Alex Kerr interview


Alex Kerr is a writer-educator who is well known for several books about Japan, including Lost Japan and Dogs and Demons, and his most recent book on Thailand, Bangkok Found, where he has lived since 1997. Noted as a perceptive cultural critic of Asian arts, he heads Origin, an educational program that offers special classes on the fine arts of Japan and Thailand. His books on Japan have had a cultural impact in the area of the arts and environment. Currently, he’s working on Kyoto Found, which looks at the city’s unique cultural heritage.

For a short Q&A interview about Bangkok Found click here.


Quotes from Gary Snyder on nature

“It comes again to the understanding of the subtle but critical difference of meaning between nature and wild. Nature, they say, is the subject of science. Nature can be deeply probed, as in microbiology. The wild is not to be made subject or object in this manner; to be approached it must be admitted from within, as a quality intrinsic to who we are. Nature is ultimately in no way endangered; wilderness is. The wild is indestructible, but we might not see the wild.” The Practice of the Wild, page 181.

“To know the spirit of a place is to realize that you are a part of a part and that the whole is made of parts, each of which is whole. You start with the part you are whole in.” The Practice of the Wild, page 38.

“The pressures of growing populations and the powers of entrenched (but fragile, confused, and essentially leaderless) economic systems warp the likelihood of any of us seeing clearly. Our perception of how entrenched they are may also be something of a delusion.” The Practice of the Wild, page 36.

 


Reading Cavell

Stanley Cavell has created more ground breaking work on the importance of Thoreau’s and Emerson’s writing than anyone of his generation. Along with Walt Whitman, they are the core of original American thought and literature. Rereading Cavell’s The Senses of Walden, it’s uncanny how these three writers circle each other, while always pushing into new ideas that carry their own marks. Here’s an excerpt that connects Emerson and Thoreau with Heidegger, who was influenced by Emerson’s writing.

“As to the question of what may look like the direction of influence, I am not claiming that Heidegger authenticates the thinking of Emerson and Thoreau; the contrary is, for me, fully as true, that Emerson and Thoreau may authorize our interest in Heidegger… . Emerson’s and Thoreau’s relation to poetry [read writing] is inherently their interest in their own writing…I do not mean their interest in what we may call their poems, but their interest in the fact that what they are building is writing, that their writing is, as it realizes itself daily under their hands, sentence by shunning sentence, the accomplishments of inhabitation, the making of it happen, the poetry of it. Their prose is a battle, using a remark of Nietzsche’s, not to become poetry; a battle specifically to remain in conversation with itself, answerable to itself. Such writing takes the same mode of relating to itself as reading and thinking do, the mode of the self’s relation to itself, call it self-reliance. Then whatever is required in possessing a self will be required in thinking and reading and writing. This possessing is not––it is the reverse of­­––possessive; I have implied that in being an act of creation, it is the exercise not of power but of reception. Then the question is on what terms is the self received?

“The answer I give for Emerson here is a theme of his thinking that further stands it with the latter Heidegger’s, the thing Emerson calls ‘onward thinking,’ the thing Heidegger means in taking thinking as a matter of getting ourselves ‘on the way.’… . In “Circles,” Emerson invites us to think about the fact, or what the fact symbolizes, that every action admits of being outdone, that around every circle another circle can take its place… . What is the motive, the means of motion of this [constant] movement?  How do we go on? (In Wittgenstein’s Philosophical Investigations, knowing how to go on as well as knowing when to stop, is exactly the measure of our knowing, or learning, in certain of its main regions or modes­­––for example, in the knowledge we have of our words. Onward thinking, on the way, knowing how to go on, are of course inflections or images of the religious idea of The Way, inflections which specifically deny that there is a place at which our ways end…)

“You may imagine the answer to the question how we move as having to do with power. But power seems to be the result…not the cause. I take Emerson’s answer to be what he means by ‘abandonment.’ The idea of abandonment contains what the preacher in Emerson calls ‘enthusiasm’ or the New Englander in him calls ‘forgetting ourselves,’ together with what he calls leaving or relief or quitting or release or shunning or allowing for deliverance, which is freedom (as in ‘Leave your theory as Joseph his coat in the hand of the harlot, and flee’ [Self-Reliance essay], together further with something he means by trusting or suffering (as in the image of the traveler––the conscious intellect, the intellect alone––who has lost his way [throwing] his reins on the horse’s neck, and [trusting] to the instinct of the animal to find his road [The Poet essay]… . Emerson’s perception of the moment is taken in hope, as something to be proven only on the way, by the way. This departure, such setting out, is, in our poverty, what hope consists in, all there is to hope for ; it is the abandoning of despair, which is otherwise our condition. (Quiet desperation Thoreau will call it; Emerson has said, silent melancholy.)

