Tuesday, November 18, 2025

ON LIBERALISM AND RELIGION: MY FRIEND AND I EXCHANGE VIEWS

 Essay by Helen Pluckrose on why  secularists calling for a Christian revival are wrong h


L


The Enlightenment had many strands, such what we now call liberalism, but out of it also came Marxism, fascism, and other totalitarian, quasi-utopian attempts to reproduce the sort of deeply rooted authority that was lost with secularized culture (including the "Reign of Terror" at the end of the Enlightenment itself). The problem is that "liberalism" is a faith too, or belief-system, or what I would call a mythos, like those other attempts, but in itself it's too shallow, and too conflicted, to be sustainable -- hence the earlier tries at something more totalizing; hence the various versions of retreat now into religious revival (i.e., not just Chistian); and hence the quasi-religious mutations that go under the heading of Woke. Myself, I share the liberalism mythos, but also believe that it's incomplete, and can't last by itself.


Me:


The history of ideas isn’t a strength of mine. I’m unfamiliar with the  *ideas-connections* between the Enlightenment and Marxism and fascism. It’s not like there weren’t episodes and regimes of tyrannical violence before the Enlightenment. And I have trouble seeing—-*if you mean to suggest this,* if, if, if—that within liberalism as such  lies the seeds of Marxism, fascism, etc. Where we have collapses of secular liberal regimes into something much worse, I can’t see that secularity was the cause or a significant one. 


I don’t see liberalism as a faith or belief system in the way religious faith is. Liberalism broadly is a set of principles and values that have been historically put into practice with observable consequences leading to a supportable judgment that it holds the best promise for human betterment. That’s where faith in it exists. I wonder if saying liberalism is a faith, a belief system, a mythos is like saying science is. The vivid contrast between a judgment about a historically-situated and tested set of principles and values  on one hand and religious faith is self evident. I’m with Pluckrose that a retreat—if retreat there be, and “retreat” being the key word—to religion at the expense of liberalism is regressive. 


At the expense of liberalism is a key point.


Given what I’ve said, still there is one aspect of her argument that caught my critical attention, which is her tendency to impose a binary between liberalism and her notion of religion that subsumes what she calls, rightly I think, its manifestation under liberalism, a kind of symbolic, abstracted, complicated kind of weak or light faith. There is in her argument, and consistent with the line taken by the old “new atheists”, a desire to drive out all religious faith and be sharply critical of all of it. That’s not necessary to her argument and flaws it by taking it too far. Her reasoning is that such abstracted religious belief is like a soft outer layer covering literal belief, cocooning it so to say, and therein, she suggests, lies an anti liberalism danger. She goes too far with that. I see no persuasive reason why religious faith nesting as it might within liberalism must be thrown out of the nest.


L:


I'm not claiming a strength in the history of ideas myself -- these thoughts are just my reading of it. As such, then, I view the Enlightenment as a turning point in Western, and for that matter the world's, history, its defining characteristic being the elevation of science/technology at the expense of traditional religion, resulting in so-called secularization. But that in turn leads to many different results and reactions, of which what we now call liberalism is just one. The promise of human betterment is one held out by all the heirs, reactors, or rejecters of the Enlightenment, including fascists once, and communists, the Woke, and utopians still. I'm not arguing for mere relativism -- I think liberalism is a faith, but one can be objectively supported by good arguments. But it's not a science, and its only ultimate test is by history, of which we're just in the midst, as always. 


Faith or not, however, my main point is that liberalism by itself is not enough, and needs the cover of some more encompassing idea or ideal to survive long term. My hope is that that ideal can take form within the natural world, but otherwise the only hope for humanity is some form of supernatural retreat. What that natural ideal is, however, or could be, I don't know.


Me:


My wondering about the analogy to science in relation to faith is quite imperfect. I thought about it after and thought that the discipline of history might be a better stand in. But science, however imperfect as an analogy, works too. My view is that, again if you mean to suggest this, the ascription of faith to liberalism being comparable to religious faith is inapt. The testing by history leading to (objectively) good arguments is one way of putting the overwhelming reason why. After all, we’re by definition always in the midst of science as well, since provisionality is one of its essential marks. To put my main point in the way philosophers talk, liberalism as faith is only so in a thin sense of faith while religious faith is as thick a notion of faith as is we can imagine.


