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This doubles as this week’s Over My Shoulder. Sort of, because I’m tossing out one of the rules for this week. Normally, here’s how it goes:

1. Pick a quote of one or more paragraphs from something you’ve read, in print, over the course of the past week. (It should be something you’ve actually read, and not something that you’ve read a page of just in order to be able to post your favorite quote.)

2. Avoid commentary above and beyond a couple sentences, more as context-setting or a sort of caption for the text than as a discussion.

3. Quoting a passage doesn’t entail endorsement of what’s said in it. You may agree or you may not. Whether you do isn’t really the point of the exercise anyway.

This week, I’m ignoring rule 2, because I happen to be working on a paper and it’ll be useful to sketch some notes down for it while I’m here. In any case, here’s the quote. This is from Chapter 10, A Libertarian Politics, in Chris Sciabarra’s 1995 study, Ayn Rand: The Russian Radical. I read this in the student center at Wayne State in Detroit, right after (of all things) touring a great little exhibit on the centenniel of the Industrial Workers of the World, hosted at the Reuther Labor Library. Here, Sciabarra is discussing Ayn Rand’s defense of the free market, and her deliberate use of the name capitalism to describe what she was defending:

Rand’s defense of capitalism is similar in form to her defense of selfishness. In fact, Rand titled her collection of essays in social theory, Capitalism: The Unknown Ideal, for much the same reasons that she titled her collection of essays on morality, The Virtue of Selfishness: A New Concept of Egoism. Both capitalism and selfishness have had such a negative conceptual history that Rand needed to reclaim these concepts and to recast them in a new and nondualistic framework. Branden remarks that he had told Rand of his preference for the word libertarianism as an alternative to capitalism, since the latter term had been coined by anticapitalists. For Branden, libertarianism signified a broader, philosophical characterization and addressed the issues of social, political and economic freedom (Branden 1978, 60). But Rand refused to renounce the concept of capitalism, just as she rejected any attempt to couch her ethos of rational selfishness in more neutral terms.

In addition to such nominal problems, Rand was faced with the fact that her defense of capitalism differed considerably from other theoretical justifications. Rand’s approach is not Weberian; she did not view capitalism as an expression of the Protestant work ethic. Nor did she view capitalism as compatible with Roman Catholicism, or any other form of religion. Though she accepted the empirical and theoretical arguments of Austrian-school economists who see the market as the most efficient and productive mechanism in history, she refused to defend capitalism on purely utilitarian grounds. And while Rand celebrates the record of economic growth under Western capitalism, she believes that the historical reality diverged radically from a pure, unadulterated laissez-faire system. While the nineteenth-century United States best approximated this system, its progress was severely undermined by massive government intervention in the areas of finance and banking, and in the bolstering of monopolies through land grants and industrial privileges. Marx himself had viewed this nineteenth-century system as only an approximation of full capitalism, since it was adulterated and amalgamated with survivals of former economic conditions (Capital 3:175). For Rand, as for most Marxists, this mixed system reached its twentieth-century climax in the neofascist and corporativist policies of the U.S. welfare-warfare state.

Rand argued that the underlying reason for this failure to achieve systemic purity was moral and cultural. Capitalism as a social system was an implicit by-product of an Aristotelian philosophical base, one that celebrated the rational, the secular, and the egoistic. And yet capitalism was historically distorted because the cultures within which it evolved had not fully emerged from the influence of mysticism, altruism, and collectivism. Rand saw capitalism and altruism as philosophical opposites that could not co-exist in the same man or in the same society. The modern age was fractured by an inner contradiction because it tried to combine the concept of eudaemonic man with the notion that human beings were sacrificial animals. It was for this reason that Rand was extremely apprehensive about the introduction of capitalist markets into primitive cultures. She argued that capitalism required a predominantly rational and secular orientation, and that industrialization could not be grafted onto superstitious irrationality without massive distortion in the evolving structure of production. Though the United States achieved the greatest progress because it was the most secular Western country, it too had preserved significant elements of altruism and collectivism in its cultural base. And it was paying the price.

