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Where we are

A few years ago, a friend of mine told me, very confidently, that we were living in an era that was ruled by irony. He told me this happily, insisting that irony was a great, beautiful, and honest thing. (Was it ironically honest? I couldn’t tell.) And irony had not risen to dominance by itself. No, its triumph was just the most visible part of a greater shift in thought about, well, pretty much everything. “Reality” was not what it used to be, and not what it was cracked up to be even then, anyway, back in the age of sincerity. Jean Baudrillard and other postmodernists had proved that the rise of mass media and digital technology meant that simulation could be exactly the same as reality—and that technology’s certain prospects for improvement in the future meant that simulation would soon be better.

A few months later, my father sent me an opinion article from the New York Times claiming that the then-recent 9/11 attacks might bring the end of postmodernism and postcolonialism. Edward Rothstein argued that the two relatively relativist schools were shown by 9/11 to be misguided and perverse. He derided the fact that they tended to claim there was no universal, objective basis from which to make moral claims about jihadists and Americans (postmodernism); and that the West’s misdeeds were at least partially responsible for the attacks (postcolonialism). My father didn’t say what he thought about the article, but if it wasn’t immediately obvious to me that he agreed with Rothstein, then I would have really been wasting 24 years of knowing my dad.

Along with this op-ed came a crop of pieces making similar jabs at post-something philosophies. Rothstein and others of the same mind claimed that this event described pomo’s shortcomings, and Hey, our society should band together to proudly defend our noble, universal values. Other anti-po commentators went beyond that by sticking some culpability for the attacks onto postmodernism, and even onto postmodernists. This mealy-mouthed, degenerate mode of thinking—a lack of moral clarity—had rendered our society weak and confused, and invited such an act from these evildoers.

I have probably betrayed my feelings about the issue through my writing, but just to be clear: both my friend’s argument and the article (and, by extension, my father’s agreement with it) irritated me. My objections to the anti-po argument were fairly clear: I already believed that all value systems were in many ways self-contained, self-sustaining creations, which made it hard to produce global moral judgments. And I knew that Western policies had produced much global injustice, calling into question the nation’s desire to attain vengeance through its terrible, swift sword. Examining the causes of 9/11 was required by the thoughtful Enlightenment mindset, the ostensible basis of modern Western society.

Less obvious was my objection to the rise of postmodernism. Politically, I certainly felt closer to that camp, as I just mentioned. Culturally, I also felt tied to postmodernism: I deplored the media-mediated regime, I scorned suburban conformity, I questioned the artifice that made up so much of the world, and I laughed at all things campy or over-sincere. Hell, I remember at least three moments from (my first viewing of) The Matrix when I was ready to cry, or dedicate myself to escaping my own personal, “real-world” matrix, or both. (Granted, I was very stoned. And fortunately so—what better movie to watch under the influence of a chemical that makes even real life feel like a movie?)

Over the next few months, with this question in mind, I began find where postmodernism lost me. I first saw it in postmodern thinkers’ responses to the 9/11 fracas, particularly two pieces from Stanley Fish, a professor at the University of Illinois. I discovered one paragraph in the his long defense of postmodernism in Harper’s that showed me a gaping flaw in the postmodern program:

Once again, then, a postmodern argument turns out to be without any deleterious consequences (it is also without any positive consequences, but that is another story), and it certainly does not stand in the way of condemning those who have proven themselves to be our enemies in words and deeds. Nor should this be surprising, for, after all, postmodernism is a series of arguments, not away of life or a recipe for action. Your belief or disbelief in postmodern tenets is independent of your beliefs and commitments in any other area of your life. You may believe that objectivity of an absolute kind is possible or you may believe that it is not, but when you have to decide whether a particular thing is true or false, neither belief will hinder or help you. [Emphasis mine.]

So Fish claims that postmodernism is just abstract thoughts without any effect on the world. Sorry, Doctor; sorrier still for the patient. Postmodernism has had very significant effects all throughout our culture. I don’t blame Fish for this fact or for his not taking responsibility for it; this is postmodernism’s problem, not his, though he is a bit shortsighted to not see the issue arise in his writing.