“What the ground of the fixated conflict between solipsism and realism should give way to––or between subjectivity and objectivity, or the private and the public, or the inner and the outer––is the task of onwardness… .

“In Heidegger: ‘The thanc means man’s inmost mind, the heart, the heart’s core, that innermost essence of man which reaches outward most fully and to the outermost limits.'(From What is Called Thinking). In Emerson: ‘To believe your own thought, to believe that what is true for you in your private heart, is true for all men––that is genius. Speak your latent conviction and it shall be the universal sense; for always the inmost becomes the outmost.’ (Self-Reliance)… .

“Then everything depends on your realization of abandonment. For the significance of leaving lies in its discovery that you have settled something, that you have felt enthusiastically what there is to abandon yourself to, that you can treat the others there are as those to whom the inhabitation of the world can now be left.”

 


New Stanley Cavell autobiography

Little Did I Know is the new autobiography by Stanley Cavell, which appears to be loaded with influences  from his early life and his close encounters with a host of worthies, as well as his unique nature’s embrace of  his  main philosophical kin . For a good scene-setting article on the book, click here. To see more from Amazon, click here.

A publisher’s description: “While Cavell’s academic work has often incorporated autobiographical elements, Little Did I Know speaks to the American experience in general. It has much to say about the particularities of growing up in an immigrant family and offers glimpses of lesser known aspects of university life in the second half of the twentieth century. At the same time, Cavell’s interests and career have brought him into contact with a range of influential and unusual people. A number of friends, colleagues, and acquaintances figure prominently or in passing over the course of this book, occasioning engaging portraits. J.L. Austin, Ernest Bloch, Roger Sessions, Thomas Kuhn, Judith Shklar, John Rawls, Bernard Williams, Jean Renoir, W. V. O. Quine, Vicki Hearne, and Jacques Derrida are no longer with us; but Cavell also pays homage to the living: Michael Fried, John Harbison, Jay Cantor, Marc Shell, John Hollander, Hilary Putnam, Toril Moi, Jill Clayburgh, Arnaud Desplechin, and Terrence Malick.

“In keeping with Cavell’s philosophical style, the drift of the narrative registers the decisiveness of the relatively unknown and the purely accidental as well. Cavell has produced a trail of some eighteen published books that range from treatments of individual writers (Wittgenstein, Austin, Emerson, Thoreau, Heidegger, Shakespeare and Beckett) to studies in aesthetics, epistemology, moral and political philosophy, cinema, opera, and religion. Here he accounts for the discovery and scope of his intellectual passions and shares them with his readers.”


McLuhan on moral indignation

 

marshall mcluhan

 

Serious public discourse is regularly contaminated, interrupted or entirely prevented by people who insist on dictating to their fellow citizens about how to live based on their own biases or prejudices. Extreme conservatives and religious fundamentalists are chronic abusers here. A frequently used tactic, noted  by an acute critic of effect and nuance in speech, actions and media:

Moral indignation is a technique used to endow the idiot with dignity.” ––Marshall McLuhan

Think Fox TV, Newt Gingrich, Tea Party, the Koran-burning minister, homophobes, etc. Interestingly, McLuhan always insisted that TV wasn’t primarily a visual media, but an aural and  tactile media, an observation that helps to explain the power of simplified moral indignation (which disrupts the non-emotional routine), so easily misused by charlatans and know-nothings at the expense of thought and complexity.


Christopher Hitchens: two recent videos

 

Hitchens' autobiography

 

Two videos of Christopher Hitchens: the first was taken during his chemotherapy treatment and includes a little with his friend Martin Amis; the second, shows him later, after the  chemo and  in much better condition, with George Packer of The New Yorker, in a long conversation on Obama’s foreign policy.