Your good point about the Enlightenment being a massive paradigm shift preparing the ground for all sorts of major political (among other) developments is fair enough. But I’d thought you meant there was some direct or inherent link between enlightenment and, for examples, communism and fascism, the way seeds directly grow into whatever. 


I don’t think, if I read you correctly, it’s precise enough to note that a variety of those political developments promise human betterment, liberalism simply one more offering of its means to that promise. For as you say, we can, I think, objectively contrast and compare differing regimes rooted in their philosophical premises, note the results in history, interpret them, judge them and then argue over the results. Our judgments here are of course less firm and more provisional than science’s falsifiable conclusions but seem to me to be pretty firm at that.


I get fairly lost when thinking about what encompassing ideal or ideal might enrich secularity to allow liberalism to survive, even granting that necessity for argument’s sake. I can’t imagine what that might practically be. The creedal foundation of American republicanism (not the party), liberalism’s goal of individual liberty making possible individual flourishing in tandem with promoting the common good, and practically and pragmatically fighting the various scourges plaguing humankind seem encompassing enough as ideas and ideals. For one thing, and I know you’re not saying this, the ascendance of religion as once more such an idea or ideal is a non starter.


L:


In fact, though, it gets into some deep issues that I think would need an essay or a series of essays to handle, so at this point I can only try to summarize my positions, and just accept that they're all arguable.


1. A faith differs from an ordinary or scientific belief in that it's not empirical, it embraces a wide area of experience, and it's held with varying degrees of moral fervor and certitude, from flexible to "fundamentalist". Obviously, religions qualify, but so do Marxism, feminism, environmentalism, MAGAism, libertarianism, etc., including, I'm saying, liberalism. 


2. You're saying that liberalism is "encompassing enough as ideas and ideals" (which is why I'm saying it qualifies as a faith under the above definition), and I'm saying, even though I accept it as a faith myself, that it's not. My evidence is, on the surface, the ongoing culture war embroiling politics throughout the West and beyond; underneath, the pervasive sense of dystopia and existential dread apparent in media, popular culture, etc.; and at the lost fundament level, the simple inability, under the modern liberal regime, of the human race to reproduce itself in sustainable numbers anywhere (except within fundamentalist religious communities). On that last point, see this book review R sent me: "Are We Doomed?"


Me


L, an essay, let alone a series of them, is unlikely to happen here. I have neither the will nor the strength. We understand each other though we’re not agreeing to disagree. Not at this point anyway. Let’s just rather say the next time we physically meet over a drink, a coffee, a meal or more than one, we can continue this.


Saturday, November 15, 2025

ARGUMENT ON BRUCE SPRINGSTEEN’S AND POINTER SISTERS’ FIRE

Two versions of Fire


Bruce Springsteen 


https://www.youtube.com/watch?v=d5PoIrcyd34


Pointer Sisters


https://www.youtube.com/watch?v=SS6NXsgEoSw&list=RDSS6NXsgEoSw&start_radio=1


Me: 


Pointer Sisters’ Kinda Great here.

———-

SS:


They *are* kinda great.  Wonderful singers.   I’m partial to the Boss’ own interpretation, which I think uniquely captures the raging hormone adolescent horniness of his lyrics in a way that the Pointers’ cover, though upbeat and fun, just doesn’t.


So I agree - they’re kinda great.  I think the fault by comparison lies not in their voices but in their chromosomes - they were never horny teenage boys.  And Fire is a quintessentially horny teenage boy song.  (I don’t think the XX gender switch in the Pointers version works well with the XY lyrics, which would be YY lyrics if the chromosomal combination were allowed).


