An Autoflorilegium
The foregoing is a collection of my thoughts on a variety of topics, mostly having to do with what gets broadly termed pop culture, over the past five or so years. Some are gleaned from other platforms like fora or microblogging websites, others from my personal notes about things that I watched or read or listened to or experienced. It is arranged by topic.
An Exercise on Gifts
I got assigned an interesting penance at confession a few days ago, and I was not able to make it to Mass for Epiphany due to a snowstorm, so I did the penance as a bit of spiritual writing instead. Running this publicly is meant to inspire anyone who would like to do the same reflection.
The Last True Conservatives
The very-online extreme right, in addition to its many other faults and failings, tends to have a crass, self-conscious masculinity to it. Either in the “pure” form of jacked douchebags who like yelling slurs or in the “inverted” form of resentful Shiraha-from-Konbini-ningen-type evolutionary-psychology-obsessed incels, an enormous proportion of the online rightosphere consists of people with heavily masculinity-inflected beliefs and concerns. I have not experienced this for myself because I only date women, but I’m told that in some quarters the synthesis of “masculinity in crisis” and far-right channer politics is so advanced that women who are interested in men date seemingly normal people whom they realize only later get their views on the great issues of the day from people with handles like “Bronze Age Pervert” posting screeds in the already-unfortunate “Twitter thread” format all day long. It goes without saying, at least among those in the know, that there is usually something homoerotic about this as well; witness the fixation on the deceased Japanese novelist, bodybuilder, and right-wing political commentator Mishima Yukio (whose output of novels and short stories, if nothing else, deserves better than being associated with these people), or the tendency to idolize early periods of Western cultural development in which many or most literate men were either so misogynistic they wrapped round to being gay or so gay they wrapped round to being misogynists. A recent article in The Atlantic about Bronze Age Pervert—a real person or, to make a distinction that Mishima himself would readily understand, at least a real persona, not just a name I made up as a stick to beat an ideal-type with—addresses this directly and at some length. According to Richard Spencer, the infamous former neo-Nazi leader who these days is happy to go on the record for essays in liberal newsmagazines, Bronze Age Pervert is obviously gay; the article’s author describes Spencer himself as a “homoerotic fascist” as well. But what if there were a distaff counterpart of sorts to all of this, a fringey rightist current heavily laden with lesbian cultural signifiers and preoccupied with the idea that femininity, rather than masculinity, is in crisis in weak, enervated, effete, androgynized modernity? I am not happy, but not not happy, to report that such a current does or did exist, and that it has or had surprising links to several other people, places, and things about which I have written before.
Some Aphorisms
Massachusetts politics from the beginning has drunk deep of the belief that an objective moral law exists and that Massachusetts voters, perhaps only Massachusetts voters, can be trusted consistently to know what it is. It is only the contents of that moral law that, to the minds of the state’s body politic, have changed.
Must Art Be Good?
For much of the Early Modern period the French were, to most tastes, not at good at playwrighting as the English. This was not because France lacked talented people in its theaters and its literary culture; there were Racine, Molière, and Corneille, to name just a few. The problem was, rather, one of standards being set at the cultural level, especially at the level of the elite culture; French playwrights were still expected to adhere to certain “unities” that artificially constrained things like time and setting, whereas in English theater Shakespeare and essentially all playwrights after him, as well as some before him, had exuberantly dispensed with the unities and with the absolutist, prescriptive attitude towards “good” narrative that they represented. Some playwrights, especially Molière, occasionally mocked the unities, but the fact that they had to be responded to in the first place constrained the dramatic tradition in the French language for well over a hundred years, even as the language and the Parisian literary class that spoke it exploded with creativity in other genres.
Today we can look back on the unities, laugh, and mourn what could have been in terms of French theater in the seventeenth and eighteenth centuries. It is easy, however, to get complacent about this. The truth is that current artistic production, too, has rules for good art, especially good narrative art, that seem objective to us most of the time but are in fact just as culture-bound as were the unities.