Curiously, Rand spoke in terms of a cultural and philosophical base. This view differs considerably from the Marxist formulation, which sees culture and philosophy as components of a social superstructure, a by-product of a material base. These opposed characterizations have disparate consequences for both the theory of history and the nature of social revolution; however, what must be explored at this stage is Rand’s understanding of capitalism as an unknown ideal. In Rand’s view, the nature of capitalism is so inherently radical that its historical, philosophical, and cultural implications have yet to be fully comprehended. Rand unabashedly proclaims that Objectivists are radicals for capitalism … fighting for that philosophical base which capitalism did not have and without which it was doomed to perish. Once again, Rand’s project is geared toward articulation. She aimed to articulate those premises which underlie the daily practices and institutions of a historically emergent but not yet fully realized social system.

Following her literary methods, Rand seems to have extracted and emphasized those principles which, she believed, distinguish capitalist society from all previous social formations. She began with the real concrete circumstances of the historically mixed system, breaking down its complexity into mental units. She constituted her vision of capitalism on the basis of such abstraction, having isolated and identified those precepts which are essential to its systemic nature. In this way, she eliminated the accidental and the contingent in order to focus instead on the philosophical ideals of the capitalist revolution. Such a revolution was incomplete because its principles had never been fully articulated and implemented. Rand viewed her own project as the first successful attempt to articulate the moral nature of the capitalist system, ideally understood, thus making possible its historical fulfillment.

—Chris Matthew Sciabarra, Ayn Rand: The Russian Radical (1995), pp. 283–285.

A lot of left-libertarians have rightly stressed that terms such as capitalism and socialism, as they are commonly used, are systematically ambiguous; often they are used to name two different systems that are mutually exclusive of each other ([state socialism and anarchistic socialism][], on the one hand, or the free market and political patronage for big business, on the other). Roderick Long recently made a persuasive argument that both capitalism and socialism, as the terms are commonly used, are best regarded as anti-concepts, and more specifically as package deals of concepts that do not actually go together, which have been used by statists on both the Left and the Right to systematically blur the distinction between neo-mercantilism and the free market. Left statists say they oppose the chimera, and right-statists say they support it, but what libertarians need to recognize, first and foremost, is that the system they are allegedly fighting over is chimerical, and that the words they are using embody false presuppositions about the meaning and the nature of free markets.

I think that’s quite right, and that it’s very important. Nevertheless, we mustn’t be misled into thinking that just because socialism and capitalism as commonly used are anti-conceptual package-deals, that we ought to abstain from both terms on an equal footing, or to take a pox on both your houses attitude towards the institutions, symbols, traditions, and other socio-cultural trappings associated with either identification. In some dialectical contexts the best thing to do with an anti-concept is just to expose it as nothing more than so much Newspeak, to abandon using it, and to exhort others to follow your example. But sometimes the thing to do is just to urge your conversation partners to use language more precisely, and to teach them by example, by choosing one of the senses of capitalism or socialism to use clearly and consistently. And I think that Ayn Rand’s deliberately provocative use of capitalism is instructive here on the principle, even though I think she’s wrong on the application, and that the reasons for the misapplication have to do with deeper problems in her own economic thought. Those problems don’t have to do with defending a free market in the means of production and distribution — I’m all for that, but given the historical example of self-described socialist free marketeers such as Benjamin Tucker, that doesn’t settle the issue between describing yourself as a socialist, describing yourself as a capitalist, or describing yourself as something else again.

