth; she confronted you with her friendship." But above all, Jones explores Arendt's friendships with women, Mary McCarthy, Lotte Kohler, Hilda Fränkel, Ann Weil (Annchen to Arendt), and Rosalie Colie (or Posie as Arendt called her). "Stories of Arendt's female friendships such as these reveal a side of her not usually captured in more traditional portraits. Yes, her intelligence was intimidating; yes, she was judgmental, arrogant, and not easily moved from an opinion once formed — whether on ideas or people. But she was also a person of deep feeling, with an appreciation for the vagaries of the human heart. Those she allowed to come closest saw and came to depend upon that."
Cole Carter has an excellent exploration of the limits of liberal outrage in the latest issue of The Point. "Outrage can also cause us to misrepresent or mythologize the past. Morton, for instance, claims that before 9/11, our alleged toleration of torture would have been unthinkable. "We were a people who didn't torture — whether or not this has ever been completely true, it was a bedrock element of our idea of ourselves." As Samuel Moyn pointed out in a magnificent essay on the politics of torture in The Nation, this story of regression doesn't match the historical record. Moyn tells us that torture's current status as an unspeakable taboo is actually quite recent, tracing its origins to the international human rights movement, which gained steam following the end of decolonization in the early 1970s. Throughout the early twentieth century, and for centuries before, colonial Western powers (the French in Algeria, the British in Malaya, and yes, the United States in the Philippines) were torturing their subjects with hardly a twinge of guilt…. The left's taste for outrage encourages a minimalist politics which, as a result of a triage of an almost unlimited supply of atrocities, seeks to curb only the most willful and obvious abuses of power. As the possibility of transforming society has receded, the left has contented itself with condemning the worst aspects of the present system."
In an interview about his new novel A Beautiful Truth, told partially from the perspective of chimpanzees, Colin McAdam thinks through whether or not language is simply a means to an end: "It seems to contradict all the poetry in me, but I feel passionate about us as a species trying to understand what unites us with other apes rather than what distinguishes us. When I was reading various ape language studies — especially those involving sign language, where the relationship between the movement of hands and the movement of the tongue is seated in the same neurological space — I came to understand the physicality of words, that they come from the same place as tool use. For me, understanding words as tools is a way of not distancing ourselves from other apes, of finding that kinship more deeply. My talking to you right now is me trying to convince you of my worldview, trying to show you how I perceive things. You can look at that as being kind of Machiavellian and cynical — repulsive and reductive — but that's what it is. When anyone is talking to anyone else, we're trying to make them see what we're seeing." One wonders if manual dexterity and persuasive force have much to do with the spiritual reveries unleashed by Robert Frost's "Good fences make good neighbors"?
Losing One's Way in Dante's City
In an essay about her father and her love of public gardens, Zadie Smith describes getting lost in Florence: "Many people set out from a Florence hotel with the hope of getting to a particular place—few ever get there. You step into a narrow alleyway, carta di città in hand, walk confidently past the gelato place, struggle through the crowd at the mouth of the Ponte Vecchio, take a left, and find yourself in some godforsaken shady vicolo near a children's hospital, where the temperature is in the 100s and someone keeps trying to sell you a rip-off Prada handbag. You look up pleadingly at the little putty babies. You take a right, a left, another right—here is the Duomo again. But you have already seen the Duomo. In Florence, wherever you try to get to, you end up at the Duomo, which seems to be constantly changing its location. The heat builds and the walls of the alleys feel very high; the thought of a green oasis is tantalizing but last time you remember seeing grass was that little strip in front of the train station. Will you ever see it again?"
Discussing his new book The Confidence Trap, David Runciman suggests that there's a reason democracies can't see, and therefore stop, crises before they happen: Tocqueville saw a link between the tendency of democracies to overreact and their propensity to drift. Because democracies are full of people running around saying the sky is falling in – panic sells far more newspapers than calm reflection does – they also have an inbuilt tendency to discount warnings of disaster. Since the sky rarely falls in, why listen to the people warning of disaster. So mistaking minor dislocations for real crises goes along with mistaking real crises for minor dislocations. That's why so few people saw the crisis of 2008 coming before it arrived and why the ones who did were routinely ignored."
November 20, 2013
The Letters Between Hannah Arendt and Alfred Kazin
A Lunchtime Talk with Thomas Wild and Matthius Bormuth
The Hannah Arendt Center
Learn more here.
November 26, 2013
Spaces of "Politics" - Aspects of Transnationality in Arendt's Thinking
A Lunchtime Talk with Stefania Maffeis
The Hannah Arendt Center
Learn more here.
This week on the blog, Roger Berkowitz responds to Mark Lilla's criticisms of Hannah Arendt in the New York Review of Books; Na'ama Rokem considers the final scenes of Alfonso Cuaron's Gravity and Margharethe Von Trotta's Hannah Arendt; the former is certainly an action scene, but what if the latter is too?
On Mark Lilla on Hannah Arendt
It is now more than 50 years since Hannah Arendt published Eichmann in Jerusalem. It is neither her best nor her most important book, yet it does contain essential and important insights. Above all, it offers us the example of a man who, as Arendt saw and understood him, moved fairly seamlessly from being an anti-Semite to a genocidal murderer. Arendt asked: How is it that Eichmann and others like him morphed so easily from an anti-Semite to a mass murderer?