One Thesis on a Morality of Art
A principle that occurs to me when it comes to “separating art from the artist,” a concept and verbal formula that I think is stupid, misleading, and mendacious to begin with, is that on top of everything else it frankly depends upon the quality of the art. If we are going to use flippant aesthetic terminology in order to have half-baked discussions of morals, it ought to be used in reference to aesthetic and moral ideas that are themselves at least vaguely proportional in terms of scale.
Unkillable Grief Monsters
Of late I have been getting very into the television show Yellowjackets, and also into the Locked Tomb books by Tamsyn Muir. Or perhaps it is more accurate to say that I have been into the books for a while and have only recently discovered the program, but I am currently getting similar things out of them. Both of these are series that assess grief very openly and in great emotional and narrative detail. The overtly fantastical setting of The Locked Tomb is built, cosmologically, on grief (for loved ones, for the natural world, for human societies), and in the superficially more normal but still demon-haunted world of Yellowjackets grief is the only thing that gives the relationships between some of the characters their longevity and meaning.
One Only Has to Use One’s Head
「少し頭を働かしなさいや」
―谷崎潤一郎 『細雪』
A few years ago I remember hearing about a movement in the publishing industry, particularly concerning books for younger readers, called “Own Voices.” Own Voices was based on the idea that writing that involves representational concerns—a term that here means concerns about how historically disadvantaged types of people are represented in the text—should, either generally exclusively, be by people who belong to the groups in question. Thus an LGBT author should be writing about LGBT characters, a black author about black characters, and so forth. Own Voices was roundly criticized, partly for forcing closeted authors of LGBT literature to come out or incur serious reputational harms, and is no longer in vogue. (Personally my criticism of Own Voices was somewhat different: it makes internally diverse ensemble casts of characters impossible. A thoroughly Own Voices literary scene would be one in which most books published in the West are still about straight white people and most that are not are set in homogeneous, pillarized communities. Even among socially aware stories of yore, you can’t have a Deep River that’s Own Voices for Indian people as well as for a religious minority in a country other than India, or an Across the Barricades that’s Own Voices for both Protestants and Catholics. I don’t read a lot of “issues novels,” and someone who does could probably come up with better examples.)
But what about the actual literary and artistic merit of the kinds of books Own Voices was supposed to produce, and those against whom it was supposed to be a reaction? That might be a different question than its effects on the industry or the culture.
The Lesser Beauty
When I was studying Japanese in the languages, literatures, and cultures department at UMass Amherst in the early 2010s, I became enamored of a now-obscure school of medieval Japanese Buddhism called Ji-shū, the Time School. Ji Buddhism was in most respects within the mainstream of Pure Land Buddhist thought, whose characteristic features include the belief that final enlightenment in the present world is no longer possible and the best course of action is to pray to a cosmic buddha called Amida for a rebirth in his Pure Land, a universe in which practicing the dharma is easier. Pure Land is the most widespread and popular type of Buddhism in Japan but has historically not been appealing to Western converts. Where Ji and its founding figure, an itinerant monk called Ippen Shōnin, parted company with mainstream Pure Land was in the belief that by invoking Amida’s name, a practice called the nenbutsu in Japanese, one effected a sort of spiritual time travel back to Amida’s own enlightenment, in which one then partook. The school’s name derives both from this belief and from the related practice of chanting the nenbutsu at particular times of day, somewhat similar to the set times for prayer in Islam.
I attempted to induce something similar to this recently, for secular reasons and involving my own past. On the way back from a road trip to Gettysburg, Pennsylvania from my apartment in Upstate New York, my housemate and I passed through Bordentown, the New Jersey river town where I spent most of my adolescence after my mother and I relocated from rural Vermont. I have not lived in Bordentown for a decade and had not even been there for almost eight years; I had little idea of what to expect from returning, but I did expect—and want—for it to involve a powerful emotional and even numinous reaction. I went out of my way to elicit this reaction by putting on Riot!, a Paramore album from 2007 (an extremely influential year in my life), while approaching the Delaware River from the west on Interstate 276. It worked. The two hours or so that my housemate and I spent in Bordentown overawed me so much that now, two weeks later, I have found myself waking up and lying in bed for half an hour thinking about it, remembering.
