Category Archives: teaching

The Right Niyyah

Regular readers of this blog know that I am a fan of Krista Tippett’s radio program “On Being,” a show that I frequently catch several minutes of on Sunday mornings as I drive the fifteen minutes from our house to the early show at church. A few weeks ago, her guest was Rami Nashashibi, Founder and Executive Director of the Inner-city Muslim Action Network, or IMAN, in Chicago. He’s also a Visiting Assistant Professor in Sociology of Religion and Muslim Studies at Chicago Theological Seminary.nashishibi

On Being: A New Coming Together

Tippett describes Nashishibi at the beginning of the interview as using

Graffiti, calligraphy, and hip-hop in his work as a healing force on the South Side of Chicago. A Palestinian-American, he started his activism with at-risk urban Muslim families, especially youth, while he was still a college student. Now he’s the leader of a globally-emulated project converging religious virtues, the arts, and social action. And he is a fascinating face of a Muslim-American dream flourishing against the odds in post-9/11 America.

Not surprisingly, the conversation was wide-ranging, fascinating, and introduced me to a number of matters and issues that are well outside of my usual frame of reference. What particularly grabbed me, however, was a brief exchange toward the end of the interview, just as I was pulling into my usual parking spot at Trinity Episcopal.

Krista Tippett: I told you I was on your Twitter feed, and I love this. I think it was really recent. You wrote: “My 4-year-old discovers the spiritual power of her name as she looks over and seriously asks, ‘Daddy, do you have the right niyyah?’” What does niyyah mean?

Rami Nashashibi: So niyyah — in kind of Arabic-Muslim parlance — is spiritual intention. niyyahAnd oftentimes — it’s both the Swahili and Arabic word. And oftentimes, Muslims are always asked before they pray, before they do any act of service, before they engage in anything that has any kind of sense of worship associated with it, is it being done for the right niyyah? Is it being done for the right purpose? Are you attempting to get fame or credit? I think, yes, there was a song that had used her name in that way and the light went off in the middle of it and turned over to me on the couch and asked me that question. Honestly, I looked at her and I didn’t have an answer for her for I think a good 20 seconds. She nodded her head and she said, “No, probably not.”

And I said, “What?” We then had a conversation. I said, “Well, at least keep me in your prayers that I have.”

This four-year-old’s simple question—Do you have the right niyyah?—has stuck with me ever since. So has her response to her father’s lack of response—“No, probably not.” It’s hard enough to figure out what the right thing to do is on a daily basis; adding in that it should be done with the right intention, for the right reasons, seems like piling on.intentions and actions As a philosophy professor who has taught introductory ethics courses more times than I care to count over the past twenty-five years, I have thought about this a lot. When I ask my students “What is more important—what you do, or why you do it? Actions or intentions?” they usually split roughly down the middle.

And so do the great moral philosophers. There is the tradition of those who say that only results matter (since they can be observed and measured publicly) and intentions are irrelevant. Then there is the other tradition (spearheaded by Immanuel Kant) who say that results are irrelevant—the true measure of the moral life is internal. Were your intentions pure? Was your heart in the right place? If so, then you are morally in the clear, even if the results of your intended action go “tits up” (to quote my brother-in-law).

VgMKgyZMy students are pretty smart, and it doesn’t take very long before they realize that the “results or intentions” question is a false dichotomy. Because in truth, normal human beings care about both. If morality is just about doing the right thing, then the person who identifies the things that should be done and does them—even if for all of the wrong reasons, such as self-righteous smugness or the praise of others—is morally in the clear. But Nashashibi’s four-year-old daughter is right—we want not only the right thing to be done, but for it to be done with the right niyyah, the right intention or reason. And that sucks, because it takes things straight into the human heart. For those who profess the Christian faith, it also takes things straight into the world of grace.

The first thing I ever learned from Scripture about the human heart as a young boy was from JeremiahJeremiah: “The heart is deceitful above all things and desperately wicked—who can know it?” Far less attention was paid to the Psalm that is recited in liturgical churches during the Ash Wednesday liturgy: “Create in me a clean heart, and renew a right spirit within me. Cast me not away from your presence, O Lord, and take not your Holy Spirit from me. Restore unto me the joy of your salvation, and renew a right spirit within me.” Straight from the Jewish scriptures is both the problem of and the solution for right intentions. As a flawed human being, I am incapable of doing things for the right reason, but help is available. Through divine grace the heart is changed and turned toward the good. Rami Nashishibi’s daughter is right when she doubts that her dad has the right niyyah, so long as that depends on his own energies and strength. But when the divine gets involved, everything changes.

The mystery of grace is exactly that—a mystery. Divine grace enters the world through flawed human beings, strangely enough, and there isn’t enough time to try to figure it out. Grace is something to be channeled, to be lived, not systematized and turned into dogma or doctrine. My bright abyssThe poet Christopher Wiman writes beautifully about this. Through many years of cancer treatments, he learned to hear God, then to channel God, in the most unlikely places, the very places where divine grace apparently lives. Wiman writes that

God speaks to us by speaking through us, and any meaning we arrive at in this life is composed of the irreducible details of the life that is around us at any moment. . . . All too often the task to which we are called is simply to show a kindness to the irritating person in the cubicle next to us, say, or to touch the face of a spouse from whom we ourselves have been long absent, letting grace wake love from our intense, self-enclosed sleep.

The right niyyah is not the result of struggle, training, or calculation. And as the author of Deuteronomy tells us,deuteronomy

Nor is it beyond the sea, that you should say, “Who will cross the sea for us to get it for us and make us hear it, that we may observe it?” But the word is very near you, in your mouth and in your heart, that you may observe it.

All I have to do to have the right niyyah is to open my heart, open my mouth, and let it out.

To experience grace is one thing; to integrate it into your life is quite another. What I crave now is that integration, some speech that is true to the transcendent nature of grace yet adequate to the hard reality in which daily faith operates.

Slightly Improved

I have no idea why or how Miss Katrina Munn, a graduate of Julliard School of Music2139064083_fa0e5dd401[1] with a degree in organ performance, came to spend most of her adult life teaching piano to kids in central, rural Vermont. She was my first piano teacher, from age five (or was it four?) until age eleven. I spent forty-five minutes per week with her in the piano studio attached to her small apartment. While many of her students found her intimidating, she reminded me a bit of my imperious but loving paternal grandmother. But she could have been the Wicked Witch of the West and I would have put up with it, because piano was my life.

Music is in my genes from both sides of the family. I don’t remember when my older brother started piano lessons, but some of my earliest memories involved my mother forcing him to practice his lessons as well as my jealousy that he was getting to do something I wasn’t old enough for yet. He was an indifferent musician—he could play the notes but had no love of it. I was a different matter. I recognized the piano as a soul mate as soon as I started lessons. As I got old enough for school, I would rush to our old uprightimagesCAQOJENP as soon as I got home and play until my mother forced me to leave the bench for supper. The piano was my best friend.