Arendt's book is justly famous because it posed this deeply important question and offered an answer that has, over time, come to be seen as persuasively right. In short, it is the case that modern systems of administratively organized murder and criminality depend upon the collaboration and work of many people who, while they support the general goals of the regime, would not otherwise imagine themselves criminals and murderers. These people act out of conviction, but they seek to justify what they do in clichés and bureaucratic language. They take pride not only in their dutifulness, but also in their initiative and support for carrying out the goals of the regime. Ordinary in many ways and far from being cold-blooded killers, they nevertheless willingly and even enthusiastically participate in an administrative machinery of death. They are able to do so, Arendt suggested, because they close themselves off from others and come to think in an echo chamber where they hear and credit no opinions that challenge their own. This shallow thoughtlessness—Arendt elsewhere calls dumbness—is what she names the banality that allows modern regimes of evil to cause such horrifically and decidedly non-banal evil.
What amazes me is how the centrality of her insight is still clouded over by an exaggerated and misplaced anger and contempt. How is it that 50 years after her book appeared and 75 years after Kristallnacht, some American intellectuals still have little better to do than attack Arendt for the tone of her book, the offense of certain phrases, and her use of the word "banal"? Aren't there more important questions than the ultimately unknowable question of whether Eichmann—the example Arendt used—was or was not truly thoughtless? There must be more important things for intellectuals to be indignant about.
A case in point is the two-part series of essays published by Mark Lilla in the last two issues of the New York Review of Books. Lilla, a distinguished Professor of the Humanities at Columbia University in New York, begins the second of his essays, "The Defense of a Jewish Collaborator," with these reflections:
A half-century has passed since Hannah Arendt's Eichmann in Jerusalem was first published. Yet somehow we can't escape it. Even today historians of the Final Solution do battle with her misguided thesis that Adolf Eichmann, the cold-blooded engineer of the Nazi killing machine, was himself but a cog in it, a self-deceived simpleton who made evil seem banal.
If Lilla is so upset that so much attention is lavished on Arendt's book, why does he once again begin with it? Moreover, why does he insist on criticizing Arendt for things she never said? Let's consider Lilla's characterizations of Arendt's arguments—characterizations that are tossed off, repeated by many, and quite simply are false.
Lilla first accuses Arendt of calling Eichmann "a cog" in the Nazi killing machine. This is a common complaint, one made famous by Deborah Lipstadt, whom Lilla cites approvingly. But where does Arendt say this? The simple answer is nowhere.
The "cog theory" comes up sparingly in Eichmann in Jerusalem, but wherever it does, Arendt decidedly rejects it. Consider this paragraph from section IV of her report, where she discusses what she calls "Eichmann's muddled general outlook and ideology with respect to "the Jewish question."" She writes:
Eichmann admitted, as he had in the Sassen interview, that he "did not greet his assignment with the apathy of an ox being led to his stall," that he had been very different from those colleagues "who had never read a basic book [i.e., Herzl's Judenstaat], worked through it, absorbed it, absorbed it with interest," and who therefore lacked "inner rapport with their work." They were "nothing but office drudges," for whom everything was decided "by paragraphs, by orders, who were interested in nothing else," who were, in short, precisely such "small cogs" as, according to the defense, Eichmann himself had been. If this meant no more than giving unquestioning obedience to the Führer's orders, then they had all been small cogs - even Himmler, we are told by his masseur, Felix Kersten, had not greeted the Final Solution with great enthusiasm, and Eichmann assured the police examiner that his own boss, Heinrich Müller, would never have proposed anything so "crude" as "physical extermination." Obviously, in Eichmann's eyes the small-cog theory was quite beside the point. Certainly he had not been as big as Mr. Hausner tried to make him; after all, he was not Hitler, nor, for that matter, could he compare himself in importance, as far as the "solution" of the Jewish question was concerned, with Müller, or Heydrich, or Himmler; he was no megalomaniac. But neither was he as small as the defense wished him to be.
Arendt revisits the "cog theory in her postscript. Here is what she writes there:
We heard the protestations of the defense that Eichmann was after all only a "tiny cog" in the machinery of the Final Solution, and of the prosecution, which believed it had discovered in Eichmann the actual motor. I myself attributed no more importance to both theories than did the Jerusalem court, since the whole cog theory is legally pointless and therefore it does not matter at all what order of magnitude is assigned to the "cog" named Eichmann. In its judgment the court naturally conceded that such a crime could be committed only by a giant bureaucracy using the resources of government. But insofar as it remains a crime - and that, of course, is the premise for a trial - all the cogs in the machinery, no matter how insignificant, are in court forthwith transformed back into perpetrators, that is to say, into human beings. (italics added)
In the only mentions of the "cog theory" in her book, Arendt dismisses it as untrue and shows how even Eichmann rejected the cog theory and took pride in seeing himself as someone driven by conviction rather than by mere obedience. What Eichmann believed in is difficult to discern, which is why Arendt calls his thinking on the Jewish Question "muddled." By this she means, it is unclear what were Eichmann's real motivations. At times Eichmann spoke of helping the Jews emigrate (his first job from 1933-1939). At other times he said he "regarded the Jews as opponents with respect to whom a mutually acceptable, a mutually fair solution had to be found." Arendt assumed he was an anti-Semite as well and discredited his claims of philo-Semitism. In the end, she found his thinking muddled. What was clear, is that Eichmann supported the Nazis enthusiastically. He was hardly a mere cog.
I hope we can put the "cog theory" to rest once and for all. It is repeated ad nauseum. But nowhere does Arendt embrace it. On the contrary, she rejects it.