Christopher and Martin Amis

Christopher Hitchens on Obama’s foreign policy


Walt Whitman on modern American poetry

This is a prophetic excerpt from Walt Whitman’s Collected Prose on the future of American poetry. Right on the mark, for me, when I think of my two favorite poets, Gary Snyder and Jim Harrison, who have just published a new book, The Etiquette of Freedom, a conversation between two writers filled with vitalism.

POETRY TODAY IN AMERICA—THE FUTURE

walt whitman

The poetry of the future, (a phrase open to sharp criticism, and not satisfactory to me, but significant, and I will use it)—the poetry of the future aims at the free expression of emotion, (which means far, far more than appears at first,) and to arouse and initiate, more than to define or finish. Like all modern tendencies, it has direct or indirect reference continually to the reader, to you or me, to the central identity of everything, the mighty Ego. It is more akin, likewise, to outside life and landscape, (returning mainly to the antique feeling,) real sun and gale, and woods and shores—to the elements themselves—not sitting at ease in parlor or library listening to a good tale of them, told in good rhyme. Character, a feature far above style or polish—a feature not absent at any time, but now first brought to the fore—gives predominant stamp to advancing poetry.


William Empson on Chinese poetry

The selection below is from William Empson’s Seven Types of Ambiguity. He’s writing about comparative adjectives which do not say what their noun is to be compared with, and he uses two lines of Chinese poetry in his explication which not only captures the precision of Empson’s writing and critical sense, but offers one of the best primers on how to approach the concision of Asian poetical use of ordinary language pushed to heighten meaning. Empson taught in Japan, Beijing and Kunming, before spending the rest of his teaching career in Britain.

william empson

“Not unlike the use of a comparison which does not say in virtue
of what the two things are to be compared is the use of a comparative adjective which does not say what its noun is to be compared with; since all adjectives are in a sense comparative, this source of ambiguity is a sufficiently general one. In particular, 
it is the chief source of euphuistic conceits and the paradoxes
 cultivated in the 1890s, which give a noun two contradictory 
adjectives and leave it to the reader to see how the adjectives
are used. I shall give an example from one of Mr. Waley’s Chinese translations, to insist upon the profundity of feeling which such a device may enshrine.

‘Swiftly the years, beyond recall.

‘Solemn the stillness of this spring morning.’

“The human mind has two main scales on which to measure time. 
The large one takes the length of a human life as its unit, so that 
there is nothing to be done about life, it is of an animal dignity 
and simplicity, and must be regarded from a peaceable and fatalistic point of view. The small one takes as its unit the conscious 
moment, and it is from this that you consider the neighboring 
space, an activity of the will, delicacies of social tone, and your 
personality. The scales are so far apart as almost to give the
 effect of defining two dimensions ; they do not come into contact 
because what is too large to be conceived by the one is still too 
small to be conceived by the other. Thus, taking the units as a 
century and the quarter of a second, their ratio is ten to the tenth 
and their mean is the standard working day ; or taking the smaller
 one as five minutes, their mean is the whole of summer. The
re pose and self-command given by the use of the first are contrasted with the speed at which it shows the years to be passing 
from you, and therefore with the fear of death; the fever and
 multiplicity of life, as known by the use of the second, are 
contrasted with the calm of the external space of which it gives
 consciousness, with the absolute or extra-temporal value attached 
to the brief moments of self-knowledge with which it is concerned,
 and with a sense of security in that it makes death so far off.

“Both these time-scales and their contrasts are included by these 
two lines in a single act of apprehension, because of the words 
swift and still. Being contradictory as they stand, they demand 
to be conceived in different ways ; we are enabled, therefore, to 
meet the open skies with an answering stability of self-knowledge ; 
to meet the brevity of human life with an ironical sense that it is 
morning and spring time, that there is a whole summer before 
winter, a whole day before night.

“I call swift and still here ambiguous, though each is meant to
 be referred to one particular time-scale, because between them
 they put two time-scales into the reader’s mind in a single act of 
apprehension. But these scales, being both present, are in some
 degree used for each adjective, so that the words are ambiguous
 in a more direct sense ; the years of a man’s life seem swift even 
on the small scale, like the mist from the mountains which
  gathers a moment, then scatters; the morning seems still even 
on the large scale, so that this moment is apocalyptic and a type 
of heaven.