So far I have left unexplained the relationship between irony, postmodernism, and admiration of simulation; now I’m getting to where I can clarify that. Postmodernism is part of a whole societal trend, reaching from arcane journals of “theory” to The Matrix to blue-collar folks’ epistemologies to digital technology. To Fish, postmodernism may be a paddle waving through the pristine, perfect vacuum of academic outer space. But it is also pushing through a complicated societal river, forcing much matter out of its way and leaving unpredictable eddies in its wake. The movement of the paddle is also a social movement, a group of connected phenomena including postmodern theory, the rise of irony, and the questioning of objective truth and reality. While I agree with much of this trend—the swath and chaotic turbulence it created—I believe it, like all else, calls for limits.

I’m not the only one who thinks so. Of course, there are traditionalists like Rothstein who never liked postmodernism to begin with. And the academy is well-stocked with natural and social scientists who resent “theory” (after all, they’ve been proposing and testing theories for centuries); in 1996, NYU Physicist Alan Sokol pulled a prank on the cultural-studies journal Social Text by submitting a nonsensical article full of mistakes, which the journal then published. Sokol intended to show up pomo theorists who had claimed that science was socially constructed. (The journal was defended publicly by Stanley Fish, pomo’s knight in subjective armor.)

But it is far more interesting to see post-postmodernist ideas emerge in fields that actually had a postmodernism. An article of a few months ago from the Christian Science Monitor captures thoughts from professors of literature who are rediscovering sincerity and finding fault with theory:

But for some academics, what the rejection of theory is really about is the joyous rediscovery of literature itself. There is today "a renewed appreciation of the irreducible particularity of an art work, an author, an historical moment, a particularity that theory may illuminate but never fully explain," according to Dennis Todd, professor of British literature at Georgetown University…
Specifically, says theory's reformed bad boy [Terry Eagleton], "[theory] has been shamefaced about morality and metaphysics, embarrassed about love, biology, religion and revolution, largely silent about evil..." And that, as Eagleton says, "is rather a large slice of human existence to fall down on."

I can’t pretend to be an expert on literature, but I have seen signs that the literary world is tiring of the ironic trend in writing. For instance, I’ve been thinking a lot about one bit from an interview with notoriously vicious book reviewer Dale Peck, where he derided the power of irony to work against its user’s enemies:

i just think [David Foster Wallace and Don DeLillo’s] critiques of [consumerism and commercialism] are pretty facile, and in fact do more to bolster the power of consumerism than to tear it down. wasn't it leo bersani who said that parody and satire basically reify the positions of the target and the attacker, reminding everone who's got the power and who doesn't? that seems to me to be pretty self-evident. and my feeling is, if that's the case than why not opt out of the paradigm?

Peck is best known for his “hatchet jobs,” as his collections of reviews is titled, but he insists that it is the shoddiness of modern literature that compels him to write things like, “Rick Moody is the worst writer of his generation.” I believe, personally, that Peck hurts because he loves, and I like his point on the failure of irony as the solution to big problems.

My favorite explanation of the shortcomings of the ironic mindset—both anecdotal and heartfelt—is in one story from a blog called 2Blowhards. In the post, Turbokitty reflects on the period of her life dominated by a postmodern perspective. I feel a little guilty about pulling only these most relevant bits, because the whole long post is great (even longer and greater than this post, o patient reader), so please read the whole thing, if you’re interested.

I did a lot of self-portraits, which was so, so art school. We had a joke that if girls took off their clothes they'd get an A. So I took off my clothes and did a thing about who has the power. There was a gun, and I had myself gagged and bound, with clothespins fastened all over my body. I was going for shocking. And my teacher liked it; I got the A…
In class with McCarthy, we would sit there discussing camp, kitsch, game playing, appropriation, space -- your normal postmodern topics in a conceptual art program. We were being ironic; being ironic set you apart from the dumb people (although it didn't take much; I was surrounded by stupid). I played around with kitschy items in my work and had a really good laugh. Anything so-bad-it-was-good was my baby…
Finally I created space in my head. When I made art again, it was insects. At first I photographed them. Then it was drawing -- ink mostly. I started being able to make art again when my boyfriend, Felix, and I started going upstate and hanging out in the country with the insects…
Me, I'm drawing insects and fish. Insects and animals are much smarter than people. And drawing fish is wicked -- those wacky eyes kill me every time! I would love to spend more time with scientists and artists who love nature and are blown away by its uncontrollable force. I am forever left awestruck by its power over us, as we are left totally vulnerable and subject to chance. Irony seems so yesterday. Today, rolling the dice is more my speed.