Lilla also writes that Arendt "made evil seem banal." One wonders what he means by such a statement. In fact, Arendt contrasts the horrific evil of the Holocaust with Eichmann's inability to think from the perspective of others—banality not of what he did (evil), but of his person. When Arendt comes to actually offer her own opinion on what should happen to Eichmann—that he must be killed—she argues the true reason he needs to be executed is simply because of the extraordinary evil he has done.
That "evil violates a natural harmony" is, Arendt writes, the non-banal and "supreme justification" for why Eichmann must be executed. Against modern criminal law theories that see punishment as a response to the intent of the wrongdoer, Arendt argues the opposite: that Eichmann must be punished—regardless of his intent—because of the evil he has done. Here is what she says:
Foremost among the larger issues at stake in the Eichmann trial was the assumption current in all modern legal systems that intent to do wrong is necessary for the commission of a crime. On nothing, perhaps, has civilized jurisprudence prided itself more than on this taking into account of the subjective factor. Where this intent is absent, where, for whatever reasons, even reasons of moral insanity, the ability to distinguish between right and wrong is impaired, we feel no crime has been committed. We refuse, and consider as barbaric, the propositions "that a great crime offends nature, so that the very earth cries out for vengeance; that evil violates a natural harmony which only retribution can restore; that a wronged collectivity owes a duty to the moral order to punish the criminal" (Yosal Rogat). And yet I think it is undeniable that it was precisely on the ground of these long-forgotten propositions that Eichmann was brought to justice to begin with, and that they were, in fact, the supreme justification for the death penalty. Because he had been implicated and had played a central role in an enterprise whose open purpose was to eliminate forever certain "races" from the surface of the earth, he had to be eliminated.
The evil of the Holocaust was barbaric. It violated the order of the universe. To say that Arendt saw evil as banal is simply a willful misreading of her book.
The word "banality" appears once in a book of 250 pages that is filled with expressions of shock and horror at Nazi doings of evil. When Arendt does speaks not simply of the "banality of evil," but of the "fearsome, word-and-thought defying banality of evil," she refers to Eichmann and people like him who are able to justify their participation in truly evil acts by justifying themselves according to clichés, rationalizations, and deceptions. To do so, she argues, requires a lack of thinking, where thinking is understood as thinking from the perspectives of others. That is the kind of shallow banality that enables ordinary men to do evil. It is hardly to describe evil itself as banal.
Finally, in Lilla's first essay on Arendt (thinly disguised as a review of the new film by Margarethe von Trotta), Lilla trades in the lately popular fallacy that newly discovered interviews of Eichmann by Dutch Nazi Willem Sassen prove Arendt mistaken about Eichmann. Lilla claims that a quotation full of ellipses offers such glaring proof of Eichmann's thoughtful monstrousness that, had Arendt known this "new" information, she "would have to concede" she was wrong.
Here is the chilling quotation from the Sassen papers that Lilla offers.
The cautious bureaucrat, yeah, that was me…. But joined to this cautious bureaucrat was a fanatical fighter for the freedom of the Blut I descend from…. What's good for my Volk is for me a holy command and holy law…. I must honestly tell you that had we…killed 10.3 million Jews I would be satisfied and would say, good, we've exterminated the enemy…. We would have completed the task for our Blut and our Volk and the freedom of nations had we exterminated the most cunning people in the world…. I'm also to blame that…the idea of a real, total elimination could not be fulfilled…. I was an inadequate man put in a position where, really, I could have and should have done more.
This quotation shows the ferocity of Eichmann's character. It shows him to be fully committed to carrying out the Final Solution, which, of course, was one of Arendt's main arguments—that Eichmann did not simply obey, but supported the Nazi regime. It shows Eichmann was not simply a cog, again a point made by Arendt. It shows that Eichmann put himself under his "Volk," the German word for Nation or People. He repeats this point often in the Sassen papers, that he was prepared to sacrifice himself, his conscience, his morality, and his life for the good of the German Volk as articulated by Adolf Hitler. And it shows that Eichmann refused to ask for forgiveness for what he had done. He shows no remorse and even feels guilty that he did not accomplish the task eventually assigned to him after 1941, to help exterminate the entirety of the 10.3 million Jews in Europe. In short, these citations show Eichmann to be a god awful man.
Lilla offers this citation to make a different point, however, namely, to accuse Arendt, not simply Eichmann. It is intended to prove that Arendt was wrong about Eichmann. Because of this quote, "we now know [Arendt's argument] to be utterly indefensible." What is more, in an astounding act of ventriloquism, Lilla writes: "Arendt, [if] were she alive, would have to concede."
The problem with Lilla's assertion is that Arendt was aware of the material he quotes. Partial transcriptions of the interviews—including the quotes Lilla cites—were published in two volumes of Life Magazine in 1960. Arendt read those interviews; she suspected they were not fully reliable, but understood them to give a sense of Eichmann's anti-Semitism, his boastfulness and stupidity—all congruent with the 70 pages of Eichmann's 1956 memoir written in Argentina that she also read. In short, Arendt had seen many of the damning quotes from the Sassen interviews and concluded that, if anything, they supported her interpretation. If Lilla wants to argue that Arendt got Eichmann wrong, fine: he should make his case on its merits, not on assertions of her ignorance of essentials of which she was not ignorant.