Rand deliberately worked to reclaim the word capitalism for the unknown ideal of the completely free market, rather than the known reality of the predatory, neomercantilist mixed economy, in which all actually existing free markets are embedded, confined, limited, and distorted. Sciabarra explains her decision in terms of an intellectual process of isolating the essential features that distinguished societies called capitalist from earlier and later forms of social organization. It’s an apt description as far as it goes, but the connection between the intellectual process and Rand’s aesthetic and affectional imagination needs to be fleshed out in order to fully explain her decision. Rand knew perfectly well that the historical data underdetermined the question of whether predation or voluntary cooperation was essential to the capitalistic form of society: the rise of the societies we call capitalist involved the liberation of many people and of the markets in many commodities; it also involved the escalation of many forms of predatory state patronage and the invention of new ones (it meant, for example, considerably more freedom in agriculture or textiles; it also meant considerably more government intervention in banking, land use, and transportation infrastructure). You could describe the picture by identifying the growth in freedom as the capitalist stuff, with the new levels of predation as anti-capitalist deviations from capitalism marring its productive development. But you could just as easily describe it by identifying the growth in predation as the capitalist stuff, with the growth in freedom as a countervailing, non-capitalist or anti-capitalist development, which the capitalist stuff had an antagonistic, or often parasitic, relationship to. So which description should you choose? I think the best explanation why Rand chose the first picture instead of the second one has to do with what she would have identified with her sense of life — the degree to which her aesthetic and affectional imagination were engaged on behalf of actually existing capitalists, as she understood them, in the known reality of the mixed economy: that is, her view of the grand bourgeoisie — big industrialists, business-owners, money-men, the top tier of entrepreneurial inventors, and ultimately the wealthy broadly — as the heroic prime movers in business, and thus as the world’s motor, driving the production of the material means of survival and human flourishing. (See, for example, Atlas Shrugged or America’s Persecuted Minority: Big Business.) Though she’d no doubt fume at the description, one way of putting it is that she made her choices about what language to reclaim and what language to abandon on the basis of class solidarity. I have no quarrel with Rand’s procedure; but rather only with the particular class she chooses to stand in solidarity with. If Rand is right that the capitalist is the chief victim of the predatory state, and if the picture she draws of the archetypical capitalist is well-drawn, it makes perfect sense for her to reclaim the word capitalism for the free market as against political patronage. If, on the other hand, the bosses are the chief beneficiaries of the predatory state, and if the picture she draws of the archetypical capitalist is ill-drawn — if the archetypical boss is a busybodying mediocrity, a cunning predator, or a petulant grafter, and if their role in the workplace is a drag on the productive labor on the shop floor rather than the animating force behind it as Rand claims — then it makes perfect sense to locate the essence of capitalism elsewhere from where Rand locates it, and to treat capitalism as a term of criticism for political patronage as against the free market.

This may help serve as some explanation for why Rand is willing to identify with the term capitalism and even to invest the symbol of a government fiat currency with near-religious significance, while fully recognizing the predatory nature of the state-business nexus; it may also help to explain how, in spite of really detesting the stupidity and the atrocities perpetrated in the name of socialism, I can be so fond of old union songs, and how I can fly a red flag over my soap box while I preach the free market.

Further reading:

• Roderick T. Long (2006-04-08), Rothbard’s “Left and Right”: Forty Years Later
• Kevin Carson, Mutualist Blog (2006-05-04): Dave Pollard on Organizational Behavior
• Kevin Carson, Mutualist Blog (2005-12-08): Socialist Definitional Free-for-All, Part II
• Kevin Carson, Mutualist Blog (2005-12-06): Toilet Paper as Paradigm
• GT 2005-12-20: Lazy linking on Leftist labor libertarianism
• GT 2005-03-31: Anarquistas por La Causa
• Benjamin Tucker (1888): State Socialism and Anarchism: How Far They Agree, and Wherein They Differ
• Joseph Labadie: Anarchism: What It Is and What It Is Not

You know the rules. Here’s the quote. This is from Andrea Dworkin’s Preface to the British edition of Right-wing Women (1983). It’s reprinted for American readers in Letters from a War Zone, pp. 185-194. I re-read the essay (along with a great deal of Andrea Dworkin’s stuff) in the process of following citations and culling material for expansions to WikiPedia: Andrea Dworkin — partly on its own merits, and partly because I’ve had to spend some time on it dealing with crusading anti-Dworkin editor / vandals. This is unrelated to anything that was under discussion in the article, but it caught my eye as I was flipping through, so I slowed down to re-read it in full:

The political concepts of Right and Left could not have originated in England or the United States; they come out of the specificity of the French experience. They were born in the chaos of the first fully modern revolution, the French Revolution, in reaction to which all Europe subsequently redefined itself. As a direct result of the French Revolution, the political face of Europe changed and so did the political discourse of Europeans. One fundamental change was the formal division of values, parties, and programs into Right and Left—modern alliances and allegiances emerged, heralded by new, modern categories of organized political thought. What had started in France’s National Assembly as perhaps an expedient seating arrangement from right to left became a nearly metaphysical political construction that swept Western political consciousness and practice.