“Lacking rhyme, meter, and any overt device such as comparison, these lines are what we should normally call poetry only by 
virtue of their compactness; two statements are made as if they 
were connected, and the reader is forced to consider their relations for himself. The reason why these facts should have been
 selected for a poem is left for him to invent; he will invent a 
variety of reasons and order them in his own mind. This, I
 think, is the essential fact about the poetical use of  language.”

 


Bloom: the American religion

harold bloom

I’m again reading Agon by Harold Bloom. All I can say is Bloom’s  early books are the deep roots of his present day flowering, his burst of books on religion and poetry. His contribution to the world of critical thought, so broad and connective, is original and hardly  equaled, as far as I can tell. Agon, with its cold subtitle, Towards a Theory of Revisionism (which is too academic sounding),  goes through and around Gnosticism, Kaballah, Freud, Emerson, Carlyle, Whitman, Stevens, Hart Crane, American pragmatism, etc. But what I most love is his capturing of “the American difference” in poetry and criticism. Frequently, in Bloom’s writing you can read “poetry” for “religion” and “religion” for “poetry.” Again, the pivotal heart of the book beats in the essay “Emerson: The American Religion.”  I want to quote a passage that begins six sentences into the essay: It now reads like an anthem to me, and never fails to carry me away:

The lengthened shadow of American culture is Emerson’s, and Emerson indeed saw everything is everything, and spoke with the tongue of a daemon. His truest achievement was to invent the American religion, and my reverie intends to a spiraling out from his center in order to track the circumference of that religion in a broad selection of those who emanated out from him, directly and evasively, celebratory of or in negation to his Gnosis. Starting from Emerson we came to where we are, and from that impasse, which he prophesied, we will go by a path that most likely he marked out also. The mind of Emerson is the mind of America, for worse and for glory, and the central concern of that mind was the American religion, which most memorably was named “self-reliance.”

For “self-reliance” read gnosis. After decades of reading Emerson and Bloom, I think I’m at last beginning to understand truly why America appears throughout its history to be verging toward crisis or collapse, while always moving forward.

For a list of Bloom’s  books and selected articles, click here.


Bedside Books III: Amis, Amis, Hitchens

Experience by Martin Amis  This high combination autobiography/biography is both a story of Kingsley Amis’s decline and death, and the story of Martin’s life during that period. The novels of father and son are the story of their lives and times cast in art, and Martin’s story here is his “real” life set in dramatic narrative with a cast of real characters as compelling as fictional ones, especially the etchings of his immediate family members, and the roles of various of Martin’s and Kingsley’s friends, which include Philip Larkin, Christopher Hitchens, Julian Barnes, Ian McEwan, Saul Bellow and many other well-known names.

Memoirs by Kingsley Amis  I followed up by reading Kingsley’s autobiography, which gave me my first taste of his prose, which is a far cry from Martin’s. Kingsley’s nonfiction prose is arch by comparison, prone to personal mannerism, too concerned with class consciousness. It displays a patented “English” quality, almost a stereotype, though by all signs he was egalitarian (seen through his affection for American culture) and eager to puncture pomposity whenever he could. I gained a deeper insight into the Amis clan, and many of the people limned in Experience, plus a clutch of English writers who were new to me.

 

Unacknowledged Legislation by Christopher Hitchens

I put this book of literary criticism on the bedside pile again because during first reading a few years ago I was again overwhelmed by Hitchen’s range and brilliance. There is never a sign in his writing that he is out of his territory, that he is not writing from some uncanny absolute knowledge of his subject, whether it’s Kipling, Warhol, Bellow, Anthony Powell,  Vidal, Orwell, Fitzgerald, Patrick O’Brian, Isherwood, Auden, Tom Wolfe, Rushdie, Mencken, Isaiah Berlin, et al. He somehow personifies Blake’s “the road of excess leads to wisdom”––he seemingly can never do too much. His serious illness now must irritate him most because it interrupts his mighty creative flow, his need for intellectual engagement. See his website here, where he writes about his recent illness and other matters.

The War Against Cliché by Martin Amis  Will there be a book of letters between Amis and Hitchens? We can hope. This is a collection of Amis literary criticism (1971-2000), which displays his very close reading of texts especially for literary nuance and style. See his pearls on writers such as Updike, Bellow, Elmore Leonard, Mailer (early on a bit of innate distaste there, but by the early 90s, Martin fully realized his importance), Naipaul, Joyce, Nabokov, Roth and many others.