Friday, January 18, 2008

Liberté. Égalité. Fraternité. Diversité?


I have been observing with some amusement, and not a little confusion, the reactions among the French intelligentsia to Nicolas Sarkozy. No matter what he says or does, he invites an avalanche of hostility. I don’t have a dog in this fight, as the saying goes. But I am struck by the incoherence of much of the criticism.

As is well known, France, like several other countries in western Europe—dare I say “old Europe”?—suffers from declining population and the rising cost of entitlements. It’s the same demographic trap that has ensnared many of the members of the European Community. The only possible solution is some kind of retrenchment, which Sarkozy has attempted to pursue—already at the cost of strikes and other demonstrations.

At the same time, the government has to deal with the social and cultural challenge posed by their Muslim population. Muslims find themselves discriminated against and ghettoized. But the non-assimilationist tendency of some Muslim communities feels like a threat to the secularism of the French state.

It’s a tall order, and Sarkozy has approached it with an amplitude of bravado, inelegance, and the kind of hard-line rhetoric that is easy to pronounce but hard to enforce. His message on both fronts—economic and social—is to call for a cultural shift in France.

This is what seems to infuriate the intellectual class. Sarkozy has not hidden his admiration for the “Anglo-Saxon” model, as it’s known in France. This seemingly quaint term—it reminds me that Israelis like to call Jews from English-speaking countries “Anglo-Saxim”—conjures up a variety of French nightmares: America, for one; England, for another; unfettered capitalism of the Reagan-Thatcher variety, for yet another.

For Sarkozy, I imagine, the “Anglo-Saxon” model is a way to try to goad the French to being more productive and less entitled—as well as to create a public sphere that is more open to divergent cultural traditions.

All of this smacks of anti-intellecualism to the French noosphere. Bernard-Henri Lévy, who, one would think, would be making common cause with Sarkozy (they share a Jewish heritage, fondness for America, and the urge to shake up conventions), twisted himself into a pretzel explaining why he won’t, in a recent review-essay in the New York Times Book Review. Sarkozy’s drawing his cabinet from all parties, for instance, is neither an attempt to create unity nor a shrewd political ploy; it’s a sign of intellectual bankruptcy. “Sarkozy is the first French president willing to listen to all ideas, because for him they are indistinguishable,” he writes. Better for Sarko be close-minded, I suppose.

The eminent—and eminently hot—Caroline Fourest has found in anti-Sarkozism a ticket to ride. I don’t want to come down hard on Fourest, who is in many ways a penetrating critic of much of French society. But her distaste for Sarko does not make much sense to me. Surely a feminist like Fourest should respect the fact that seven of the fifteen posts in Sarkozy’s cabinet are taken by women—the most in French history?

This week in Le Monde, Fourest published a bitter riposte to an attempt by Sarkozy to insert into the preamble of the French constitution the concept of “diversity.” She accused him of fomenting a “counter-revolution.”

Why the fuss? In Fourest’s view, altering the constitution to allow for considerations of “diversity” would give a legal foundation for the government’s attempts to ameliorate social inequalities through discrimination positive. The color of one’s skin, rather than the facts of one’s economic situation, would entitle someone to a remediating benefit. It’s what we would call affirmative action.

This is a horrible thought to an ardent secularist like Fourest. (French secularism, unlike the American kind, is really in-your-face and bolshy. It seems to view anyone who avows a religious sentiment as an out-and-out de Maistre.)

I am overstating Fourest’s case a little. She has elsewhere made the persuasive argument that Sarkozy’s stated intolerance of xenophobia actually provides cover for the most separatist and anti-social Muslim groups. She genuinely believes in diversity as well. Nonetheless, is it not astonishing to see a member of the left oppose affirmative action?

All of these outbursts seem overly reactive. It’s not unlike all this discussion of Sarko’s personal life. As has been widely reported, his wife left him, and he has taken up with a former model. All of which is hurting his image and providing fodder for all sorts of smart-aleckiness.

What no one seems to be saying, however, is that, had she been elected president, something quite similar would have befallen Ségolène Royal. Her long-time partner has left her, and I am sure that if she were now occupying the Élysée, much of the same speculation about her love life would be rampant in the media.

And none of this helps France conquer its problems. I hope for France’s sake that a way forward can be found, that France’s public intellectuals can get beyond these criticisms of style and foster a productive conversation about how to recharge the French economy and make all of its citizens feel as though they count. Otherwise, France will result to short cuts, like offering nuclear expertise for sale to dodgy gulf states, to bolster its accounts, and become a locus for the kind of resentment and dissatisfaction that leads to acts of violence, within its borders and out.

Thursday, January 17, 2008

A Pavlovian Top Ten List

Russell Platt's top-ten classical recordings of 2007 list in this week's New Yorker has got me salivating--every one of them is one I am keenly interested in hearing (or seeing). Somehow I'm going to have to find the scratch--and the room in my overcrowded apartment--for these.

Amazing News

My grandfather died of pancreatic cancer, nearly 40 years ago. I was barely five at the time, so I never got to know him. About 15 years ago or so a close friend of our family died of the same disease. And, of course, Pavarotti was a pancreatic-cancer victim, too.