In part this astonishing development was accomplished through the extreme reaction against the French Revolution embodied especially in vitriolic denunciations of it by politicians in England and elsewhere committed to monarchy, the class system, and the values implicit in feudalism. Their arguments against the French Revolution and in behalf of monarchy form the basis for modern right-wing politics, or conservatism. The principles of organized conservatism, in social, economic, and moral values, were enunciated in a great body of reactionary polemic, most instrumentally in the English Whig Edmund Burke’s Reflections on the Revolution in France. Written in 1789 before the ascendancy of the Jacobins—and therefore not in response to the Terror or to Jacobin ideological absolutism—Burke’s Reflections is suffused with fury at the audacity of the Revolution itself because this revolution uniquely insisted that political freedom required some measure of civil, economic, and social equality. The linking of freedom with equality philosophically or programmatically remains anathema to conservatives today. Freedom, according to Burke, required hierarchy and order. That was his enduring theme.

I flatter myself, Burke wrote, that I love a manly, moral, regulated liberty. Manly liberty is bold, not effeminate or timorous (following a dictionary definition of the adjective manly). Manly liberty (following Burke) has a king. Manly liberty is authoritarian: the authority of the king—his sovereignty—presumably guarantees the liberty of everyone else by arcane analogy. Moral liberty is the worship of God and property, especially as they merge in the institutional church. Moral liberty means respect for the authority of God and king, especially as it manifests in feudal hierarchy. Regulated liberty is limited liberty: whateveri s left over once the king is obeyed, God is worshipped, property is respected, hierarchy is honored, and the taxes or tributes that support all these institutions are paid. The liberty Burke loved particularly depended on the willingness of persons not just to accept but to love the social circumstances into which they were born: To be attached to the subdivision, to love the little platoon we belong to in society, is the first principle (the germ as it were) of public affections. It is the first link in the series by which we proceed towards a love to our country and mankind. The French rabble had noticeably violated this first principle of public affections.

To Burke, history showed that monarchy and the rights of Englishmen were completely intertwined so that the one required the other. Because certain rights had been exercised under monarchy, Burke held that monarchy was essential to the exercise of those rights. England had no proof, according to Burke, that rights could exist and be exercised without monarchy. Burke indicted political theorists who claimed that there were natural rights of men that superseded in importance the rights of existing governments. These theorists have wrought under-ground a mine that will blow up, at one grand explosion, all examples of antiquity, all precedents, charters, and acts of parliament. They have rights of men. Against these there can be no prescription… I have nothing to say to the clumsy subtility of their political metaphysicks. In Burke’s more agile metaphysics, hereditary rights were transmitted through a hereditary crown because they had been before and so would continue to be. Burke provided no basis for evaluating the quality or fairness of the rights of the little platoon we belong to in society as opposed to the rights of other little platoons: to admit such a necessity would not be loving our little platoon enough. The hereditary crown, Burke suggests, restrains dictatorship because it gives the king obeisance without making him fight for it. It also inhibits civil conflict over who the ruler will be. This is as close as Burke gets to a substantive explanation of why rights and monarchy are inextricably linked.

—Andrea Dworkin (1983), Preface to the British Edition of Right-wing Women, reprinted in Letters from a War Zone, 187—189.

For some similar points, partly influenced by Dworkin’s comments here and elsewhere in the preface, see GT 2005-02-03: By George, I think he’s got it!

You know the rules. Here’s the quote. This is from Allan Bloom’s Giants and Dwarfs: An Outline of Gulliver’s Travels, as reprinted in Giants and Dwarfs: Essays 1960—1990. I add only an emphatic reminder of Rule 4, Quoting a passage doesn’t entail endorsement of what’s said in it. Sometimes I agree and sometimes I don’t. Whether I do or not isn’t really the point of the exercise anyway.

… And we may further suppose that Gulliver has certain hidden thoughts and intentions which are only to be revealed by closely cross-examining him. He indicates this himself at the close of his travels when he swears to his veracity. He uses for this solemn occasion Sinon’s treacherous oath to the Trojans, by means of which that worthy managed to gain admission for the horse and its concealed burden of Greeks.

I should like to suggest that this book is also such a container, filled with Greeks who are, once introduced, destined to conquer a new Troy, or, translated into the little language, destined to conquer Lilliput. In other words, I wish to contend that Gulliver’s Travels is one of the last explicit statements in the famous Quarrel between the Ancients and the Moderns and perhaps the greatest intervention in that notorious argument. By means of the appeal of its myth, it keeps alive the classical vision in ages when even the importance of the quarrel is denied, not to speak of the importance of that classical viewpoint, which appears to have been swamped by history. The laughter evoked by Gulliver’s Travels is authorized by a standard drawn from Homer and Plato.