Miss Munn recognized immediately that she had a “true believer” on her hands and allowed me to progress through the standard lesson books at a much faster pace than most. She was a member of a national organization of certified piano instructors, meaning that once per year representatives of this group would visit, listen to her students play assigned pieces and sight-read new ones, grading the students (and presumably Miss Munn) in any number of categories. I remember the two judges as Kafkaesque,Kafkaesque[1] austere, unsmiling, unmoving, seated primly next to each other about five feet away on the left side of the piano, silently making checks occasionally on a sheet in front of them. Come to think of it, they looked and acted pretty much as I figured God looked and acted all of the time.

Miss Munn shared the judges’ scores with her students once she received them from the central authorities in the mail. I recall as if it were yesterday when she reported to me the results of my first judging: Twelve positive checks and zero negative checks. I was thrilled—I had set a goal of being perfect, and I had been. Miss Munn’s comments on my perfect score, however, were unexpected. She said, I’m very pleased with the number of positives, but I’m concerned that you had no negatives. What? What could be better than perfection? She continued by pointing out that my zero negative score was reflective, not of perfection, but of a strong sense of perfectionismPerfectionism[1] that is not desirable in an aspiring pianist (or anywhere else, I suspect). By being so concerned with not making any mistakes, I had closed off the possibility of additional positive checks only available if one is willing to take risks. I don’t remember exactly how I processed Miss Munn’s unexpected reaction to my perfect score, but I must have taken it to heart. My score on next year’s judging was twenty-seven positive checks, three negative checks. At least at the piano, I’d begun to learn that growth and excellence begin with embracing imperfection.

As Jeanne said when I told her this story, that’s a pretty difficult lesson for a five-year-old to learn. Indeed—it’s a lesson that I still struggle with. Miss Munn may have convinced me that perfection is not to be sought at the piano, but Jesus said “Be Ye PERFECT![1]Be ye therefore perfect, as your heavenly Father in heaven is perfect” (when he was speaking in King James English). That’s an even tougher lesson for a five-year-old, but it stuck. Not as something to strive for, but as an eternal impossible guilt-producing standard whose roots went deeper every year. As I grew older, I knew that this was an impossible standard. I even have said in class, to the nervous discomfort of my students, “What the hell kind of a moral standard is that”?

imagesCA6KS6YVIn  The Sovereignty of Good, Iris Murdoch asks “What of the command ‘Be ye therefore perfect?’ Would it not be more sensible to say ‘Be ye therefore slightly improved?’” Three decades earlier, she built this tension into one of her novels. The central structural pillars of The Belln43712[1] are the dueling Sunday sermons of James and Michael, rivals for the leadership of a lay religious community. James, on the one hand, is convinced that moral perfection is well within any human being’s reach—we know what is required of us and just need to stop thinking and do it. Perfection is measured by the external standard given to us by God through Scripture and tradition. We fail to be perfect through weakness of will. Throughout the novel James is also revealed as judgmental and self-righteous, rigidly insensitive to the nuances and realities of other people.

Michael, on the other hand, preaches that moral behavior begins with an honest assessment of one’s limitations and imperfections—“one must perform the lower act which one can manage and sustain: not the higher act which one bungles.” Although Michael’s position is far more humane and embraceable than James’, his life is a series of continual missteps for which he seeks and expects immediate forgiveness from himself and others. When, due to his moral blundering, a member of the community commits suicide, Michael himself becomes suicidal as he realizes that his lazy acceptance of his own limitations has poisoned his relationships and caused him to blindly miss the importance of continually striving for perfection. Contentment with “slight improvement” has become identical with self-absorption and stagnation.

So there’s the problem. How am I to embrace imperfection while at the same time avoiding complacency? My best clue, which I borrow from Jeanne who is far wiser than I on these matters, has to do with “the law of love.”imagesCAH78QB6 Perfection is a deadly burden as long as it is a standard of judgment. But through the lens of love, it becomes something different. As long as my image of perfection is avoiding judgment by making no mistakes, I live in fear and am doomed to failure. Miss Munn, however, wanted to show me that the growth inspired by taking risks and making mistakes without fear is directed toward a perfection of a very different sort. The wise Abbess in The Bell tells Michael toward the end of the book that “The idea of perfection moves, and possibly changes, us because it inspires love in the part of us that is most worthy.” As First John tells us (once again in King James English), “perfect love casteth out fear.”mural perfect love with cars[1]

Facts, Words, and the Word

TheHobbit_Sdtk_Cover_1425px_300dpi1[1]The day after Christmas a few years ago I went with my son to see Peter Jackson’s movie version of “The Hobbit,” Part One. I thoroughly enjoyed it, as I knew I would. I have been a Tolkienphile since my early teens, when The Hobbit was assigned by Mrs. Lord (a great name for a teacher) in my high school honors freshman English class. I loved it, and innocently said to Mrs. Lord “I like this—has this guy written anything else?” “As a matter of fact he has,” she replied, and turned me on to the wonders of The Lord of the Rings. It set off a love affair with J. R. R. Tolkien that has lasted for over forty years. Although I have strayed in the past few years, my first encounter with hobbits, dwarves, wizards, elves, orcs, and humans in Middle Earth caused me, going forward, to religiously read all four books once every three years. And I suspect that had Mrs. Lord not assigned The Hobbit, I might not have discovered Tolkien for many years after, if ever. It was one of my first examples of the joys of unexpected literary discoveries. It probably also explains why I have never read a word of the “Harry Potter” series”–the next generations Tolkien, I suppose.

muriel_barbery_personnalite_une[1]I still enjoy the unforeseen pleasures of a new literary find. I recently reread one of my favorite novels, Muriel Barbery’s The Elegance of the Hedgehog and asked myself, upon finishing, a Mrs. Lord question: “I wonder if she’s written anything else?” Thanks to the wonders of Amazon, I found out in less than a minute that The Elegance of the Hedgehog is gourmet-rhapsody3[1]Barbery’s second novel, that she studied philosophy at the Ecole Normale Superieure, and worked for a number of years in France as a philosophy teacher. I immediately ordered her first novel, Gourmet Rhapsody, to read during the break between semesters.

It’s a short novel—a novella, really—that can easily be read in one day, especially if you have a cold and are resisting the siren call of work-related emails that you want to ignore until after New Year’s Day. In the midst of the story about a world-famous food critic who has been told that he has no more than two days to live, I read a sentence that has stuck with me over the past several months, even as the details of Barbery’s story drift away. “Life exists only by virtue of the osmosis between words and facts, where the former encase the latter in ceremonial dress.”

As I get older and become more able to put years of teaching experience and continuing personal transition and process into some semblance of context and perspective, I find myself placed often at the intersection of words and facts. Facts, the one damn thing after another that provide the stuff of reality, are naked and uninteresting until shaped by a context, energized by a story, or illuminated by narrative light. Yet we live in a world which often insists on just the facts. As the insurance investigators tell Pi Patel in Life of Pi, after listening to his story of survival involving a hyena, an orangutan, a tiger, and a carnivorous island, “for the purposes of our investigation we want to know what really happened.The-Life-of-Pi[1] We want a simpler story for our report, one the company can understand and that we can all believe.” But the notion that the truth is nothing more than facts properly assembled in appropriate order is itself the result of a particular narrative structure, a structure guaranteed to produce stagnation and mediocrity. “I know what you want,” Pi responds. “You want a story that won’t surprise you. That will confirm what you already know. That won’t make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.”