It's a diagnosis that comes as a death sentence. But that may be changing. Marilyn Horne has apparently finished a course of experimental treatments for pancreatic cancer, and she now declares herself cancer-free. It's obviously wonderful to have Horne back. But even more wonderful is that this new treatment, a vaccine, works.

Tuesday, January 15, 2008

Steamboats

I subscribe to the motto that it's never too late to be behind the times, so I have no shame in saying that I've just caught up with Caleb Crain's superb blog, Steamboats Are Ruining Everything. In addition to updating readers on Crain's publications, it is also an acute running commentary on those literary and historical areas Crain knows so well. It's probably the best written blog I think I've ever come across; each post is meticulous. And don't miss the incredibly touching tribute, with photos, to his late dog, Lota.

Monday, January 14, 2008

I'm Sick of Seeing New York City Destroyed

Before 9/11, I, like many other people, was not immune to the fantasy thrill of seeing New York City "destroyed" in movies such as Independence Day. But now I'm more than just tired of it. I think it's sick, cruel, and insensitive. Not to mention cynical. Filmmakers can hide behind the excuse of fantasy, but they know that they're playing on the residual horror of 9/11. Since that dreadful day in 2001 we've had The Day After Tomorrow and War of the Worlds and most recently I Am Legend and the upcoming Cloverfield. I'm sure I'm leaving a lot more out.

If the wound weren't still so raw, these films would simply be recycling a visual cliché. Instead it's offensive. I'm tired of feeling beat up. Find another city to pick on.

Self-Promotion

My review of Neil Shubin's Your Inner Fish is up at the Los Angeles Times web site.

Friday, January 11, 2008

Horowitz on Dvorak

The Chronicle of Education has a terrific article on Dvorak and African-American music by Joseph Horowtiz, who knows this period in American musical history better than just about anybody. Horowitz writes of Dvorak's interest in black music and his encouragement of black composers--themes touched on in Alex Ross's The Rest is Noise. It's worth reading the article in its entirety--as well as Ross's book, of course. One point Horowitz makes cogently:

"Dvorak's prophecy that 'negro melodies' would foster an 'American school of music' came true, but in ways he could not have predicted. Dvorak had in mind symphonies and operas audibly infused with the black vernacular — but there is only one Porgy and Bess. Rather, the black tunes Dvorak adored fostered popular genres to which American classical music ceded leadership."

I don't want to oversimply, but let's face it: American music is black music. It's impossible to think of American music without spirituals, ragtime, jazz, rhythm and blues, and countless other African-American folk sources. And not just in popular music: spirtiuals and ragtime make their way into Ives, jazz was plundered by many composers, and contemporary composers are trying their best to work rock (derived from R&B after all) into their music, generally in the form of pulse or beat.

Horowitz's article puts all of this in the broader cultural context of the late 19th- and early 20th centuries, where American musical life was turbulent and fast-changing. It's not the staid Victorian world we imagine. But one thing that was true was the virulence of racism, and it is what forced Dvorak's prophecy to turn out as it did--bequeathing a strict divergence between "popular" and "serious" traditions that we are still reckoning with today.

(Via A&L Daily)

Wednesday, January 9, 2008

Where to Download Classical Music

Le Journal de Papageno has a useful list, with ratings, of the best classical download sites. Even if you can't understrand French, the rating system uses stars so it's easy to comprehend.

I'm in AM New York

The free daily AM New York has a piece today on annual anthologies, with prominent attention given to The Best American Science Writing 2007 and yours truly. You can find it on page 26 of the PDF edition of the paper.

Monday, January 7, 2008

Dress for the Met (Since They Don't Have a Dress Code)

Inspired by positive responses to an earlier post on this topic in which I lamented the lack of a dress code at the Met, I thought I would offer my tips on how to dress for a visit to the Metropolitan Opera. Most of these tips are addressed to men.

You don’t have to wear white tie, or black tie, or any tie at all, so long as you are neat and well dressed. I do think that if you are not going to do the business-suit look, you should wear at the very minimum a well tended sports jacket or blazer, pressed trousers, and a clean dress shirt. Having said all of that, I would definitely go for the tie. These days, with the tie-less look an office cliché, the right tie shows flair, not conformity.

If there is one thing to remember, it’s this: the Met is not a rodeo. So that means leather, jeans, sneakers, work boots, and so on, are out. And I mean it about the leather. Leather jackets are great if you want to look like an Eastern-European gangster. Leather pants, let’s face it, just don’t look good on anybody. So unless you are a recognizable rock star, leather should be left for your next “80s Night”-themed benefit.

Another thing to bear in mind: the 70s are dead, over, finished, done. So attend to your grooming. The bushy look just isn’t doing it any more. (This applies to the world outside the Met, too. Or it should.)

Try to keep in mind that it should be a special occasion. It is an excuse to get gussied up. So much of the world today has made accomodations to casual dress. Can’t there be some places, some occasions, for which some kind of formality is required?