Prior to entering directly into the contents of the book, I should try to make this assertion somewhat more extrinsically plausible. The quarrel itself is today regarded as a petty thing, rather ridiculous on both sides, a conventional debate between old and new, reactionary and progressive, which later ages have resolved by way of synthesis. Both sides lacked perspective; intellectual history is but one long continuous development. Moreover, the quarrel is looked on largely as a purely literary dispute, originating in the comparison of Greek and Roman poetry with French. Now this understanding is quite different from that of the participants, who, if not always the best judges, must be the first witnesses in any hearing. They understood the debate over poetry to be a mere subdivision of an opposition between two comprehensive systems of radically opposed thought, one finding its source in ancient philosophy, the other in modern philosophy. The moderns believed that they had found the true principles of nature, and that, by means of their methods, new sources of power could be found in physical nature, politics, and the arts. These new principles represented a fundamental break with classical thought and were incompatible with it. The poetic debate was meant, on the part of the advocates of modernity, only to show the superiority of modern thought based on modern talents and modern freedom in the domain where the classics were most indisputably masters and models. The quarrel involved the highest principles about the first causes of all things and the best way of life. It marked a crossroad, one of the very few at which mankind has been asked to make a decisive change in direction. The choice once made, we have forgotten that this was not the only road, that there was another one before us, either because we are ignorant of a possible choice or because we are so sure that this is the only road to Larissa. It is only by return to our starting point that the gravity of the choice can be realized; and at that crossroad one finds the quarrel. It is not, I repeat, a quarrel among authors as such, but among principles.

In his own way, Swift presents and contrasts those principles. He characterizes ancient philosophy as a bee whose wings produce music and flight and who thus visits all the blossoms of the field and garden … and in collecting from them enriches himself without the least injury to their beauty, their smell, or their taste. This bee is opposed to a house-building spider, who thinks he produces his own world from himself and is hence independent, but who actually feeds on filth and produces excrement. As the bee says, So, in short, the question comes all to this; whether is the nobler being of the two, that by a lazy contemplation of four inches round, by an overweening pride, feeding and engendering on itself, turns all into excrement or venom, producing nothing at all, but flybane and a cobweb; or that which by a universal range, with long search, much study, true judgment, and distinction of things, brings honey and wax.

This description is drawn from one of Swift’s earliest writings, The Battle of the Books. Gulliver’s Travels was one of his latest. Throughout his life Swift saw the Quarrel between the Ancients and the Moderns as the issue in physics, poetry, and politics, and it is in the light of it that he directed his literary career and his practical life. The quarrel is the key to the diverse strands of this various man; his standards of judgment are all classical; his praise and blame are always in accord with that of Plato. He learned how to live within his own time in the perspective of an earlier one. Swift, the Tory and the High Churchman, was a republican and a nonbeliever.

Gulliver’s Travels is always said to be a satire, and there is no reason to quarrel with this designation. But it is not sufficient, for satire is concerned with a view to what is serious and ridiculous, good and bad. It is not enough to say that human folly is ridiculed; what was follow to Aristophanes would not have seemed so to Tertullian, and conversely. If the specific intention of the satire is not uncovered, the work is trivialized. Swift intended his book to instruct, and the character of that instruction is lost if we do not take seriously the issues he takes seriously. But we do not even recognize the real issues in the Quarrel, let alone try to decide which side had the greatest share of truth. In our time, only Leo Strauss has provided us with the scholarship and the philosophic insight necessary to a proper confrontation of ancients and moderns, and hence his works are the prolegomena to a recovery of Swift’s teaching. Swift’s rejection of modern physical and political science seems merely ill-tempered if not viewed in relation to a possible alternative, and it is Leo Strauss who has elaborated the plausibility, nay, the vital importance, of that alternative. Now we are able to turn to Swift, not only for amusement but for possible guidance as to how we should live. Furthermore, Swift’s art of writing explicitly follows the rhetorical rules for public expression developed by the ancients, of which we have been reminded by Professor Strauss. The rhetoric was a result of a comprehensive reflection about the relation between philosophy and politics, and it points to considerations neglected by the men of letters of the Enlightenment. Gulliver’s Travels is in both substance and form a model of the problems which we have been taught to recognize as our own by Leo Strauss.