The extended silent break  just before resuming the next verse “…Like Romeo and Julie, Samson and Delilah” just doesn’t create the tension or for that matter make any stylistic sense in the Pointer Sisters’ version to me, because there’s just not the framing sexual tension in the song to begin with.  It’s there fershure in Springsteen’s (though I thought he chewed a bit of scenery in the process).


They’re in a far higher class of vocal talent, but in interpretation the difference in the cover from the original made me think of Pat Boone’s version of Tutti Frutti.  Pat’s (now thankfully obscure) cover version was a bigger hit when it came out than Lil Richard’s original, but it just warn’ t the same song Little Richard had in mind. 

———-


Me:


Interesting it is indeed to compare BS and the Sisters.


Obvious point to note we’re getting opposite contrasting perspectives going to the same point. It’s intriguing to consider the male/female versions given men’s and women’s physical, psychological and cultural differences.


I listened to/ watched a few BS vids and Sisters vids.


My sense is that BS’s and the Sisters’ performances have distinct strengths and weaknesses in the specific vids we exchanged.


BS in the version you sent, the 5’ and change, is a bit shticky at points that cuts against the intensity he wants to convey. And in the parts along the way when he belts a few lines for me it’s less effective in conveying intensity than he if were to go more sotto voce the way he does at the beginning and in other parts. 


I can see the argument the other way, like it’s his frustration exploding but I don’t hear it that way. 


Also after he stops the show for a few seconds after he sings “cool” is also show bizzy in a way that takes away from the intensity. 


By the way generally the verse starting with “You had a hold on me from the start…” is lyrically and musically a touch weaker compared to the rest of the song to my ears in BS’s version. It seems a little generic to me. The Sisters do a better build up of tension in this verse.


Don’t get me wrong his version does what you say it does. It’s overall exceedingly fine but has a few imperfections. Btw his “I’m on Fire” is nonpareil.


The Sisters do a fine job of evoking the complexity of a young woman’s/girl’s conflicting emotions in such a situation, that of some”feline” game playing married to hesitation and restraint—must hold something back fighting for a gamut of reasons and impulses—with wanting to explode. 


I see the Sisters’ post-“cool” break differently than you. It’s shorter than BS’s and so less showy, but does make some psychological sense to me in the way of bluntly cutting things off. But you do make a good point too, because the short break and then transition into the Romeo and Juliet verse is generic and pallid.


So we differ on the effectiveness of the gender switch. I don’t think the song suffers at all from it. For me it’s provides a different gendered lens and works great.


I wonder if for both for BS and the Sisters, their versions would be better served purely musically if heard without the distraction, in the Glenn Gould sense of that, of the on-stage business.  


Where we might come to Joni Mitchell level violence [ :-)] is the notion that the Sisters’ version is somewhat comparable to Pat Boone doing Tutti Frutti. Pat has a nice crooner’s voice that can work on ballads in which on some things I’ve heard by him he even can reach occasional smokiness. But like say Sinatra, the man cannot rock. His Tutti Frutti is an embarrassment, template ersatz. Now the Sisters, as I argue, evoke something that interpretively and psychologically works, the opposite of a flattened version. Btw I saw one video of them older doing Fire. *It* doesn’t come across.

Sunday, October 26, 2025

MY NOTE ON BRUCE SMITH’S POEM LAUNDRY

 Laundry 


Bruce Smith


Not even the cops who can do anything could do this—

work on Sunday picking up dirty and delivering clean

laundry in Philadelphia. Rambling with my father, get this,

in a truck that wasn’t even our own,

part ambulance, part bullet, there wasn’t anything

we couldn’t do. Sheets of stigmata, macula of love,

vomit and shit and the stains of pissing

another week’s salary away, we picked up and drove

to the stick men in shirt sleeves, the thin

Bolshevik Jews who laughed out the sheets like the empty

speech in cartoons. They smelled better than sin,

better than decadent capitalism. And oh, we

could deliver, couldn’t we, the lawless bags through the city

that said in his yawn, get money, get money, get money.


Me:


Does the poem pit the workings of the imagination in transcending what might seem objectively demeaning? 