If I have become convinced of anything in the twenty-five years that I have been teaching, it is that true learning only happens in the company of the desire to see higher, further, or differently. Accordingly, in the narrative of teaching and learning the atomic facts of reality are dressed up in various styles. Sometimes the dress is formal, sometimes casual, sometimes liturgical, and sometimes humorous. Occasionally learning happens best when facts are dressed as for a masquerade, deliberately seeking to conceal what is underneath. Almost never are facts served up naked, except to illustrate how dull and lifeless facts in the raw are, compared with what we might find in the word wardrobe to dress them in.

story_iStock_000015344866Small[1]Alasdair MacIntyre tells us that humans are story-telling animals, and as such we package the facts of our lives for ourselves and for each other in word-woven stories. But just as facts are, of themselves, incapable of conveying truth, so also it is often impossible for even the most skilled storyteller and communicator to encompass the highest truths with words. Human beings know this intuitively. Anyone who has ever tried to express the depths of real love finds that the reality always exceeds what can be expressed in words. As Reverend Ames says in Gilead, “you must not judge what I know by what I find words for.“ “Actions speak louder than words” is more than a truism or sound bite—it is an acknowledgement that the truth often must be shown rather than spoken or written about.

The inadequacy of both naked facts and the words we dress them in is shockingly apparent when entering the realm of religious conviction. This is especially the case when the religion in question involves sacred texts, words that supposedly carry divine weight in some fashion or another. inerrancy_Gerstner[1]I am a product of a version of Christianity that treats the Bible as literal fact—this leads to shallowness, agnosticism, atheism, or at worst, rigid self-righteousness. When the “facts” are dressed up in ornamental dress, the product is stories, metaphors, doctrine, or dogma, depending on the style and the word-fashion designer. But embedded at the heart of the Christian narrative is a challenge both attractive and provocative. As with all of the greatest truths, the most dynamic aspects of the relationship between the human and the divine cannot be reduced to words.

ChristmasB-in-the-beg[1]There is a reason why the writer of the Gospel of John begins by considering divine wordplay. “In the beginning was the Word, and the Word was with God, and the Word was God.” What sort of ceremonial dress is this? Alfred Korn puts it this way: “God is spirit, but at some point in history God became Word. This process of finding words for what cannot be expressed is incarnation.” As the Gospel writer tells us, “The Word became flesh and dwelt among us.” The depths of divine love cannot be exhausted by words, by speech, by texts, by facts dressed up in even the fanciest garb. www-St-Takla-org--Coptic-Saints-Saint-Athanasius-03-01[1]These depths must be lived in and inhabited. And so the story goes—we are the continuing incarnation. As Saint Athanasius provocatively said, “God became human so that we might become God.” The Word continues to become flesh and live with us, because the Word is us. The life of faith is the life spent exploring what that amounts to and living it out.

don't feed

Don’t Feed the Troll

I briefly and inadvertently got involved with a troll on Facebook the other day. Well, not really inadvertently—I did it on purpose because he pissed me off. My largest collection of Facebook acquaintances is comprised of alums–SJC“Johnnies,” as we lovingly call ourselves–from my alma mater St. John’s College, with matriculation dates ranging from the 1970s (I’m 1978) to last May. They are as eclectic, insightful, brilliant, and annoying as we all thought we were in the 70s, with opinions and interests ranging across every conceivable spectrum on every conceivable matter. These opinions and interests are most often expressed on several sites reserved for St. John’s graduates—“Johnnies,” “Johnnies in Education,” “Johnnies in Religion,” and so on—there probably are “Vegetarian Johnnies” and “Johnnies who eat meat” groups as well. I’m sure there are similar sites for the alums of my other two alma maters, but my fellow students at those universities were not as interesting as Johnnies. internet trollI don’t always participate in Johnnie Facebook discussions, but when I do—sometimes I encounter trolls.

Technically speaking, the troll in question is not really a troll, given that he is also a Johnnie (he presumably would not have gained access to the “members only” Johnnie site if he weren’t). I actually have no doubt that he is a Johnnie, since in style and tone he reminds me of any number of fellow students from forty years ago who thought that seminar was all about them, who violated every known law of logic (many of which I did not even know at the time), who could not abide a contrary opinion, and who would not shut the fuck up even when others in seminar shifted their seats so they wouldn’t have to look at the person in question. seminarThere is, of course, the possibility that the above description fits me in seminar forty years ago, but I doubt it. I was far too introverted and uncertain to have sustained that level of obnoxiousness for over two hours.

I have spent a bit more time than usual perusing Johnnie discussions over the past few weeks—it is summer and the beginning of sabbatical after all—and noticed on three different occasions a particular person weaving through conversations with the apparent intention of offending and annoying everyone under the guise of being a “philosopher.” Often the position taken by the troll was defensible, but the conversation never got that far because soon a dozen or more people were saying, in various ways, “Would you please just stop and go away?” Tone and presentation do matter as much as content, the former was regularly blocking the latter, and the troll not only did not seem to care but was reveling in producing such reactions. I have a high tolerance for bullshit—I have participated in more than twenty years of philosophy department meetings, after all—but the troll finally got to me the other day as he continually prefaced every one of his comments with “As a philosopher . . .”. vulcanlogicSuch as

As a philosopher, I am not bound by the rules of logic. Logic is for Vulcans.

As a philosopher, I am frequently abused for what I say (just as Socrates was).

I know I’ve made a good point when they respond with a personal attack. As a philosopher, I get that all the time.

As a philosopher, I put my pants on one leg at a time.

I made the last one up, but you get the point. After reading several such gems, I decided that enough was enough (poor choice) and wrote:

Mr. Troll, I’d be interested at some point in knowing what “as a philosopher” means to you. You throw it indiscriminately into any number of comments on any number of threads–jackassare your qualifications self-established? Or is it just another way of saying “as a total jackass”?

Mr. Morgan, your question is impertinent. Is it sincere?

Sometimes an impertinent question is called for. And yes, I am entirely sincere.

And it was on. Mr. Troll never did provide an explanation for why he considered himself to be a philosopher, but he in short order let me know (after presumably checking out my Facebook home page) that those with advanced degrees in philosophy who have taught philosophy for more than two decades not only are not real philosophers, but are actually the antithesis of a philosopher. This, as you might imagine, bothered me a bit and caused me to point out a few non-sequiturs and other fallacies in his logic. non sequiturI had forgotten, of course, that Mr. Troll is not a Vulcan and that for him logic is optional.