Arendt saw Eichmann as an anti-Semite. Might she have underestimated the extent of his hatred? Perhaps. Having read as much of Eichmann's writings as I have been able to get my hands on, I am convinced that Eichmann was a virulent anti-Semite. So much so that it is clear to me that his hatred of Jews must have played some significant role in his willingness to participate in the Final Solution. But none of that in any way contradicts Arendt's argument.
There is a difference between virulent anti-Semitism and genocidal mass murder. Both in Jerusalem and Argentina, Eichmann describes pangs of conscience—not about killing Jews, but about killing. The fact is that from 1933-1940 Eichmann's anti-Semitism led him to enthusiastically support and carry out first the policy of helping Jews to leave Germany and second the policy of deporting them from Germany. After the Final Solution was decided upon, Eichmann expressed reservations about it in both Argentina and in Jerusalem. He made it very clear that he was against killing and that he never personally killed anyone. This point—as irrelevant as it was to the trial—was important to him. What shocked Arendt was how he so quickly overcame his conscientious resistance to killing. His anti-Semitism—clearly part of the explanation—cannot alone explain how, or why, he so easily overcame his initial resistance to the physical extermination of the Final Solution.
Arendt saw that Eichmann's original reservations at being involved in mass murder dissipated quickly as he justified mass murder, consoling himself with clichés, and hoping others would understand and forgive him. This dumb shallowness is what Arendt called Eichmann's banality. Arendt's point was that Eichmann—beyond being an anti-Semite—thrived upon the power and meaning he got from being a Nazi. There is simply no reason to think that the quotations from the Sassen Papers that Lilla offers—quotations Arendt had read—would make her change her mind. To say they would is to free oneself from the obligation of understanding her argument.
Arendt asked how Eichmann morphed from an anti-Semite to a mass murderer. Her critics owe her the courtesy of engaging the depth of her argument, something Lilla's false claims of superior knowledge free him from having to do. Fifty years on, it is time to get beyond "gotcha" accounts that dismiss the seriousness of her work and, instead, take Arendt's arguments seriously.
When all this is said, there is much to recommend in Lilla's two essays. Especially in his consideration of Claude Lanzmann's film The Last of the Unjust—a spirited defense of one of the worst of the Judenräte Benjamin Murmelstein. Lilla displays good sense in questioning Lanzmann's defense of Murmelstein's rationalizations for his collaboration. Further, in his first essay, Lilla rightly considers and rejects the most slanderous and pernicious arguments that Arendt blamed the Jewish victims of the Holocaust. His discussion of Arendt's account of the Judenräte is balanced and informative. He rightly sees that the anger over her characterization of the Jewish leaders was largely overblown, based on taking offending phrases out of context.
In the end, it is important to read essays like Lilla's, if only to understand the liveliness of the sadly-continuing controversy around Eichmann in Jerusalem. Mark Lilla's "Arendt and Eichmann: The New Truth" and his "The Defense of a Jewish Collaborator," are your weekend reads.
The Gravity of Thinking
"What I propose, therefore, is very simple: it is nothing more than to think what we are doing"
—Hannah Arendt, "Prologue", The Human Condition
The final scene of Alfonso Cuarón's new film, Gravity, shows us Sandra Bullock trapped underwater in a satellite escape pod that she has just crashed into earth. Breaking loose from the straps and the heavy door of the pod, her body shoots up, slender and nymph like, to the surface of the unnamed body of water in which she almost drowned. She crawls out to the sand, in the footsteps of some primordial amphibian and within a few seconds she has struggled her way to uprightness, readjusting to gravity and completing the entire process of evolution. With Bullock, we feel relief and gratitude for the force that pulls us all down and makes us earth-bound creatures. In the 90 minutes leading up to this moment, we have seen her float in space, escaping one disaster or explosion after another and keeping herself precariously tethered to a bunch of satellite debris, until she finally manages to launch herself back to earth and to gravity.
I thought of this last scene – that final bit of action and irony thrown in before we are allowed to leave the movie theater: "You think she has made it back to earth? Oh no! She is about to drown!" – as I watched Margarethe von Trotta's Hannah Arendt. The earth, and the fact that we are earth-bound creatures, our life with gravity, was a matter of great interest to Arendt. She discusses the launch of the Sputnik, that forefather of the satellites that crowd the sky in Gravity, in the forward of her book, The Human Condition, and worries that we might all find ourselves in the intellectual corollary of Sandra Bullock's hovering in space, loosing our earthly orientation. The earth, Arendt writes, "is the very quintessence of the human condition." (You can read an essay and watch a talk on Arendt's discussion of earth alienation).
Unlike Cuarón, von Trotta has not produced an action movie in the conventional sense of the term, a fact that she seems to mark explicitly in the first scene of her film, which depicts the abduction of Adolf Eichmann by Mossad agents in Argentina. That moment could be the focal point of an action movie, but von Trotta wants to show us not action, but thinking, a contrast that she draws from Arendt's writings, of course.
The movie is rich with details of Arendt's life in the world: her love relationships and friendships, her body and the domestic setting that housed it, her public life. But what it attempts to capture are the moments in which Arendt withdraws from all of that to do what she suggests in the forward to The Human Condition: "to think what we are doing." Barbara Sukowa depicts the thinking Arendt as she lies down on her recliner, eyes closed, slowly sucking on her cigarette. In fact, what she does is not thinking, but – as we are made to notice by Mary McCarthy's chiding imitation of her friend's heavy German accent in one of the party scenes that takes place in the Arendt-Blücher home on the Upper West Side – she is "sinking". This is not a minor detail. Arendt's political thought and her controversial analysis of the Eichmann trial, which is at the center of the movie, were formed by her own experience of statelessness and exile; the book about Eichmann, which she wrote in English, speaks with that German accent.