The story feels to me like a certain kind of difficult drug trip. You feel strange and out of place; then, somewhat removed, you observe and critique the oddity of the world (normally taken for granted); then perceive alienation due to a mismatch between yourself and the world; then manage to reconnect with both inner and outer worlds; and finally rediscover beauty and spirit. I love that her redemption is so palpable and joyous.

Postmodernism was a brilliant and necessary step for our culture. It is, in many ways, a continuation of the same Enlightenment ideals that formed plain ol’ modernism, including skepticism and inquiry. During postmodernism’s rise, people were asking very important questions about knowledge, literature, politics, and reality. They pushed that line of questioning as far as it would go, focusing on discovery rather than connecting their findings to society, and what it knew. There is nothing wrong with this approach; it’s right there under the job description for “explorer.”

Yet Postmodernists’ plunge into the distant reaches of that field has led to a crisis for our society. They have gone far out in that direction, and some other people have taken in their findings. But bigger groups of folks are removed from these thoughts. They have not learned the strengths of postmodernism, and they disagree with the wisps of it they encounter out of context. A chasm has arisen between those people who subscribe to pomo, at least in part, and those who fully reject it. And that chasm has made ours a psychically fractured society, comprising two camps with partially incompatible views of the world.

You see it arising everywhere, from culture, to politics, to religion. Red staters increasingly believe in objective, clear morality and answers, while blue staters see potential justifications for different sets of moralities. Some look for the root causes of 9/11, while others say the fight was just then begun, and then you were with us or the terrorists. The difference between highbrow and popular has grown ever greater, which further expands the chasm between the two camps. A psychically fractured individual is dangerous and unhappy; a psychically fractured culture is no different.

The article in the Christian Science Monitor suggests that postmodernism is, at least, probably not moving further away from the rest of the world:

“For me, theory reached its apogee in the early 1980’s and has since been declining,” says Roger Lathbury, professor of American fiction at George Mason University. Today, he says, it's a matter of “the pendulum swinging toward the center.”

As the pendulum swings back, postmodernism is ready to be recombined with other schools of thought, and its lessons propagated though them. Committed postmoderns and the mainstream crowd will both profit by merging the strengths of their philosophies. Turbokitty, to my delight, is ready: “For the first time in 15 years, I'm not looking at everything I make in a kitschy fashion. Small doses are cool.” The process has begun for the society at large, but it has much further to go.

One factor that I suspect is holding back this re-union is how our society—specifically, its intellectual face—has changed since the advent of postmodernism. During the latter half of the 20th century, intellectualism became a more rarefied part of the culture, retreating into the reaches of academia. And academia, itself, became far more arcane. Richard Posner documented this in his book Public Intellectuals: A Study of Decline. (True, I haven’t read it, but I read a review. A thimbleful of knowledge and a sackful of extrapolation is a powerful combination.) In short:

The charismatic public intellectual able to sympathize with the general educated public is dying, being replaced with the professional academic who operates best when speaking in inaccessible jargon with other professional academics in her own field. We can compare, for example, a classic public intellectual like George Orwell to a writer closer to our own day like Allan Bloom, the late conservative culture critic. An essential aspect of Orwell’s popularity was his ability to speak at the same level of the common British citizen, bolstered by his own experiences in Hospital X, in the mine, and ‘down and out’ while in Paris and London. Contrarily, although Allan Bloom’s book The Closing Of The American Mind became widely popular and turned him into a minor media celebrity, much of its language was highly academic. Posner believes it is unlikely that many of its buyers could get through the whole thing, despite the fact Bloom’s editor worked intensely at making the language readable for the average educated person.

Posner, via the reviewer, J.C. Reindl, points out one of the primary forces pushing academia this direction:

What we must take into account before announcing a public intellectual decline is that the academic disciplines are much more complex today then they were in the earlier part of the century. Where it may have once been possible for a federal judge to comment on the historical significance of women’s role in World War II-era industry, in today’s world of university gender studies departments, such an undertaking would be best attempted by a tenured professor adept at gender theory.

Michael Berube, a professor of English, recounts a personal perspective from the peak of theory’s reign:

When I entered graduate school at the University of Virginia in 1983, nobody wanted to grow up to be a public intellectual. As Jeffrey Williams, editor of the minnesota review [sic], rightly recalls, everyone in those days wanted to be a theorist. No one worked overtime on seminar papers trying to make them more readable so that they could someday hope to publish in Dissent -- or The Washington Post. On the contrary, ambitious graduate students working overtime on their prose in 1983 were most likely trying to throw in more bilingual puns, more neologisms, maybe a clever chiasmus or two.