I was not the only person Mr. Troll was taking on in this discussion thread—after allowing complaints and responses from several combatants to accumulate, he would dismiss each person in rapid-fire fashion, just waiting for each of us to respond in frustration so that the troll-a-thon could continue. Eventually, one person posted that since she had blocked Mr. Troll several days ago in a different discussion, she was unable to read his comments on this thread and only could read our responses. She concluded her post by saying “If I may make a humble suggestion—don’t feed the troll.” This, of course, was excellent advice, something that I often am able to accomplish but on this particular day had failed at. As a colleague from work once suggested, it is at times impossible to allow falsehood and trollishness to go unresponded to.duty_calls (2)

I can already tell in the early days of my sabbatical that with increased time and opportunity to participate in discussions with my colleagues and acquaintances on line, I need to streamline my communication techniques. In the future, I will be using the following to communicate with folks like Mr. Troll:

cbqBrNftzRsMdZ

 

 

 

 

VgMKgyZ

FlCq3k1

 

 

 

 

Credible Hulk

I know, I know, I’m not supposed to be feeding trolls. But I actually have a soft spot for trolls. I met one when I was about five or six years old with whom I have had a healthy friendship for five decades—and he really doesn’t eat much. His story coming soon!

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Books that Changed My Life: Pilgrim at Tinker Creek

We wake, if we ever wake at all, to mystery, rumors of death, beauty, violence. . . . “Seem like we’re just set down here,” a woman said to me recently, “and don’t nobody know why.” Annie Dillard, Pilgrim at Tinker Creek

Not long ago I posted the following on Facebook: What books have changed your life? I don’t mean which books do you think are “greatest” or at the top of the “Great Books” canon, but which books came along at just the right time in your life and changed something significant? The response was fascinating, with dozens of my Facebook acquaintances (and theirs) listing interesting and eclectic offerings from Dr. Seuss to Dostoevsky. Over the next few weeks I’ll be sharing a few of my own life-changing titles—please share yours and let’s keep the conversation going!patc

At a writer’s workshop several summers ago one of the writing coaches gave us writer wannabes a terrific question to ask every time we write. “With Middlemarch and Pilgrim at Tinker Creek in the world, why would anyone be interested in this?” Over the twenty years or so since I read Pilgrim at Tinker Creek for the first time, I have occasionally mentioned to friends whose opinions I highly respect how the book has influenced me. More often than not, my friend has replied that she read it years ago and didn’t finish it, or he confesses that “I just don’t get it.” One said “I didn’t like it much when I read it, but I’ve never been able to forget it.” I understand these reactions—Dillard’s 1974 Pulitzer Prize winner is odd, quirky, eclectic, and one-of-a-kind. And it has helped me to see the world around me and myself differently.

leaf minerOur life is a faint tracing on the surface of mystery, like the idle, curved tunnels of leaf miners on the face of a leaf. We must somehow take a wider view, look at the whole landscape, really see it, and describe what’s going on here.

Annie Dillard is an intense observer of details, capable of seeing things that escape the notice of just about everyone. She finds worlds of complexity and interest in the tiniest matters—I often think of Dr. Seuss’s Horton Hears a Who when I read Dillard. But I have encountered skilled natural observers before—Hortonwhat makes Dillard different is that she invites the reader into a new kind of seeing altogether. Given, as she writes, that most of us “waste most of our energy just by spending every waking minute saying hello to ourselves,” how do we learn to get out of the way and see what is actually there instead of what we expect to see?

There is another kind of seeing, which involves a letting go. When I see this way I sway transfixed and emptied. The difference between the two ways of seeing is the difference between walking with and without a camera. When I walk with a camera I walk from shot to shot, reading the light on a calibrated meter. When I walk without a camera, my own shutter opens, and the moment’s light prints on my own silver gut. When I see this second way I am above all an unscrupulous observer.

And what Dillard sees is that “Terror and a beauty insoluble are a ribbon of blue woven into the fringes of garments of things both great and small.” Dillard Frog and Bug 3From the slow-train-wreck horror of watching a giant water bug paralyze a small frog then suck the frog’s insides out through a puncture hole to the gratuitous beauty of a mockingbird free-falling from a five-story roof only to swerve and land light as a feather just a couple of feet before crashing into the earth—just because it can—Dillard finds that we are surrounded by endless details that belie our constant attempts to categorize and “figure out.”

Dillard is not the least bit hesitant to ask the big questions that arise from her intense attention to detail. As she describes it in another of her books, she continually participates in “unlicensed metaphysics in a teacup.” tea cupOur attempts to understand the big picture, however, must always begin with what is the case rather than what we would like to be the case. This requires learning how to see unfiltered.

What we know, at least for starters, is here we—so incontrovertibly—are. This is our life, these are our lighted seasons, and then we die. In the meantime, in between time, we can see. The scales are fallen from our eyes, the cataracts are cut away, and we can work at making sense of the color patches we see in an effort to discover where we so incontrovertibly are. It’s common sense: when you move in, you try to learn the neighborhood.

Practicing this sort of seeing was an “eye opener” for me (pun intended), opening previously undiscovered pathways I had always longed to follow. They led to ways of thinking about God that blew me away.

We have not yet encountered any god who is as merciful as a man who flicks a beetle over on its feet. praying mantisThere is not a people in the world who behaves as badly as praying mantises. But wait, you say, there is no right and wrong in nature; right and wrong is a human concept. Precisely: we are moral creatures, then, in an amoral world. The universe that suckled us is a monster that does not care if we live or die—does not care if it itself grinds to a halt.

Pilgrim at Tinker Creek is packed with page after page of excruciatingly detailed observations of violence and ugliness in the natural world, to the extent that my students sometimes wonder why Dillard finds it necessary to pound her readers over their heads with a basic fact: Nature is both violent and beautiful, deadly and life-giving. “Enough already!” they complain. Dillard’s point is not to fill up pages but rather to force us to face the implications of what we are seeing, including what these truths tell us about what is greater than us. What sort of being or process is responsible for this?

How many people have prayed for their daily bread and famished? They die their daily death as utterly as did the frog, people, played with, dabbled upon, when God knows they loved their life. AlgonquinsIn a winter famine, desperate Algonquin Indians “ate broth made of smoke, snow, and buckskin, and the rash of pellagra appeared like tattooed flowers on their emaciated bodies—the rose of starvation, in a French physician’s description; and those who starved died covered with roses.” Is this beauty, these gratuitous roses, or a mere display of force? Or is beauty itself an intricately fashioned lure, the cruelest hoax of all?

Dillard knows full well that such Job-like challenges to the Divine are “out of bounds” in many circles, but she isn’t having it. “We are people,” she writes, “we are permitted to have dealings with the creator and we must speak up for the creation. God look at what you’ve done to this creature, look at the sorrow, the cruelty, the long damned waste!” As she asks elsewhere, “What the Sam Hill is going on here?” The fact is that what we are seeing is not what we would expect to see in a natural world created and overseen by a benevolent deity. dome of heavenSetting aside traditional constructs and concepts, Dillard freely explores other possibilities.

Could it be that if I climbed the dome of heaven and scrabbled and clutched at the beautiful cloth till I loaded my fists with a wrinkle to pull, the mask would rip away to reveal a toothless old ugly, eyes glazed with delight?

I had wondered about this since my early years as a young Baptist boy, but this was the first time I found it in print. And it inspired me to fearlessly track what I see to what might be behind the scene—regardless of where it might take me.

But as Dillard regularly reminds her readers, terror and beauty are intertwined in our world, so intimately that our attempts to separate them will invariably fall short.