—Allan Bloom, Giants and Dwarfs: An Outline of Gulliver’s Travels (1964), in printed in Giants and Dwarfs: Essays 1960–1990 (1990). 35–38.

You know the rules. Here’s the quote. This is from Oliver Sacks’s Seeing Voices: A Journey into the World of the Deaf (1989). I broke the rules a bit here: rather than a single passage of a few paragraphs, I have two, because the latter one reinforces one of the important points of the former, and also because it’s damn near impossible to pick out any one thing that is the most interesting from the chapter. So here goes:

The situation of the prelingually deaf, prior to 1750, was indeed a calamity: unable to acquire speech, hence dumb or mute; unable to enjoy free communication with even their parents and families; confined to a few rudimentary signs and gestures; cut off, except in large cities, even from the community of their own kind; deprived of literacy and education, all knowledge of the world; forced to do the most menial work; living alone, often close to destitution; treated by the law and society as little better than imbeciles—the lot of the deaf was manifestly dreadful.

But what was manifest was as nothing to the destitution inside—the destitution of knowledge and thought that prelingual deafness could bring, in the absence of any communication or remedial measures. The deplorable state of the deaf aroused both the curiosity and the compassion of the philosophes. Thus the Abbé Sicard asked:

Why is the uneducated deaf person isolated in nature and unable to communicate with other men? Why is he reduced to this state of imbecility? Does his biological constitution differ from ours? Does he not have everything he needs for having sensations, acquiring ideas, and combining them to do everything that we do? Does he not get sensory impressions from objects as we do? Are these not, as with us, the occasion of the mind’s sensations and its acquired ideas? Why then does the deaf person remain stupid while we become intelligent?

To ask this question—never really clearly asked before—is to grasp its answer, to see that the answer lies in the use of symbols. It is, Sicard continues, because the deaf person has no symbols for fixing and combining ideas … that there is a total communication-gap between him and other people. But what was all-important, and had been a source of fundamental confusion since Aristotle’s pronouncements on the matter, was the enduring misconception that symbols had to be speech. Perhaps indeed this passionte misperception, or prejudice, went back to biblical days: the subhuman status of mutes was part of the Mosaic code, and it was reinforced by the biblical exaltation of voice and ear as the one and true way in which man and God could speak (In the beginning was the Word). And yet, overborne by Mosaic and Aristotelian thunderings, some profound voices intimated that this need not be so. Thus Socrates’ remark in the Cratylus of Plato, which so impressed the youthful Abbé de l’Epée:

If we had neither voice nor tongue, and yet wished to manifest things to one another, should we not, like those which are at present mute, endeavour to signify our meaning by the hands, head, and other parts of the body?

Or the deep, yet obvious, insights of the philosopher-physician Cardan in the sixteenth century:

It is possible to place a deaf-mute in a position to hear by reading, and to speak by writing … for as different sounds are conventionally used to signify different things, so also may the various figures of objects and words …. Written characters and ideas may be connected without the intervention of actual sounds.

In the sixteenth century the notion that the understanding of ideas did not depend upon the hearing of words was revolutionary.

But it is not (usually) the ideas of philosophers that change reality; nor, conversely, is it the practice of ordinary people. What changes history, what kindles revolutions, is the meeting of the two. A lofty mind—that of the Abbé de l’Epée—had to meet a humble usage—the indigenous sign language of the poor deaf who roamed Paris—in order to make possible a momentous transformation. If we ask why this meeting had not occurred before, it has something to do with the vocation of Abbé, who could not bear to think of the souls of the deaf-mute living and dying unshriven, deprived of the Catechism, the Scriptures, the Word of God; and it is partly owing to his humility—that he listened to the deaf—and partly to a philosophical and linguistic idea then very much in the air—that of universal language, like the speceium of which Leibniz dreamed. Thus, de l’Epée approached sign language not with contempt but with awe.

The universal language that your scholars have sought for in vain and of which they have despaired, is here; it is right before your eyes, it is the mimicry of the impoverished deaf. Because you do not know it,you hold it in contempt, yet it alone will provide you with the key to all languages.