From the moment that McCarthy has imitated it, whenever Arendt speaks passionately about "the responsibility to sink" and "Eichmann's inability to sink", the viewer can't help but note with amusement. A second immigrant's slip of the tongue, caught by McCarthy and highlighted by its significant recurrence in the movie, also belongs to the same underwater sphere where Bullock spends the final dramatic moments of Gravity. In a discussion of the upcoming American elections, Arendt predicts that what will matter "when the ships are down" is Kennedy's youth and charisma. When McCarthy corrects her, Arendt waves her hands impatiently. But as von Trotta's film winds its way toward its ending, in the dramatic scene in which Arendt finally decides to lecture in public and provide a passionate defense of her book, she corrects herself and states that radical evil occurs when people fail to act "when the chips are down," emphasizing the affricate sound of her acquired American idiom.
Though it could not be more different from Cuarón's last bid to pump his viewers' adrenaline by throwing Bullock into the sea, this too is an action scene. Arendt is performing precisely the type of action championed in her Human Condition, stepping out to the Agora, engaging in debate and defending her position. What von Trotta has shown is that Arendt's terms are useful also for thinking about current cinema and the ways in which it shows us what it means to be human, what it means to act and to think about what we are doing.
-Na'ama Rokem
University of Chicago
Arendt in Contemporary Art: Lyln Foulkes at the New Museum
Arendt in Contemporary Art: Lyln Foulkes at the New Museum
Margarethe von Trotta's film Hannah Arendt is only the latest appearance of the political thinker in popular culture. This summer, the New Museum's Lyln Foulkes retrospective provided an opportunity to examine an appearance of Arendt in contemporary art. Completed in 1991, The New Renaissance employs materials and motifs reminiscent of pop art and post-modern collage to create a vibrant but mysterious self-portrait.
The setting of the painting, Santa Monica Bay, reminds us of the early paintings modeled on post cards that first brought Foulkes critical attention in the 1960s. The face of the painter, traditionally the center of subjectivity in Western painting, has been disfigured in a style that Foulkes employed since the 1970s. While facing, if not exactly looking, west though, the painter seems to reach out to the East, painting the Chinese character "humanity." The words written on the painter's brain list a series of concepts and problems, the pallet has a wide mix of colors, but on the canvas it seems that the painter is able to get a clear sign of the picture he wishes to express. Foulkes also uses what looks like real wood for the telephone pole, further satirizing the process of art as creative mediation.
At the viewer's left, Arendt's book The Human Condition appears in the hands of Foulkes's wife. She stands behind him in black and white outline, unfinished or highlighted by lack of color. One might conjecture that she reads Arendt to attempt to make sense of the work of art before her. In this case, we might imagine that she's immersed in book 4, where Arendt calls works of art "the most worldly of all things." Foulkes's work leads us to ask how contemporary art creates a human world by telling a story. What kind of "durability" does it create, given that it often challenges understanding rather than simply marking an event (like a monument), or even recounting an recognizable story?
The "HUMAN" in all capital letters of the title makes its way from the book through the painter to the Chinese character on canvas. West meets East here through different cultural symbols. In a similar manner, the ghostly, electric image on Christ on the telephone pole suggests a striking confrontation of the modern age with the imagery of the biblical tradition. Whether or not one thinks that Foulkes succeeds in contributing to the durability of the world with these combinations, we can see them as the kind of attempt to confront the challenges of the present with resources of the past that Arendt advocated and practiced.
-Jeffrey Champlin
A Letter from Roger Berkowitz
Dear friend,
Have you seen "Hannah Arendt," the critically acclaimed film by Margarethe von Trotta? It has spurred a storm of commentary, including my recent essays in the New York Times and the Paris Review. The best reaction to the film is to re-read Eichmann in Jerusalem itself, the powerful book about the trial of Adolf Eichmann that first unleashed the controversy fifty years ago.
With the movie being seen by hundreds of thousands of people, this is an exciting time for the Arendt Center. I have been speaking around the country at Q&A sessions after the movie. Audiences are hungry to confront the questions Arendt highlighted: the dangers of thoughtlessness and loneliness that together can lead to ideological conformism and unthinking evil.
We have a unique opportunity in the wake of this cultural interest in Hannah Arendt to bring the power of Arendt's thinking to a wider and politically engaged audience. I founded the Hannah Arendt Center to forge a middle ground between partisan think tanks churning out white papers and universities living in a bubble. All my experience since the founding sustains the truth that there is a yearning for passionate thinking about the major questions and challenges of our age.
I turned to Hannah Arendt as a symbol and the embodiment of humanistic thought grounded in thorough understanding. No other American thinker so engages (and, yes, sometimes enrages) citizens and students from all political persuasions, resisting all attempts at categorization on the right or the left, and all the while insisting on human dignity. Arendt's writings attract the minds and hearts of individuals who wish to think for themselves. She is that rare writer who compels her readers to think and re-think their most fundamental ethical and political convictions.