Berube goes on to say that public intellectualism returned in the 90s, but to a limited extent and in a flawed form: its practitioners were “publicity intellectuals” or “cameo intellectuals” (thus named by—who else?—Stanley Fish). It is heartening simply that intellectualism is again part of the mainstream culture, but we should find a way for it to regain its class, its composure, and its power, even as the ADD-addled media convey only sound bites. If intellectuals with some desire to bridge the gap between the academy and public believe that public intellectualism leads inevitably to publicity intellectualism, though, that won’t happen. We need people to speak, like Orwell, to regular people, and to communicate the discoveries of postmodern investigators. Humanist academia is currently so specialized, and so disconnected from the world it could be helping, that I wonder if it goes far beyond mental masturbation.

If we find some way to bring better link the ironics and the sinceres, maybe through a rejuvenated public intellectualism, it will help to lessen our country’s split-personality disorder. Perhaps more importantly, it will help the individual souls who are stuck on either side of the divide. I think back to the ubiquitous Stanley Fish:

“Once again, then, a postmodern argument turns out to be without any deleterious consequences (it is also without any positive consequences, but that is another story), and it certainly does not stand in the way of condemning those who have proven themselves to be our enemies in words and deeds. Nor should this be surprising, for, after all, postmodernism is a series of arguments, not away of life or a recipe for action.”

Fish means to keep pomo in the academy, but the cat’s out Pandora’s can of worms already: postmodernism has sunk deep into our culture, into the lives of many of us. And I feel saddened to read this about one of our era’s great guiding principles. It has no positive consequences? It’s a series of arguments? It means nothing for our lives? Postmodernism may be an unassailable debate technique for the academic, but it leaves one a little hollow inside. Fish insists that postmodernism should have no bearing on our ability to respond to terrorism:

The problem, according to the critics, is that since postmodernists deny the possibility of describing matters of fact objectively, they leave us with no firm basis for either condemning the terrorist attacks or fighting back. Not so. Postmodernism maintains only that there can be no independent standard for determining which of many rival interpretations of an event is the true one.

It is ridiculous to claim that this lack of an independent standard for making decisions about virtue will never affect the strength of one’s convictions. The human psyche is not so cleanly split that the intellect never speaks with the motive force. Thoughts have consequences.

To quickly reiterate the point that seemed clear to me when I started, postmodernism is, likewise, an important part of human knowledge. It can deepen the understanding of everyone who internalizes part of it, and that is essential to the human quest. This “modern” ideal has been in wide circulation at least since that upstart Socrates said, “The unexamined life is not worth living.”

I think the question all comes down to Madonna. The last shot in her video Express Yourself shows the words: “Without the heart, there can be no understanding between the hand and the mind.” (The line is adapted, in postmodern but, I hope, sincere fashion from Fritz Lang’s Metropolis.) Postmodernism is the human mind working the hardest it can and, if leaned on too heavily, it can unbalance the soul. A friend of mine, who is very serious about Vedantic Buddhism, calls this “the crisis of the intellect.” But to not go deeply enough into one’s world, to not take any advantage of this great trend of thought, is to live too far in the realm of instincts—the hand. As individuals and as a society, we need a balance, which can only be achieved by the heart. For those keeping score at home: Stanley Fish 0, Edward Rothstein 0, Madonna 1.

Cited writings:
Rothstein article on the potential downfall of pomo and poco
Fish's article on pomo in NYTimes
Fish's article on pomo in Harper's
Summary of the Sokal-Social Text affair, with links to the important arguments
CSMonitor article on theorists ditching theory
Peck interview with bit about irony's impotence
Turbokitty post on 2blowhard about rediscovering sincerity
Review of Posner's "Public Intellectuals
Michael Berube WaPost article on the fall of the public intellectual and rise of the publicity intellectual

Other relevant bits:
Sven Birkets, one of Peck's victims, on postmodernism taking over the academy and the decline of intellectualism
Rothstein responding to Fish's Harper's article
A few perspectives on cultural fallout from 9/11
Publisher's comment on Peck's book of reviews

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