That this was a misapprehension—for sign language is not a universal language in this grand sense, and Leibniz’s noble dream was probably a chimera—did not matter, was even an advantage. For what mattered was that the Abbé paid minute attention to his pupils, acquired their language (which had scarcely ever been done by the hearing before). And then, by associating signs with pictures and written words, he taught them to read; and with this, in one swoop, he opened to them the world’s learning and culture. De l’Epée’s system of methodical signs—a combination of their own Sign with signed French grammar—enabled deaf students to write down what was said to them through a signing interpreter, a method so successful that, for the first time, it enaled ordinary deaf pupils to read and write French, and thus acquire an education. His school, founded in 1755, was the first to achieve public support. He trained a multitude of teachers for the deaf, who, by the time of his death in 1789, had established twenty-one schools for the deaf in France and Europe. The future of de l’Epée’s own school seemed uncertain during the turmoil of the revolution, but by 1791 it had become the National Institution for Deaf-Mutes in Paris, headed by the brilliant grammarian Sicard. De l’Epée’s own book, as revolutionary as Copernicus’ in its own way, was first published in 1776.

De l’Epée’s book, a classic, is available in many languages. But what have not been available, have been virtually unknown, are the equally important (and, in some ways, even more fascinating) original writings of the deaf—the first deaf-mutes ever able to write. Harlan Lane and Franklin Philip have done a great service in making these so readily available to us in The Deaf Experience. Especially moving and important are the 1779 Observations of Pierre Desloges—the first book to be published by a deaf person—now available in English for the first time. Desloges himself, deafened at an early age, and virtually without speech, provides us first with a frightening description of the world, or unworld, of the languageless.

At the beginning of my infirmity, and for as long as I was living apart from other deaf people … I was unaware of sign language. I used only scattered, isolated, and unconnected signs. I did not know the art of combining them to form distinct pictures with which one can represent various ideas, transmit them to one’s peers, and converse in logical discourse.

Thus Desloges, though obviously a highly gifted man, could scarcely entertain ideas, or engage in logical discourse, until he had acquired sign language (which, as is usual with the deaf, he learned from someone deaf, in his case from an illiterate deaf-mute).

—Oliver Sacks (1989), Seeing Voices: A Journey into the World of the Deaf, pp. 13—18.

And:

When Laurent Clerc (a pupil of Massieu, himself a pupil of Sicard) came to the United States in 1816, he had an immediate and extraordinary impact, for American teachers up to this point had never been exposed to, never even imagined, a deaf-mute of impressive intelligence and education, had never imagined the possibilities dormant in the deaf. With Thomas Gallaudet, Clerc set up the American Asylum for the Deaf, in Hartford, in 1817. As Paris—teachers, philosophes, and public-at-large—was moved, amazed, converted by de l’Epée in the 1770s, so America was to be converted fifty years later.

The atmosphere at the Hartford Asylum, and at other schools soon to be set up, was marked by the sort of enthusiasm and excitement only seen at the start of grand intellectual and humanitarian adventures. The prompt and spectacular success of the Hartford Asylum soon led to the opening of other schools wherever there was sufficient density of population, and thus of deaf students. Virtually all the teachers of the deaf (nearly all of whom were fluent signers and many of whom were deaf) went to Hartford. The French sign system imported by Cleric rapidly amalgamated with the indigenous sign languages here—the deaf generate sign languages wherever there are communities of deaf people; it is for them the easiest and most natural form of communication—to form a uniquely expressive and powerful hybrid, American Sign Language (ASL). A special indigenous strength—presented convincingly by Nora Ellen Groce in her book, Everyone Here Spoke Sign Language—was the contribution of Martha’s Vineyard deaf to the development of ASL. A substantial minority of the population there suffered from a hereditary deafness, and most of the island had adopted an easy and powerful sign language. Virtually all the deaf of the Vineyard were sent to the Hartford Asylum in its formative years, where they contributed to the developing national language the unique strength of their own.

One has, indeed, a strong sense of pollination, of people coming to and fro, bringing regional languages, with all their idiosyncracies and strengths, to Hartford, and taking back an increasingly polished and generalized language. The rise of deaf literacy and deaf education was as spectacular in the United States as it had been in France, and soon spread to other parts of the world.

Lane estimates that by 1869 there were 550 teachers of the deaf worldwide and that 41 percent of the teachers of the deaf in the United States were themselves deaf. In 1864 Congress passed a law authorizing the Columbia Institution for the Deaf and the Blind in Washington to become a national deaf-mute college, the first institution of higher learning specifically for the deaf. Its first principal was Edward Gallaudet—the son of Thomas Gallaudet, who had brought Clerc to the United States in 1816. Gallaudet College, as it was later rechristened (it is now Gallaudet University), is still the only liberal arts college for deaf students in the world—though there are now several programs and institutes for the deaf associated with technical colleges. (The most famous of these is at the Rochester Institute of Technology, where there are more than 1,500 deaf students forming the National Technical Institute for the Deaf.)