The Arendt Center engages citizens everywhere in Arendt-like thinking: relentless examination of issues from multiple points of view, with an emphasis on unimagined and unintended consequences --"thinking without banisters" is the phrase most closely associated with Arendt's methods; "the banality of evil" is the sound bite by which she is best known. We are continually striving to nurture engaging and thought provoking lectures, discussions, and events. And the next few months will be truly exciting.
- Our sixth annual fall conference, "Failing Fast: The Crisis of the Educated Citizen" will be happening at Bard College on October 3-4 and will bring together such luminaries as Richard Rodriguez (Hunger of Memory), Matthew Crawford (Shop Craft as Soul Craft), Danielle Allen (Talking to Strangers: Anxieties of Citizenship since Brown v. Board of Education), Bard President Leon Botstein (Jefferson's Children), and many more.
- 2013 will see the publication of the second annual edition of the HA Journal which revisits the best talks, essays, and lectures of the previous year.
- "Blogging and the New Public Intellectual"-- our New York City Lecture Series-will continue this fall, beginning with a discussion between Roger Berkowitz and Walter Russell Mead with Media Critic Jay Rosen on Sunday, Oct. 27 at 5pm at the Bard Graduate Center in NYC.
- The great American theatre director Robert Woodruff will be a senior fellow at the Arendt Center in the Fall and teach a course "Performing Arendt," designed to work with students to develop a multi-disciplinary performance piece inspired by Arendt's thinking.
- We will welcome back Senior Fellow Wyatt Mason and three new post-doctoral fellows who will teach courses at the Bard Prison Initiative as well as on Bard's Annandale campus.
- We are editing a volume of essays "Reading Arendt's Denktagebuch," based on a week-long working group we hosted last summer to read and discuss Hannah Arendt's Denktagebuch, the book of thoughts she kept for over 30 years.
- We will hold our second annual Berlin conference in May of 2014 in conjunction with ECLA of Bard.
- This fall we will launch a new annual series on Bard's campus teaching historical consciousness by focusing on a single fascinating year in history. The first event on September 19-20 features short talks by a dozen scholars about events from the fateful year 1933 as well as a Cabaret featuring songs and food from the period.
- Supported by a grant from the NY Council for the Humanities, the Arendt Center will host a series of public conversations in low-income neighborhoods throughout New York State in conjunction with our fall conference and centered on discussions of Richard Rodriguez's book, Hunger of Memory.
- We expect the NEH Seminar at Bard to continue in 2014 for the third year, directed by Kathy Jones, and bringing 17 high school teachers to the Arendt Center for five weeks to learn how to teach Hannah Arendt's political thinking to high school students.
- The Arendt Center and the Hannah Arendt Library recently acquired the complete transcript of the Trial of Adolf Eichmann in Jerusalem—one of only three copies in the United States—and plan on digitizing the transcript as pat of our continuing effort to make the material of the Arendt Library widely available and useful for Arendt scholars around the world.
- As part of a new initiative to encourage scholarship on and explore the enduring question of hate in human civilization, the Arendt Center will sponsor a syllabus competition to spur development of liberal arts courses on human hatred that will be taught in the fall semester 2014.
- If you missed it, take a look at my recently published essay on Hannah Arendt in the New York Times.
- We will continue to bring you thoughtful and timely commentary and content on our blog and website.
All of this and much, much more is in the works. But, we need your help and your support. The Arendt Center nurtures the foundational thinking that encourages the active citizenship that can humanize an often-inhuman world. But this programming comes at a cost.
Today we launch a 10 day/100 member challenge. Please click here and become a member of the Hannah Arendt Center. If you are already a member, we would ask you to renew your membership now. The Arendt Center needs the help of supporters like you, those that understand that we must "think what we are doing."
Learn more about membership here. One exciting new benefit of membership will be our virtual reading group. Members will be able to log on monthly to a live discussion about an essay or chapter by Arendt with members of the Arendt Center community.
We thank you in advance and look forward to seeing you at future real and virtual Hannah Arendt Center events.
Roger Berkowitz
Official U.S. Opening of "Hannah Arendt"
May 29 marked the official U.S. opening of the new Margarethe von Trotta film, "Hannah Arendt" at Film Forum in N.Y.C. The evening was co-sponsored by the Hannah Arendt Center and featured a discussion with the director, von Trotta, Pam Katz; the screen writer, Barbara Sukowa, playing Hannah Arendt and Janet McTeer playing Mary McCarthy.
Roger Berkowitz and Pam Katz
Margarethe von Trotta, Oliver Mahrdt, Barbara Sukowa, Janet McTeer, Pam Katz, Roger Berkowitz


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Last year, Steve Koehler came to Rogers Centre with the mission to put on a show. He delivered on the promise, performing a wheelie that is still talked about a year later. The wheelie that allowed Koehler to bring home the Stadium Wheelie of the Year award at the Monster Jam Awards Banquet (the video is attached at the bottom of the screen).
When Koehler hits the dirt with Wrecking Crew on Saturday and Sunday this weekend at the Rogers Centre, the promise is the same - to deliver a show as he plans to go non-stop.
"My foot is going to be to the floor," Koehler said. "I'm going to jump everything as hard as I can, jump as high as I can and like I said, that wheelie I did last year – if the track is the same, I want to try to do it again, if not a little crazier and change it up a little bit."
Koehler added that it may be a little different this year as track designers have been doing the tracks different than past years with higher hills and steeper angles to jump.
"I love it," the Michigan native commented. "A lot of guys will complain about it because it's hard on the trucks, it's hard on the body – but as far as the show goes, when you jump that truck 30, 40 feet in the air, it's amazing. Their jaws drop and that's what they should expect from this weekend."