Divine Right of the Girlboss Downline
When I was growing up in the late 2000s as what people call a “transfeminine” person, an identity that I would later start, and then stop, publicly claiming for reasons that I do not care to discuss, I watched an awful lot of bad anime. I watched plenty of good anime too, and as I wrote in my essay “Heyday Heisei and Rewatch Reiwa” I think a strong argument can be made that the medium, and especially its fandom, were better and healthier fifteen years ago than they are now. Even so, plenty of crap was being put out in the 2000s, some of which was uninteresting, stagey, quasipornographic schlock. There was plenty of stagey, quasipornographic schlock that was interesting, too—I still wholeheartedly enjoy Black Lagoon, and I’m told even Elfen Lied holds up if you watch it in the right frame of mind—but that is not what I want to discuss right now. What I want to discuss is a deliberately sedate, very conservative series, one that is shockingly long for how little happens in it and was shockingly popular for how niche one would expect its appeal to be. I speak of Maria-sama ga miteru, usually translated Maria Watches over Us, a hypnotically slow-paced and minute series about not-quite-lesbian not-quite-Catholic students at a posh girls’ high school. It aired in four seasons between 2004 and 2009, it adapted the first two-thirds or so of a serialized novel series with the same title that came out between 1998 and 2012, and I find little to say in its favor except that it commits to its offputting premise wholeheartedly and understands the characters and relationships that result exceptionally well.
“Anxious Not to Appear Unhappy”; or, Why Mansfield Park Is the Austen Novel One Never Knew One Needed
So-called “classic” art and literature comes into and goes out of fashion just as do popular culture trends. For most of the twentieth century Edward Elgar was considered a fundamentally unserious composer; today he has reentered the classical concert repertoire. Johann Sebastian Bach, unbelievably, went through the same rehabilitation in the early nineteenth century. Renaissance castigation of High Medieval art has gradually over the past several centuries given way to appreciation of that art’s numinous aspects. Post-World War II horror at Victorian architecture and interior design, as seen for instance in Shirley Jackson’s novels, seems itself quaint and dated today. In literature, too, we see such long-term trends. To the end of understanding why certain books spend decades or centuries in or out of favor, I recently read the Jane Austen novel Mansfield Park. For many years Mansfield Park was considered a contender for Austen’s best novel; today it is widely seen as her worst.
Polemic on the Rectification of Names
It is said that when Confucius was asked what he would do if he were appointed a governor, he said that he would “rectify the names” to make words correspond to reality. This (to English-speaking ears) unusual expression, written 正名 and pronounced zhèngmìng in Chinese and seimei in Japanese, is important in Confucianism and other East Asian philosophy and provides for some interesting harmonies and counterpoints with concepts in Western thought as well, such as direction of fit and disputes concerning linguistic prescriptivism. Unfortunately, the main setting in which one sees the term employed in non-specialist English is the so-called “intellectual dark web” and related far-right online environments—a milieu in which “rectification of names” is used both insufficiently and inaccurately.
Repent at Leisure
With neither joy nor penitence
In these lethargic times, the one
And only laugh that still makes sense
Comes from a grinning skeleton.
—Paul Verlaine, translated by Norman R. Shapiro
Patriots in Control
A specter is haunting the American left, the specter of “America Bad” thinking—not “America Bad” in the sense that America is flawed and most Americans are not willing enough to recognize those flaws, but “America Bad” in the sense that we are both the villain and the main character of current world history, a sort of Walter White or Patrick Bateman of the international arena. This is the tendency that Jeane Kirkpatrick attributed to the “blame America first crowd”—unhelpfully, because Jeane Kirkpatrick did not actually know who was and wasn’t in the “blame America first crowd,” or, if she did, she pretended not to for the sake of the cheap seats.
A Prose Poem Every Word of Which Is True
It's the witching hour on a July night, or morning.