No, I’ve gone through this a million times, beauty is not a hoax—how many days have I learned not to stare at the back of my hand when I could look out at the creek? . . . Beauty is real. I would never deny it; the appalling thing is that I forget it.

When I remember to get out of my own way, Pilgrim at Tinker Creek serves as a standard for me, a standard of how to see differently. pearlThis theme of learning how to truly see weaves through many of the texts that have influenced me over the past several years—Annie Dillard was the first to introduce me to it.

The secret of seeing is, then, the pearl of great price. . . . But although the pearl may be found, it may not be sought. The literature of illumination reveals this above all: although it comes to those who wait for it, it is always, even to the most practiced and adept, a gift and a total surprise.

story telling animal

How to Educate a Story-Telling Animal

Man is in his actions and practices, as well as in his fictions, essentially a story-telling animal. Alasdair MacIntyre, After Virtue

I suspect that all academics who can still remember their graduate school days will recall books in their disciplines that were all the rage, books that all of the graduate students talked about but that no one had read. after virtueDuring my graduate years in the late 1980s and early 1990s, two of these books were Richard Rorty’s Philosophy and the Mirror of Nature and Alasdair MacIntyre’s After Virtue. I don’t recall exactly when I finally read Rorty’s book (I promise I did), but I recall very clearly the circumstances surrounding my first reading of After Virtue. My teaching assignment for the fall semester of my second year at my first teaching job after my PhD included two sections of “Ethical Theory.” Although according to my vita my systematic area of specialization was ethics, this would be my first opportunity to actually teach an ethics course.

In the early part of the summer, I constructed a typical introductory ethics syllabus, a cafeteria-style tour through relativism, egoism, divine command theory, utilitarianism, and Kant, followed by an applied topic or two. Shortly afterwards, I happened to come across After Virtue as I was rearranging a bookshelf in my office, and decided that it was about time I read this book that everyone had been talking about. I expected it to be my “fun” reading for the summer. It absolutely blew me away—I story telling animalsat up late at night and finished it in less than a week. I could not get out of my head the possible implications of MacIntyre’s claim that human beings are “story-telling animals” for ethics and teaching. As soon as I finished the book I immediately went to my office computer—we had no computer at home—located my newly constructed ethics syllabus, and deleted it. Reading After Virtue changed the way I think about ethics. I have taught upwards of forty sections of introductory ethics in subsequent years; virtue ethics eats up more and more of the syllabus each time. But the most important pedagogical question After Virtue raised for me struck deeper than “How should one think about the moral life?” Because if it was truly the case that the dozens of students in my classes each semester are “story-telling animals,” the most important question for me became “What is the best way to invite/seduce such an animal into the life of learning?”

Over the almost twenty-five years since that summer of MacIntyre, I have become convinced that students flourish most often in a learning environment when the teacher is willing to place her or his own narrative on public display, particularly the portions most intimately related to her or his own life of learning. VM Ruane 9It’s a strange but true fact that my students know more about me than anyone other than Jeanne and my immediate family, simply because I put myself—my foibles and fears as well as my certainties and successes—on public display every time I enter a classroom. I get my students to start thinking about themselves in narrative fashion by showing how my own narrative has been written and shaped by what I have read, studied, and experienced. They learn that Aristotle is on our ethics syllabus because thinking about virtue and moral excellence as habits to be cultivated rather than rules to be obeyed has made a profound difference in my own moral journey. They learn that the relatively obscure Simone Weil is the syllabus because a seemingly random encounter with one of her essays changed my life many years ago. And so on.

Stories are not only the natural context within which human beings understand themselves and each other, but often are also vehicles of inspiration. What is it about stories that grabs the attention of co-learners in ways that facts or objective descriptions cannot? carseTheologian James Carse writes that “The way an audience is visibly awakened by a narrative example during an otherwise precisely factual lecture shows that stories touch closer to a listener’s center than accurate descriptions of objective states of affairs.” In my experience, students care less at first about what a text is saying than about what this text is doing on the syllabus. More directly, they want to know “Why does this text matter? What difference has it made in your life?” And the only possible answers in response to such questions will of necessity be narrative in structure. According to Richard Rorty, the classroom must be a place where “the teachers [are] able to teach the books which have moved them, excited them, changed their lives,” inspired by

An encounter with an author, character, plot, stanza, line or archaic torso which has made a difference to the [teacher’s] conception of who she is, what she is good for, what she wants to do with herself: an encounter which has rearranged her priorities and purposes.

The only way that there can be “joy in the work,” to use Simone Weil’s phrase, is if there is an example, a lived story, of such joy on display. Over the many years of seemingly endless core curriculum reform debate on my campus over the past decade, I often argued that the true point of what we are doing in the classroom has, first and foremost, little to do with content. What we are doing is facilitating and nurturing the attitudes and skills of lifetime learning. macintyreSuch attitudes and skills must be shown in embodied form.

Telling a story is a creative activity—telling one’s own story is perhaps the most important creative activity a human being ever encounters. As MacIntyre tells us, it is through paying attention to the narrative structure of human reality that we begin to fashion the disparate, fragmented aspects of our existence into a unified, morally responsible whole.

To be the subject of a narrative that runs from one’s birth to one’s death is . . . to be accountable for the actions and experi­ences which compose a narratable life . . . in what does the unity of an individual life consist? The answer is that its unity is the unity of a narrative embodied in a single life.

And telling a story is more than getting the facts straight. A life lived with only the facts in mind is a life subjected to “just one damn thing after another.” As James Carse points out,

No matter how carefully we line up the historical data or how honestly we report the actual events through which we have lived, these do not by themselves tell the story of our lives. To tell all is not to tell a tale.facts Getting the facts straight is not enough to find the story to which they belong. In fact, getting the facts straight is a very different activity from that of finding a story that can be “faithful” to the facts.

Good story telling, like good pedagogy, is attractive and seductive. Each individual human story is endlessly hopeful; there is an inherent joy in shaping the classroom experience within narrative parameters. Because the stories being told are the ones that matter most—the stories of our lives.

Someone with Skin On

afraid-of-the-dark[1]The story is told of a little girl who was afraid of the dark. After trying any number of strategies to allay her fears, one night the girl’s frustrated mother said “there really isn’t anything to worry about—Jesus is always with you.” “But I can’t see him!” the little girl wailed. “I know you can’t,” the mother replied, “but he’s there all the same.” This did not help the little girl, who said “sometimes I just need someone with skin on.”

I thought of this story in the wake of an interesting round of seminars with two groups of nineteen freshmen in the interdisciplinary course I  teach in. Our seminar text was anselm[1]Anselm’s ontological argument—the very title is sufficient to cause nineteen-year-olds (or perhaps anyone with common sense) to shut down or at least to glaze over. The proof is a highly cerebral, rational attempt to prove the existence of God first made famous by Anselm, an eleventh century Benedictine monk who rose to be Archbishop of Canterbury for the last fifteen years of his life. It is called the “ontological” proof because it focuses on a logical analysis of the concept “to exist” or “to be” (ontos in Greek). Here it is in its simplest form.