So father and son, the son imagines, are doing things even the omnipotent cops can’t do, which is picking up dirty laundry and delivering clean laundry, which action becomes an “objective correlative” for that very act of imaginative surpassing. 


The borrowed truck takes on surpassing value. Rather than feeling poorly about not owning a truck, borrowing one takes on valuable heights. It becomes imaginatively part bullet, part ambulance, feeding a feeling of superhuman strength. 


And so grittiness, given by what all gets into the sheets, more consonant with a life of routine drudgery, pissing away yet another week’s salary, gets transformed at least by those who have to clean them, the Bolsheviks’ ideology matching or complementing the son’s imaginative transformation. 


But what perhaps we finally get is the tension between on one hand the imagining and the ideological surpassing and on the other the city that doesn’t care, its response a yawn, its repetition of get money, get money, suggesting that for all the imagining and ideological yearning, dehumanizing reality trumps in the end.


And:


Might laughing out the sheets refer to some action of shaking them to begin cleaning them but with laughing supplanting the shaking; and might the laughter be at what all they’re shaking out? But sour, desperate reality trumps in the end: “…like the empty speech in cartoons.”



Saturday, October 11, 2025

A FEW SCATTERED IMPRESSIONS ON WOODY ALLEN’S NOVEL WHAT’S WITH BAUM

 What’s With Baum, 


I just started it and so far have only read a few pages. I’ll read on but it strikes me as more of Woody Allen’s shtick.  It—so far—comes across to me as Saul Bellow and Philip Roth derivative and light. It seems to me intellectually mediocre kvetching with superficial allusions to works of art and to philosophy that are designed to suggest erudition and intellectuality but come across as meant to impress us with how widely Woody Allen himself has engaged art and thought. Also, the quips, jokes, often in the service of self deprecation, seem flat. I wasn’t moved—it’s only a few pages mind you—by anything he’s written. In one way of seeing it as a first impression, it’s a 90 year old man trying to portray a 50 year old man, but who comes across as 90. 

———-

I’m now about 1/5th through Woody Allen’s What’s With Baum. I’ve just finished the scene between Baum and his brother. It’s beyond silly. Baum wants to disinter their 20-years-dead father for having failed to bury him, per his wish, dressed in his Masons’ uniform. His brother, Josh, refusing, makes clear the absurdity of it. Baum, tipsy, also makes an obscurely veiled reference to his belief that Josh slept with his, Baum’s, wife. Baum isn’t a character. He’s a caricature. He doesn’t come alive. Rather, he’s constructed, a construct, the result of Allen’s all too evident laboriousness. It’s more shtick than literature.

———

Now 4/5ths through Woody Allen’s What’s With Baum. I’m in the midst of him spending an afternoon with his stepson’s girlfriend so like an ex-wife, his one true love. Check out the art name checking, the banal conversation meant as insight, the dull jokes and the flabby writing:


“They worked Soho and the Meatpacking District. Some of the art was wonderful and some was not so wonderful. Baum loved art and thought of all the young artists struggling to emerge in a world that loved art, was moved by art, needed art, and paradoxically gave artists such a hard time. He thought of Thane and a feeling of anger came over him which he filed for later consideration not to spoil his afternoon. They lucked out at a photography exhibit and saw some fabulous Lee Friedlanders and then a few Weegees.”

———-

“‘Yes, life teases, doesn’t it?’ Sam said. ‘So much charm and beauty, so much Dachau.’ ‘If you’re lucky you wind up with a rock on a hill. What good is a rock on a hill? It’s nothing. It’s nothing. I’m sorry I didn’t mean to rant so loud.’ ‘What if it’s not a rock but a great book?’ ‘You’re very perceptive but ask me that question in a few billion years when to paraphrase Gertrude Stein, there’s no here here.’” 

———-

I’ve finished What’s With Baum. No spoilers. Just to say the ending is as flat as the whole novel. I’d give it, in the way of these measures, 2 of 5. Easily readable but irritatingly pretentious. What Allen ultimately goes for, he doesn’t reach. Baum’s dissolution is thin gruel.