The great impetus of deaf education and liberation, which had swept France between 1770 and 1820, thus continued its triumphant course in the United States until 1870 (Clerc, immensely active to the end and personally charismatic, died in 1869). And then—and this is the turning point in the entire story—the tide turned, turned against the use of Sign by and for the deaf, so that within twenty years the work of a century was undone.

Indeed, what was happening with the deaf and sign was part of a general (and if one wishes, political) movement of the time: a trend to Victorian oppressiveness and conformism, intolerance of minorities, and minority usages, of every kind—religious, linguistic, ethnic. Thus it was at this time that the little nations and little languages of the world (for example, Wales and Welsh) found themselves under pressure to assimilate and conform.

—Oliver Sacks (1989), Seeing Voices: A Journey into the World of the Deaf, pp. 21—24.

You know the rules. Here’s the quote. This one is from Susan Sontag’s essay, Against Interpretation (1964):

Interpretation in our own time, however, is even more complex. For the contemporary zeal for the project of interpretation is often prompted not by piety toward the troublesome text (which may conceal an aggression), but by an open aggressiveness, an overt contempt for appearances. The old style of interpretation was insistent, but respectful; it erected another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs behind the text, to find a sub-text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation. All observable phenomena are bracketed, in Freud’s phrase, as manifest content. This manifest content must be probed and pushed aside to find the true meaning—the latent content—beneath. For Marx, social events like revolutions and wars; for Freud, the events of individual lives (like neurotic symptoms and slips of the tongue) as well as texts (like a dream or a work of art)—all are treated as occasions for interpretation. According to Marx and Freud, these events only seem to be intelligible. Actually, they have no meaning without interpretation. To understand is to interpret. And to interpret is to restate the phenomenon, in effect to find an equivalent for it.

Thus, interpretation is not (as most people assume) an absolute value, a gesture of the mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling.

4

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art.

Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world—in order to set up a shadow world of meanings. It is to turn the world into this world. (This world! As if there were any other.)

The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

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In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.

This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself—albeit with a little shyness, a touch of the good taste of irony—the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job.

The work of Kafka, for example, has been subjected to a mass ravishment by no less than three armies of interpreters. Those who read Kafka as a social allegory see case studies of the frustrations and insanity of modern bureaucracy and its ultimate issuance in the totalitarian state. Those who read Kafka as a psychoanalytic allegory see desperate revelations of Kafka’s fear of his father, his castration anxieties, his sense of his own impotence, his thralldom to his dreams. Those who read Kafka as a religious allegory explain that K. in The Castle is trying to gain access to heaven, that Joseph K. in The Trial is being judged by the inexorable and mysterious justice of God…. Another oeuvre that has attracted interpreters like leeches is that of Samuel Beckett. Beckett’s delicate dramas of the withdrawn consciousness—pared down to essentials, cut off, often represented as physically immobilized—are read as statements about modern man’s alienation from meaning or from God, or as an allegory of psychopathology.

Proust, Joyce, Faulkner, Rilke, Lawrence, Gide … one could go on citing author after author; the list is endless of those around whom thick encrustations of interpretation have taken hold. But it should be noted that interpretation is not simply the compliment that mediocrity pays to genius. It is, indeed, the modern way of understanding something, and is applied to works of every quality. Thus, in the notes that Elia Kazan published on his production of A Streetcar Named Desire, it becomes clear that, in order to direct the play, Kazan had to discover that Stanley Kowalski represented the sensual and vengeful barbarism that was engulfing our culture, while Blanche Du Bois was Western civilization, poetry, delicate apparel, dim lighting, refined feelings and all, though a little worse for wear to be sure. Tennessee Williams’ forceful psychological melodrama now became intelligible: it was about something, about the decline of Western civliization. Apparently, were it to go on being a play about a handsome brute named Stanley Kowalski and a faded mangy belle named Blanche Du Bois, it would not be manageable.

— Susan Sontag (1964/1966), Against Interpretation, in Against Interpretation, 6—9.