1. I can think of a being than which no greater can be thought (a Perfect Being). 

2. Since I have this thought, the Perfect Being exists in my mind. 

3. It is greater to exist both in the mind and in reality than it is to exist just in the mind (ex: a unicorn that existed in reality would be greater than the unicorn that just exists in our imaginations). 

4. The Perfect Being must exist in reality as well as in my mind; if it existed only in my mind, I could imagine a greater being (which is contrary to #1). 

5. Therefore, the Perfect Being (God) exists in reality.

Here’s a cartoon version that gets the gist of the argument. Jesus and Mohammed are having a beer . . .

2006-09-11[1]

Confused? So were my students. My literature colleague and teammate, a medievalist, had done a first run through the argument in a lecture early in the week, but when I asked my seminar students how many thought they had a handle on what had happened in that class, not a hand was raised.

So-What[1]I took the opportunity over the next ninety minutes to walk through the steps of the argument with the students as slowly as needed and was convinced, at the end of the exercise, that each student in the room at least understood how the argument worked. But as I frequently tell students, the most important philosophical question one can ask is “So what?” Who cares? This led to the most important part of the seminar, as I asked them to role play:

1. Choose one of the following roles: a person who believes in the existence of God or a person who does not.

2. Once you have chosen your role, ask yourself the following:

a. If you are a believer, would the ontological argument help strengthen your faith, or would it basically have no impact? Why or why not?

b. If you are a non-believer, would the ontological argument convince you to become a believer or not? Why or why not?

dividing-wall[1]Each person wrote from the perspective of their chosen role for ten minutes, then compared what they wrote  in groups of three or four with others who had chosen the same role—believers with believers and non-believers with non-believers.

The students choosing to be believers and those choosing to be unbelievers were roughly equal in number. But the message that emerged from the group discussions—believer or non—was consistent: The argument doesn’t work. Believers agreed that although the argument might be “interesting,” that’s all it is. The argument does nothing to bolster, support or clarify already existing faith. Neither did the argument move any non-believer an inch closer to belief.

Why? Is there a fatal flaw in the logic of the flow from premises to conclusion? Many philosophers and theologians over the past millennium have sought to poke logical holes in different parts of the argument, with varying levels of success. But the ontological argument is still here, dragged out and dusted off in hundreds of philosophy of religion classes across the world every semester, godel ontological[1]stubbornly staking its claim that from the mere existence of an idea about a Perfect Being one can establish with certainty the actual existence of an actual Perfect Being that matches up to the idea. I have a colleague in the philosophy department, a Dominican priest, who not only is convinced that the ontological argument is sound, but who will proceed upon invitation to demonstrate it using symbolic notation and modal logic. Trust me, you don’t want to know.

The argument’s failure to impress my students, however, had nothing to do with its logical triumphs or failures. As different groups of believers and non-believers weighed in after we reconvened, a common theme emerged:

Maybe God exists, but this doesn’t tell me anything about how to relate to God or where God is. 

Faith for me is not about arguments.

This argument doesn’t tell me anything about what God is like or what God wants.

If I already believe that God exists, I don’t need a proof to tell me that.GodPuzzle[1]

I don’t think God is a puzzle or a problem to be solved.

How is this going to help me be a better person?

Bottom line: My students were in almost unanimous agreement that the God of Anselm’s argument is not someone who can be related to on a human level. Anselm’s God is not “somebody with skin on.” And sometimes—perhaps most of the time—that’s what we need God to be.

RUBIKS GOD[1]The good news is that according to the Christian narrative, God knows this. It sometimes shocks my students to hear that “incarnation” literally means “to become meat.” Carnivore, carnivorous, chili con carne, carnal. Or to put it differently, “incarnation” means “to put skin on.’ God’s response to human need, hope, sorrow, desire, pain, joy, and suffering is to wrap the divine up in flesh. On a given day, in a given situation, that incarnated God might be you. It might be me. This is how the divine chooses to be in the world. It’s much more possible to relate to someone with skin on than to a mathematical formula or a logical construct. God is not a Rubik’s Cube. God is a person with skin on. Embrace it.

Living Without God

God would have us know that we must live as people who manage our lives without God. Dietrich Bonhoeffer

Perhaps it is a feature of teaching at a Catholic college, but I am frequently surprised by how many of my students are convinced that the only basis for being moral is belief in a God who will hold each of us responsible after we die for what we have done during this life. I am familiar with this attitude—fire insurance policyI was raised with the Protestant version and believed that the primary reason to be a Christian is to gain an eternal fire-insurance policy. But people old enough to be a freshman or sophomore in college have undoubtedly encountered people who do not profess any sort of religious conviction and yet apparently have managed to develop working moral frameworks. When I ask my students whether it would be possible for an atheist to be moral, just about all of them admit that such a thing is possible—they just don’t know how. So I find myself faced with a continuing task each semester—exploring with my students the strange phenomenon of living a life of moral commitment and excellence without God. Or at least without the God they have in mind.

BonhoefferIn my “‘Love Never Fails’: Grace, Truth, and Freedom in the Nazi Era” colloquium this past semester, my students’ expectations and pre-conceptions concerning the connections between moral commitment and religious faith were challenged on a regular basis. These challenges were most pressing during the weeks that we studied Dietrich Bonhoeffer, the Protestant pastor and theologian who ultimately found himself in prison awaiting execution because of his involvement in an attempt to assassinate Adolf Hitler. In letters to his friend Eberhard Bethge, Bonhoeffer described the many ways in which his understanding of Christian commitment and action was changing. Lurking behind his ideas was one big question—where is God in all of this? In a letter a few weeks before his death, he wrote

So our coming of age leads us to a true recognition of our situation before God. God would have us know that we must live as people who manage our lives without God. The God who is with us is the God who forsakes us. losing faithThe God who lets us live in the world without the working hypothesis of God is the God before whom we stand continually.

My students found this passage challenging, to say the least. In online discussions, several expressed their sadness that this pastor, who had been such a beacon of Christian hope and light during very dark times, lost his faith in his final days of life. I responded, tentatively, that Bonhoeffer had not lost his faith—but this was a very different sort of faith than my students were accustomed to.the bell

Bonhoeffer’s striking statement reminds me of the predicament that Michael Meade, a character in Iris Murdoch’s novel The Bell, finds himself in. Michael has an intense desire for God and the transcendent, seeking at various times to become a priest and, when that fails, to create the lay religious community that is at the heart of the novel. Throughout his life, Michael has considered himself “called” to service to God and has sought for patterns and signs that confirm his “calling.” Unfortunately, as with most of us, these signs and patterns turn out to be idolatrous projections of his own self-centered hopes and dreams. When the lay religious community fails and several of the members come to tragic ruin, including a man’s suicide for which Michael considers himself at least partially responsible, Michael is understandably on the brink of despair and suicide himself. As he seeks in the midst of ruin, for the first time in his life, to look at himself and at God cleanly and without preconceptions, he comes to hard conclusions.

The pattern which he had seen in his life had existed only in his own romantic imagination. At the human level there was no pattern. “For as the heavens are higher than the earth, so are my ways higher than your ways, and my thoughts than your thoughts.” belief in godAnd as he felt, bitterly, the grimness of these words, he put it to himself: there is a God, but I do not believe in Him.