When it comes to planning what will make the fans impressed, it's not about planning the order to do the run, but rather knowing the different angles that you can hit a hill at as Koehler says every hill has different angles in which it can be hit.
"Different angles, depending how you hit it, some will send the truck straight up in the air, which you can do a sky wheelie off of it," Koehler explained. "Other ones are set up with a little less of an angle where you hit and the truck will launch in the air and just fly across perfect. Then there's other ones that are real mellow and you can hit them as hard as you can and they'll launch you across the stadium for distance."
He also added that it's good to note the spots that the dirt is softer so you can do some donuts or cyclones.
Like many drivers in the sport, Koehler got his start not behind the wheel - but by wrenching on the trucks. His brother came up with the idea to build a monster truck - which eventually turned into what fans now know as Avenger.
"Since I was a little kid, he's always had bigger trucks, off-road vehicles," Koehler said. "Our dad was a drag racer so building motors is part of our family heritage. He talked about building a monster truck and by the time he put his mind to it, started buying parts and built it, it took 10 years to actually build the first one – which is the truck I am driving now.
"Once he got the thing built, I started helping him out. It turned into a lot of work because show after show, we tear the trucks up so basically there's a lot of work involved so I started helping him out on it."
In 2010, Team Scream Racing built a new truck for Jim Koehler and as a result, Steve Koehler started driving the old truck at shows alongside his brother. He said the idea of him driving simply came about due to the gearhead inside of him.
"It's cool to build something and work on something – but you're building something that you can drive and to make the thing and not drive it is kind of pointless," Koehler added. "So basically that was the next evolution.
"Me doing all the work and he having all the fun wasn't working. Now we're both doing all the work – we're working like crazy because we build them from the ground up ourselves – it's just rewarding to go out there and jump the thing and get these fans pumped up to see what we can do with them."
The name Wrecking Crew seems to fitting to many fans to see on a monster truck. Koehler said the name came about for the simple reason - they're always wrecking things.
"My brother being a two-time World Freestyle Champion, freestyle is his game and you're not going to win a freestyle without crashing here or there," Koehler said. "We've done shows where we're basically pushing the truck into the trailer with a loader, axle laying on floor separately and the body is shredded into pieces. The amount of carnage we put the trucks though, basically Wrecking Crew just kind of fit the name.
"To go along with that, when I think of Wrecking Crew, I think of a wrecking ball and just made a construction theme and put it together. It is what it is. I just drive the truck hard and hopefully live up to that name.
Each year it seems Koehler gets stronger as a driver, jumping higher each year, going bigger and that simply is due to being more comfortable with the truck.
"I don't know if you've ever played a monster truck video game or a racing game or done any kind of racing but it's just having the faith in the vehicle that you can go in a turn real fast and having faith it won't flip over on you," he explained. "Sometimes it ends up flipping over, but it's faith in it. The more faith you have in it, the more comfortable you are in the vehicle and the better driver you are going to be."
The unique factor with a Monster Jam show is there's the head-to-head racing, followed by the all-out freestyle where everybody tries to perform the biggest tricks to impress the fans.
For racing, it's all about concentration, having a cool head, knowing what you need to do to win and not being afraid to push it in the turns.
"Just hammer down," Koehler added. "The throttle pedal is your best friend in racing and the more you can push it down, the faster you're going to go and the first one across the line wins."
For Koehler, though, he enjoys the freestyle portion of the event more.
"To me, it doesn't matter if I win freestyle or not, but if I went out there and did some of the coolest jumps – or like I said last year, I won an award for the wheelie I did across the stadium floor and over the table top and still rolled it down, the fans loved it - that's what matters," he said.
For those wanting to get involved in the sport and be a driver, Koehler says to start working on a project now.
"In order to crew, you have to have a mechanical background," he satrted. "You got to know what a 9/16th wrench is, what a socket is – all that type of stuff. If you want to start into it, start working on something, whether it's repairing a lawn mower, building a go-kart, an RC car or something like that. That's just how I started.
"First race I was ever in was the Soapbox Derby when I was cub scouts, which is a little wooden car that slides down tracks. Now I'm driving a monster truck. You just build from there."
The Maple Leaf Monster Jam Tour kicks off this weekend at the Rogers Centre with an all-star line-up this weekend including Cam McQueen in Northern Nightmare, Chad Tingler in Grave Digger, Ryan Anderson in Son-Uva-Digger, Neil Elliott in Maximum Destruction, Jim Koehler in Avenger, Steve Koehler in Wrecking Crew and plenty more trucks. With Pizza Pizza Kids Tickets just $15 for both the Saturday January 18th show at 7pm and the Sunday January 19th show at 2pm, the entertainment for the whole family is there.
Also, for only $10 per person, be able to show up before the start and walk the track while collecting some autographs at both shows at the "Pit Party".
For more information on the whole show, check out http://www.monsterjamcanada.ca.


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UPDATE: Man Killed in Silverdale Crash Identified
A 19-year-old Central Kitsap man involved in a car accident at the corner of Tracyton Boulevard and NW Bucklin Hill Road Saturday night in Silverdale has died, according to Kitsap County sheriff's spokesman Scott Wilson.
The man has been identified as Broc Tougas, a 2007 graduate of Klahowya Secondary School. The passenger in the car, 18, is in serious condition at Harboview Medical Center in Seattle.