Trahison des Mémoires
In my master’s thesis, which was written in late 2016 into early 2017 and was in the field of theology, I coined an expression called trahison des mémoires, “treason of memories.” It was a snowclone of trahison des clercs, the concept of disloyalty to the principles of serious thought by a society’s intellectual or cultured classes. With trahison des mémoires, my idea is that memory, especially publicly-held memory like the institutional memory of a country or a religion, can be twisted and weaponized in ways that do great harm to the people holding onto the memory. I was not so much interested in political or sociological harm—looking at cultural memory through that framework is old hat—as in emotional and interpersonal harm. In the thesis I introduced this concept as part of a discussion of (and I am both dating myself and outing myself as an irremediable dweeb here) the 2001 anime Noir, one of whose main characters is trying to piece together the circumstances of her parents’ murders. When she finally does remember—or, in point of fact, when she finally is provided with other people’s memories concerning—the killings, she wishes she hadn’t.
Affronts to English Usage
This list is to be thought of in the context of Sei Shōnagon’s Pillow Book (枕草子Makura no sōshi). Umberto Eco’s The Infinity of Lists (La vertigine della lista) and Jorge Luis Borges’s “The Analytical Language of John Wilkins” (“El idioma analítico de John Wilkins”) might also guide some readers to an understanding that this isn’t to be taken too literally, and yet, at the same time, is to be taken utterly seriously.
Takasawa Keiichi’s “Kimono”: An Artistic-Cultural Treatise from Occupied Japan
Cultural relations between the United States and Japan in the twentieth century are today best remembered for two periods of hostility. In the 1940s the countries were enemies in World War II, and in the 1980s the strong postwar cross-Pacific alliance was strained due to manufacturing and trade policies that in some ways prefigured today’s rivalry between the US and China. Although President Ronald Reagan and Prime Minister Nakasone Yasuhiro were both personally and ideologically close, many Americans thought of Japanese people in insecure, envious, and hostile terms.
However, between these two periods, there was a flowering of American Japanophilia influenced partly by American servicemen’s experiences in Japan during the prolonged Allied occupation of the country. The 1950s saw the Japanese printmaker Wada Sanzō (whose “Greenhouse Workers” from his Occupations of Shōwa Japan series hangs in my parents’ living room) win an Academy Award for costume design and the actress and singer Umeki Miyoshi win one for Best Supporting Actress. Beat writers like Jack Kerouac and Gary Snyder admired (what they knew of) Japanese Buddhism, and D.T. Suzuki became a more famous and respected figure stateside than in his home country. It was in the earliest days of this midcentury Japanophilia that Takasawa Keiichi wrote and illustrated Kimono: A Pictorial Story of the Kimono.
Who Said It: God-Emperor Leto II or Greta Thunberg?
One is a visionary who thinks in the long term about the future of the humanity but often stakes out incendiary or extreme-seeming positions on here-and-now issues that some argue damage the credibility of the overall cause. The other is a climate activist. Can you tell who said what?
Heyday Heisei and Rewatch Reiwa
The year is 2022, and anime is in decline.
I don’t think I know anybody my age who seriously denies this. Friends of mine who are in my age cohort—the ages of, let’s say, twenty-five to thirty-three, people who were in their late childhood or adolescence during the international anime and manga glut of the early to mid-2000s and who populated college anime clubs around the same years I did during the first three-quarters of the Obama administration—seem to be unanimous in the opinion that the medium and its fandom aren’t what they once were. Current high school and college students still entertain and enthrall themselves with My Hero Academia or whichever generation of Precure we’re currently on, and I don’t think the medium is dead or is no longer producing anything of value; each of the past three or four years has produced at least one series that I’ve enjoyed. Even so, there have been subtle but noticeable changes in both the content and the reception of anime over the second half of the 2010s and now into the 2020s, and many of those changes are making it difficult for people who’ve long been in media fandom to maintain interest in what’s currently coming out of Japan. In this essay I will seek to diagnose some of those changes.