Digital communications technology is yet mostly a formless thing, still being born, upon which we moderns imprint our fears and our hopes. Some dreamers see it as an unalloyed good, which when grown will let us slip the chains of our humanity. Others, more grounded, see it as a genie best stuffed back into his bottle and dropped down a mineshaft, for otherwise its acid will corrode all that is permanent, melting it into the air. James Poulos takes neither approach; he is the apostle of creating the new way of human flourishing, finding the narrow path that threads between false utopia and catastrophe. “Which way, Western man?”, asks the meme. Poulos has an answer for us.
What role should technology—the complex of machines and computers that undergirds our world—play in our future? This is a crucial question, and among thinking people today there exists a distinct split. Some, such as James Poulos in his soon-to-be-released Human, Forever, call for fully accepting that technology exists and is not going away, while refusing to surrender our humanity. Others, such as Paul Kingsnorth, entirely reject what he calls the “Machine,” and intimate that our technology-dictated future is an anti-human grotesquerie, followed by inevitable total collapse. Theodore Kaczynski falls squarely into this latter category, and this, his famous Manifesto, outlines what should be done—goals he notably took to heart.
I recently wrote about what might happen after an American Caesar, a radical reconstructor of our polity, arose. And in these days of American humiliation and accelerating decay, a Caesar is viewed by many, if in quiet tones, as a kind of solution. But is Caesar, Michael Anton’s Red Caesar, merely a coping mechanism for the Right, a fantasy meant to replace the dead hope of a restored American founding? Is Caesar an encouragement to eschatological passivity, our equivalent of the Twelver Shia hidden imam, who when everything is at its worst will arrive to set the world aright, without any action needed by us? No, and today I will tell you why.
Christopher Lasch died before this, his last book, was published, twenty-six years ago. Lasch was a man out of time, a refugee leftist who nonetheless refused to embrace what passed for conservatism in the post-Communist false dawn, the main feature of which was idolatry of the invisible hand. No surprise, his message was rejected by its intended audience, America’s intellectual class. Now, however, every one of the problems with our society he identified has grown monstrous, far beyond the power of any dragonslayer to kill. Thus, this book is, at least now, less prescription and more an intellectual history of how we failed as a nation.
Symbology is a key element of any successful modern political movement. Animals are rarely modern political symbols; certainly modern mass ideologies, from Communism to National Socialism, have eschewed such symbology. Living creatures, whose exalted metaphorical political use was once widespread, are now usually mere lowbrow holdovers from the more distant past—elephants and donkeys, for example. Yet America, when it was America, used the majestic bald eagle with great success, and I think that when we seize the future, we need outstanding symbology. In this light, I am working on the symbology of Foundationalism, and this interesting book helped me focus my thoughts.
For eighteen months, I have been infinitely puzzled that most responses to the Wuhan Plague have been irrational. Lack of rationality dominates the discourse and actions of the majority, from individuals to governments. This irrationality has innumerable manifestations, the most obvious being belief in plain fictions, recently the made-up threat of the new “Delta variant,” no doubt not the last in a very long list of fairy tales. The irrationality shows itself in many other ways, both secular ones such as the total rejection of cost-benefit analysis, and quasi-religious ones such as belief in strange new gods, saints, and rituals. I have racked my head trying to understand this very strange phenomenon, and made no progress.
This slim book, a companion of sorts to Sebastian Junger’s earlier book Tribe, is about philosophy derived from life. Junger has made a career out of undergoing risks and hardships, then distilling his experience to insight based in reality. It doesn’t really work here, though; Freedom is too unfocused. It’s quite interesting in spots, but rambles and jumps around, even more than Junger’s earlier offerings. If you’re going to get anything substantial out of this book, you’ll have to do the heavy lifting yourself.
I suspect that very few people under forty know who Robert Gould Shaw was. Those older may remember the 1989 film Glory, which told his story. That movie could never be made today (and will probably soon be disappeared, as has been 1964’s Zulu). After all, Shaw’s is an out-and-out “white savior” story, and now that everyone has been educated that the African reality is actually Wakanda, we realize that black people don’t need, and have never needed, a man such as Shaw. Yet even though the Left has racialized all of American life and shrieks ever louder for a race war (something I failed to predict, silly me), I will only touch lightly on race in this review, and will focus on heroism, the traditional center of Shaw’s story. To race, we will return another day.
One fine day in April, 1945, a cousin of mine was shot by the Russians. His name was Félix Straszer. His crime? None, of course. In February, Stalin had conquered and occupied Budapest, overwhelming determined and heroic Hungarian and German resistance. Two dead Russian soldiers had been found in the street, so the Russians rounded up all the men from the nearby apartment houses, collected them in the Gamma Optical Instruments Factory, chose ten at random, and murdered them. As it turned out, the two soldiers had been killed by other Russian soldiers in a drunken brawl, but that didn’t help Félix Straszer.
Private equity has made me rich beyond the dreams of avarice. Yet private equity can be, as this book shows, a tool of the devil, a corrosive and destructive force in American life. Still, I do not think the story is as simple as Brian Alexander, the author of Glass House, would have it. The town in which he grew up, and which he profiles here—Lancaster, Ohio—has fallen far from its glory days, as have hundreds of similar towns across America. But the responsibility for that lies not just with the shady private equity companies that looted its largest employer, glass manufacturer Anchor Hocking, or with other elements of our rotten ruling class. It also lies with all of us, who bear more than some responsibility for the degradation of our towns, and of ourselves.