Tougas died of blunt force trauma to the chest, according to the King County Medical Examiner's Office, which conducted the autopsy today.
Tougas was driving a 1995 Dodge Shadow southbound on Myhre Road on Saturday at 10:15 p.m. when he ran a red light at the road's intersection with Bucklin Hill. An 18-year-old East Bremerton woman heading west on Bucklin Hill Road had the green light and entered the intersection at the same time as the Dodge. The woman's 1994 Jeep Cherokee T-boned the man's car, according to Wilson.
The impact of the collision caused the Dodge to turn and hit a utility pole. The passenger in the Dodge was ejected. The driver and passenger of the Dodge were airlifted to Harborview with serious head injuries, according to Wilson.
"We believe speed and alcohol were definitely factors in this collision," he said.
Both the East Bremerton woman and her passenger, a 23-year-old male from East Bremerton, were taken to Harrison Medical Center with injuries.
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Turkey & Stuffing for Two
From EatingWell: October/November 2005
You don't have to skip the traditional Thanksgiving dinner if it's just the two of you - and you also don't have to eat turkey for days. In fact, you may not want to wait for a special occasion to have this satisfying mini celebration.
Makes: 2 servings
Active Time:
Total Time:
Nutrition Profile
Diabetes appropriate | Low calorie | Low cholesterol | Low saturated fat | Heart healthy | Healthy weight |View Our Nutrition Guidelines »
- 2 teaspoons extra-virgin olive oil, divided
- 2 teaspoons butter, divided
- 1 small shallot, chopped
- 1 stalk celery, chopped
- 1/2 teaspoon dried rubbed sage
- 1/2 teaspoon dried thyme
- 2 3- to 4-ounce skinless turkey breast cutlets
- 1 day-old low-fat corn muffin, (5-6 ounces), crumbled, or 4 slices stale whole-wheat bread, crusts removed, torn into bite-size pieces
- 2 tablespoons plus 1/4 cup reduced-sodium chicken broth
- 1/4 teaspoon salt
- 1/4 teaspoon freshly ground pepper
- 1/4 cup dry vermouth, or dry white wine
- Preheat oven to 375 degrees F.
- Heat 1 teaspoon oil and 1 teaspoon butter in a medium nonstick skillet over medium heat. Add shallot and celery; cook, stirring occasionally, until softened, 2 minutes. Transfer the mixture to a medium bowl, stir in sage and thyme; let cool for 5 minutes.
- Meanwhile, place cutlets between sheets of plastic wrap and pound with the smooth side of a meat mallet or a heavy skillet until 8 to 10 inches wide and less than 1/4 inch thick. Be careful not to tear the meat. Remove the top sheet.
- Add muffin crumbles (or bread) to the celery mixture. Stir in 2 tablespoons broth, salt and pepper. Place half the stuffing mixture in the middle of one of the pounded cutlets; compress the stuffing into a log. Fold and roll the meat over the stuffing. Tie in three places with kitchen string. Repeat with the remaining stuffing and the second cutlet.
- Heat the remaining 1 teaspoon oil and 1 teaspoon butter in a medium ovenproof skillet over medium heat. When the butter melts, add the turkey rolls and brown on all sides, turning occasionally, about 4 minutes.
- Transfer the skillet to the oven and bake until the turkey is cooked through, about 20 minutes. Transfer the rolls to a serving plate; tent with foil to keep warm.
- Return the skillet to medium-high heat (take care, the handle will still be hot); add vermouth (or wine). Cook until dark and almost completely evaporated, scraping up any browned bits, about 2 minutes. Add the remaining 1/4 cup broth; cook for 1 minute, just to reduce slightly. Remove the string from the turkey; cut into 1/2-inch-thick slices, if desired, and spoon half the sauce over each portion. Serve warm.
Tips & Notes
- Make Ahead Tip: Prepare turkey rolls through Step 4, cover and refrigerate for up to 2 days. | Equipment: Kitchen string
- Tips for Two: Leftover canned broth keeps up to 5 days in the refrigerator or up to 3 months in your freezer. Leftover broth in aseptic packages keep for up to 1 week in the refrigerator. Add to soups, sauces, stews; use for cooking rice and grains; add a little when reheating leftovers to prevent them from drying out.
Per serving: 415 calories; 11 g fat (4 g sat, 4 g mono); 64 mg cholesterol; 47 g carbohydrates; 25 g protein; 2 g fiber; 731 mg sodium; 409 mg potassium.
Nutrition Bonus: Selenium (30% daily value); Iron (15% dv).
Carbohydrate Servings: 3
Exchanges: 3 starch, 3 very lean meat, 2 fat
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Recipe Categories
- Ease of Preparation
- Moderate
- Health & Diet Considerations
- Low calorie
- Low cholesterol
- Low saturated fat
- Heart healthy
- Healthy weight
- Diabetes appropriate
- Total Time
- 1 hour or less
- Servings
- 2
- Main Ingredient
- Turkey
- Meal/Course
- Dinner
- Holiday
- Thanksgiving
- Style/Theme
- Comfort foods
- Cooking for 2
- Type of Dish
- Main dish, combination meal
- Main dish, poultry
- Ethnic/Regional
- American
- Publication
- October/November 2005


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iam so excited that pg is getting her old power girl suit back its part of what makes her power girl its like if clark and kara did not have there suits or the s shield its part of who they are just like power girls old suit is apart of her.
pg getting her old suit back
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