Michael has come for the first time in his life to see the need for “dying to self,” for removing himself from the center of the universe and insisting that the world must “make sense.” God’s existence has not been threatened by the deconstruction of Michael’s hopes and dreams, but the “belief system,” the vocabulary, through which he has defined and described God has been destroyed. Michael’s God, in other words, has died.

At the end of the novel, Michael reflects and takes stock. Rather than fill the resulting vacuum with yet another projection of himself onto the transcendent, Michael chooses to let the vast gap between himself and the Other remain, at least for the present, in all its power and rawness. God has not died, but Michael’s conception of God has. And at least for now, this is a good thing. The rituals that were once consoling and uplifting remain as a reminder of his true situation.

No sharp sense of his own needs drove him to make supplication. He looked about him with the calmness of the ruined man. But what did, from his former life, remain to him was the Mass. . . . The Mass remained, not consoling, not uplifting, but in some way factual. It contained for him no assurance that all would be made well that was not well. It simply existed as a kind of pure reality separate from the weaving of his own thoughts. . . . Writualhoever celebrated it, the Mass existed and Michael existed beside it. He made no movement now, reached out no hand. He would have to be found and fetched or else he was beyond help.

Sad? Yes. Regrettable? Undoubtedly. But Michael has chosen to see if, for at least a period of time, he can refrain from creating the transcendent in his own image. Perhaps when he begins again, he’ll be more aware of the contingency of all transcendent language.

When Bonhoeffer writes that The God who is with us is the God who forsakes us, he is recognizing, as Michael Meade recognized, that all of our imaginings about what God must be and will do are human constructs guaranteed to disappoint and fail. Living in the world “without the working hypothesis of God,” embracing God’s existence without confining God to the limits of human belief, may seem to leave commitment to moral principles and behavior without a foundation. le chambonBut this need not be the case. Magda Trocme, one of the leaders of the rescue efforts in the little village of Le Chambon where thousands of refugees, Jewish and otherwise, were successfully hidden from the Gestapo and Vichy police during the dark years of World War Two, is a case in point.

Magda’s husband, Andre, was the dynamic Protestant pastor in Le Chambon whose powerful and eloquent sermons inspired his congregation to live out their faith in real time in the face of prison- and life-threatening dangers. Magda had no patience for theologicalmagda niceties and regularly scoffed at the notion that her astounding generosity and fearless hospitality made her a “saint” or even morally special. She just did what needed to be done and facilitated the efforts of others to do the same, addressing every human need within her power to address no matter who the human in need happened to be. I have studied the Le Chambon phenomenon a great deal and have used the story of this remarkable village in class many times. But it was not until a week ago while reading a new study of the village that I encountered Magda saying anything about God. In her unpublished memoirs, now in the archives at Swarthmore College, Magda provides her definition of God:

If there weren’t somewhere a source of hope, justice, truth, and love, we would not have rooted in us the hope of justice, truth, and love that we find in every religion and every degree of civilization. It’s that source that I call God.

And that, for Magda, was sufficient for her to be one of the most remarkable moral exemplars I have ever encountered. And, I would argue, it is a sufficient foundation for moral goodness. Who knew it could be that simple?

philosophy gene

When Logic Fails

mind-body problemMy novel of the week is Rebecca Goldstein’s The Mind-Body Problem. I first encountered Goldstein over the past few weeks when I plowed through her most recent work, Plato at the Googleplex, a creative and insightful insertion of Plato into various twenty-first century venues in an attempt—successful—to establish that the timeless questions of philosophy remain as relevant today as they were in the days of Socrates. The book came highly recommended from the President of my college who also is a fine philosopher—I’m grateful for the heads up. The Mind-Body Problem is Goldstein’s earliest work of fiction (from thirty years ago); something tells me that there’s a lot of autobiography in it. Renee Feuer is a brilliant graduate student in philosophy at Princeton (where Goldstein earned her PhD in philosophy) who at a party meets, then subsequently marries, Noam Himmel, a world-renowned mathematician who made his name in the field at the age of twelve. Academic high jinx ensue of the sort that can only be fully described by an academic and probably only fully understood and appreciated by other academics. mind-bodyI’m enjoying the story immensely, but wonder to what extent my enjoyment might be that of an insider.

Chapter Five (“Reality”) might be a test case. Packed into thirty-five pages are a spirited debate between Renee’s best friend Ava (a physicist) and Noam about the nature of logic and what is real, a fine overview of the mind-body problem and what’s at stake in its various proposed solutions provided by Renee, a depressingly accurate description of what it is like to try to find a job at the annual apaAmerican Philosophical Association Eastern Division convention, a neat schematic fitting Descartes in relation to his philosophical heirs Spinoza and Leibniz, a brief foray into the mind-numbing world of linguistic analysis and logical positivism, and a quick overview of Noam’s favorite philosophical argument: “Himmel’s Proof for the Nonidentity of a Person with His Body.” “Reality” touched base with areas in philosophy that I used to be smack in the middle of but have strayed away from over the years. But I loved it—it felt like I was back in some of my graduate seminars at Marquette and enjoyed remembering some of the philosophical issues—particularly Descartes and the mind-body problem—that sucked me into the philosophical vortex so many years ago. A great way to spend an hour waiting for my delayed plane to Toronto at Logan Airport.

I suspect, however, that my enjoyment of this novel would not be shared by some, perhaps most, of the literate novel-reading public. Many would find “Reality” mind-numbingly obscure and insufferably boring. I know this because my lovely wife is one of these “many.” As shocking as it may seem, not everyone gets pumped up by philosophical puzzles and arguments about whether idealism, materialism, or dualism provides the most reasonable approach to the mind-body problem. Iphilosophy gene have been teaching philosophy for twenty-five years and take great pride in my ability to seduce even the most recalcitrant philosophy-phobes into my world. But not everyone has what I call the “philosophy gene.” Some people just don’t get the point—or they do get the point and find it to be about as interesting and stimulating as watching paint dry. My suspicion is that most people are inclined genetically either toward or against academic philosophy. Chapter Five of The Mind-Body Problem would be a good test for the philosophy gene. If the neophyte makes it through the chapter intrigued and fascinated (even if she doesn’t “get” all of it), she’s a philosophy major in the making. If she doesn’t make it past the first couple of pages before glazing over, she isn’t.

I ran into this sort of thing the other day in the midst of a seemingly benign Facebook discussion. An acquaintance of an acquaintance contributed the following: I have always said that the academic discipline of philosophy is essentially mental masturbation. That makes philosophy majors a bunch of wankers. mental masturbtionWell that was not very nice. What follows is a verbatim transcription of my back-and-forth with this guy (note, please, that I care more about spelling and sentence structure in my Facebook communication than he does).

    • Me: Really, XXXXX? Here’s what philosophy academics do: http://freelancechristianity.com/are-philosophers…/ [Notice how deftly I snuck in a plug for my blog]
    • Him: none of that really has anything to do with the price of potatoes. I have in my experience found philosphy majors and grad students to be insufferable bullshit artists incapable of making a concise point or acknowledging practical realities. philosophers_on_strikeThe products of the discipline stand as proof that otherwise intelligent people can think themselves into stupidity.
  • Me: XXXXX, what do you know about the academic discipline of philosophy?
  • Him: Well lets see I was forced to suffer through a number of courses in the discipline as part of my curriculum at Tulane, along with a number of related courses such as political theory (gag!) and international relations theory (gag! vomit!) literary theory (gagvomit was that a little blood I just puked up?)
  • Me: None of the last three courses you listed are “philosophy” in the academic sense. Sorry that you had a bad experience as a student–it hardly qualifies you, however, to make a blanket statement such as “the academic discipline of philosophy is essentially mental masturbation.” You’ll need to be part of the discipline for twenty-five years teaching and writing as I have before you earn the right to that opinion.
  • Him: no I took some philosophy courses as well. not teaching it for 25 years doesnt make it any less clear that it is mental masturbation. in fact I would wager that I see it far more clearly
  • Me: An impossible wager for you to back up. But I stand corrected under the weight of your vast experience and insight. Except that your point was made on the basis of anecdotal evidence–something that a return to Logic 101 would perhaps cure. [According to the handy “Ten Commandments of Logic,” so far the guy has violated commandments 1, 3, 6 and 9].1483220_718769974810683_97803309_n (2)
  • Him: no, the anecdotal evidence just supports the logical conclusion. But as the great philosopher Spock once said: “Logic is the beginning of wisdom, not the end.” although while we’re talking about logic 101 you might want to look up “Appeal to Authority” fallacies

Please note that even though “Appeal to Authority” is considered to be a logical fallacy, it is not included in the “Ten Commandments of Logic.” Furthermore, when the authority cited is me, it is not a fallacy at all. :-)

But to be honest, my initial and continuing attraction to the strange and wonderful world of philosophy has little to do with logical rigor. Rebecca Goldstein expresses it well. The process of philosophy always reminds me of fireworks. One question is shot up and bursts into a splendorous many. Answers? Forget answers. The spectacle is all in the questions.fireworks

Giotto lamentation

The Weight of this Sad Time

Speak what we feel, not what we ought to say. Shakespeare, King Lear

Last week I spent a couple of mornings and part of an afternoon participating in a faculty end-of-the-year workshop held annually for the honors faculty. It is always held the week after Commencement; with sabbatical just around the corner, I considered not attending this year. Cost of DiscipleshipBut the two morning seminars were on King Lear and Dietrich Bonhoeffer’s The Cost of Discipleship, two worthy texts that should be on everyone’s top whatever list. That, along with a reasonable stipend, was enough for me to sign up.

The King Lear seminar, led by a Shakespeare scholar from the English department, was a welcome return to a text that I find both strikingly dark and strangely compelling every time I read it. I love Shakespeare and find his plays more insightful about human nature and the human condition than any other author (certainly more insightful than any philosopher I have read), but had not read this particular tragedy for a couple of years. tumblr_ma8azfhZEg1rgpruxo3_r3_1280[1]As it always does, the play blew me away, disturbed me, and left me wondering whether my colleagues might find some glimmers of hope and redemption that have always escaped me.

King Lear pushes to the limit a hypothesis that has a long and complicated pedigree: We live in a universe that is malign, at the very least indifferent, and human life within this universe is brutal, wretched, and meaningless. Furthermore, Shakespeare sets the play in an early England that as yet has not been “Christianized”—typical and familiar moralizing and redemptive language is as out of place here as it would have been in Ancient Greece or Rome. As various nasty and morally awful characters—including Lear’s two older daughters—apparently prosper from their rejection of their father, those characters with even a shred of dignity, honor, or love—including Lear’s youngest daughter—are rejected and ultimately destroyed. By the end of the play, the stage is littered with the bodies of both the good and the bad, while a handful of dazed survivors are left to pick up the pieces. Naked in a driving storm in the middle of a Scottish heath, Lear rages that human beings are nothing but “poor, bare forked animals,” living on a “great stage of fools.”imagesCAOCS0RP Lear demands an answer to the question “Is man no more than this?” The blinded Gloucester despairingly directs his accusations heavenward:

As flies to wanton boys are we to th’gods;

They kill us for their sport.

Lear 2008My colleagues and I ended two morning hours of seminar and another afternoon hour by viewing the final act of the play on screen with the 2008 version starring Ian MacKellan as Lear. It is a stark production with Beckett-like sparse staging toward the end. As character after character dies—Lear’s three daughters, the evil Edmund, and ultimately Lear himself—and the stage is littered with corpses, the play ends with Edgar’s final lines:

The weight of this sad time we must obey,

Speak what we feel, not what we ought to say.

Fade to black. The seminar leader asked us for our feelings, our impressions of what we had just viewed, and for the first time in thirty years in academia I heard something I’ve never before heard when in the presence of twenty scholars: total silence. In obedience to Edward’s directive, no one felt obligated to say anything that “should” be said; at least for a minute or two, we were not professors ready to discuss the next topic to death, Auschwitzbut human beings stunned into silence by Shakespeare’s brilliant and disabling portrayal of a meaningless and hopeless world.

I was reminded of one of the final classes in my “Grace, Truth, and Freedom in the Nazi Era” colloquium this past semester. My colleague Ray was up front andeyeglasses ended the two-hour session with footage from the liberation of Auschwitz. The students were exposed to a variety of tough material, both in writing and on the screen, throughout the semester, but this particular footage was especially difficult to watch. There was no narration, no voice over, just hundreds of emaciated dead bodies stacked like so much wood, rooms filled to the ceiling with eyeglasses, hair, or shoes. Bulldozers pushing piles of bodies into a pit for burial just as they would push garbage into a pit at a landfill. suvivorsAnd perhaps most horrific of all were the close-ups on the faces of the just-liberated prisoners who were still barely alive. The haunting and empty gazes still float through my memory and probably will never leave. At the end of the several minute montage there was dead silence in the room. Ray wisely made no comment and simply turned off the computer and AV system, then began gathering his books and notes. This was the cue for the rest of us to do the same, and we left the room in silence.

This would have probably been the appropriate conclusion to the King Lear seminar the other day as well. But after what seemed like a very long silence, someone made a comment, then someone else followed up, and pretty soon we were doing what academics do in every context and setting—talking. Several people referenced the silence that preceded the talking and began to analyze what it was about both the play and the film adaptation that caused us not to say anything. speak what we feelBut with Edgar’s final lines in mind, our first reaction was most in keeping with “Speak what we feel”—except that our feelings were, at least for a few moments, deeper than words could express. Once we started putting what we felt into words, it was very easy to shift into “what we ought to say,” and the powerful moment was lost.Greenberg

Sometimes the best thing to say is nothing. And, as Irving Greenberg writes in Cloud of Smoke, Pillar of Fire, if we feel that something must be said, we need to be very careful about what it is.

The Holocaust challenges the claims of all the standards that compete for modern man’s loyalties.  Nor does it give simple, clear answers or definitive solutions.  To claim that it does is not to take the burning children seriously…Giotto lamentationLet us offer, then, as a working principle the following: No statement, theological, or otherwise, should be made that would not be credible in the presence of the burning children.