Book Recommendations: Michael Oakeshott and Sir Isaiah Berlin

Michael Oakeshott
 Michael Oakeshott

Michael Oakeshott and Sir Isaiah Berlin represent two eerily similar bookends of 20th century English political thought, similar in more ways than others. They both wrote extensively and enjoyed more fame and renown across the Atlantic from their place of residence in the British Isles. Their massive volumes — Oakeshott’s Rationalism in Politics and Other Essays and Berlin’s The Proper Study of Mankind — were both originally published on the hallowed grounds of London’s Strand publishing district, and are both what Italo Calvino would call classics: books that people re-read, not read. Oakeshott and Berlin just happen to be members of an exclusive club of great thinkers that are also remarkable wielders of the pen, working their exquisite magic on the contents of the Oxford Dictionary of English to produce perhaps the most enchanting journey through the history of political thought, experience, and organisation.

Sir Isaiah Berlin
Sir Isaiah Berlin

To read Berlin and Oakeshott is to meander through the history of politics and philosophy. The former is the foremost liberal theorist of recent memory, writing to defend the last bastion of classical liberalism defined by freedom from the arbitrary power of others and in furtherance of a multicultural, diverse society. Oakeeshott, more Hobbesian in his roots, tests the limits of rational decision-making and action, and levels a devastating critique against irrational rationalism. He does not care much for laissez faire, laissez passer economic practice, but rather finds salience in his dispositional conservatism. Both, however, require a thick companion of canonical political thought, raising questions and answering others, and push the reader to introspect on what government truly is and what it should do. Reading them alternatively is akin to imagining the Chomsky-Foucault debate, but only with two shining examples of English gentlemen-scholars at their level best.

Their words and debates reach added significance in this global “state of emergency.” From Bombay to Budapest to Boston, “normal” is no longer the epithet of choice to describe life and the pandemonium the pandemic has caused. Governments are carving exceptions and imposing draconian restrictions in what they term to be the public interest, in a desperate and somewhat futile attempt to solve the unsolvable. Benjamin Franklin once remarked that “those who would give up essential Liberty, to purchase a little temporary Safety, deserve neither Liberty nor Safety.” I wonder what Oakeshott and Berlin would make of our situation, where neither liberty nor safety seem to be on the cards. We are equally vulnerable to a virus that is a fraction of the width of a single strand of hair. The silent killer looms in the air, out of sight but never really out of mind.

It is at times like these that the importance of political thought comes to mind. Regardless of one’s political disposition and afflictions, politics today has been irrevocably reduced to a series of soundbites, devoid of depth and thoughtfulness. Matters of convenience override an obligation to the higher ideals we live for, and in the face of radical change, we surrender, instead of chanting ‘Keep Calm and Carry On!’ Reading Berlin and Oakeshott is not to go back to an imagined past but to replace the vapid and somewhat depressing news with the culmination of a long, storied history of Western political thought. To read Oakeshott and Berlin is to acknowledge and interact with those grand theories that have formed us, whether it is Oakeshott’s theory of civic association, or Berlin’s theory of the Hedgehog and the Fox. They do not address the lingering sickness in the air, but the sickness inside of us, especially the intellectual decadence we are now wallowing in, without regard for how we got where we find ourselves at the present moment.

Oakeshott and Berlin, then, do not epitomise the “quick, breezy read” that is all the fashion today. Reading both of them requires a paper, a pen, and a curious mind, ready to evolve from the world of the flesh to the world of forms and ideas. Especially when conversation around us devolves into idle and unprofitable speculation about the coronavirus or the impending Anthropocene, depending on one’s choice of company, there is much to learn from idealistic speculation, particularly of the kind one sees here. Berlin, for example, gets his theory of the hedgehog and the fox from Tolstoy’s War & Peace, while Oakeshott interrogates the Thomas Hobbes that continues to live in his brain, almost three centuries after the original Hobbes wrote his defence of Charles II in his Leviathan.

The Joao-Roque Literary Journal: Garcia da Orta: India’s Original Antiquarian

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“While we know Orta today as a man for his medica materia, I would like to push for his recognition as an early antiquarian — probably the first European antiquarian in India. As Markham points out in his critical edition, it is almost certain that Orta was the earliest European visitor to Elephanta Islands. Throughout Colóquios, Orta goes on various escapades, his digressions encompass Indian politics, the Luso–Spanish rivalry in the Spice Islands, and the significance of China, apart from anecdotes on elephants, cobras, and mongoose. Orta’s encyclopaedic knowledge of the world around him extended far beyond the world of medicine; as a Renaissance man, the first proof of his credentials lie within the dialogue format of Colóquios which assumes the classical style of philosophy — dialogues between pupil and teacher, where Dr. Ruano is the student, and Orta the teacher.

The legacy that da Orta left behind is multifaceted. It is unfortunate that da Orta has been all but forgotten today, especially in Goa and Bombay. A historian, ethnographer, botanist, physician, and antiquarian at the very least, his role in early modern Indian history is foundational for he was truly the founder of the city of Bombay in any meaningful way. In Goa, he was not just a physician but also a taxman, merchant, and trader. From the Pangim [Panjim of today], which was just a “small fort at the mouth of the [Mandovi] river,” to the city of Juner, where people ate peacocks because they were “free from putrefaction,” Orta roamed the breadth of the known country and provides an essential account of the country and its peoples and medicines.”

Published in the 12th issue of the Joao Roque Literary Journal. Read the full piece here.

Dartmouth Alumni Magazine: Artist On the Go

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Photo by Garret Vreeland | Courtesy of Jordan Ann Craig

Artist On the Go

Northern Cheyenne painter Jordan Craig ’15 lands multiple fellowships.

“Thrilling and terrifying” is how Craig describes “trying to figure out how to be an artist.” After graduation the painter and printmaker enjoyed nearly back-to-back fellowships and residencies that took her from Berkeley, California, to Ireland, Italy, England, and the Netherlands. She’s now an artist-in-residence fellow in Santa Fe at the Institute of American Indian Arts, the world’s only college devoted to the study of contemporary Native American art. While there, she is creating designs influenced by the patterns and colors of her tribe’s beadwork. “I feel like I learn something every day when I make art,” she says.

Read the full article here: https://dartmouthalumnimagazine.com/articles/artist-go

The Dartmouth Review: The History of the Hood

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A photo of Carpenter Hall right after it was built. Courtesy of Dartmouth College.

However, it was only under President Ernest Martins Hopkins, class of 1900, that Dartmouth’s collections were organized more systematically. The commissioning of the Baker Library and its subsidiary buildings, Carpenter and Sanborn, provided space for the collections to be organized. Carpenter Hall (completed in 1928–29), then solely the domain of the art history department, formed the axis mundi of the collections; the topmost floor featured galleries with large skylights and high ceilings to facilitate the exhibition and lighting of sculptures and paintings. Rare books were relegated to a specially constructed room at Baker. The architect of Carpenter Hall, Jens Frederick Larson, believed in a stringent but unique form of American neoclassicism that drew from Greco-Roman styles and orders of architecture, the forces of Georgian revivalism, and American history to create a building that reflected the noble simplicity and quiet grandeur that one would learn to expect from a college. The anthropology and natural science collections continued to be housed in Wilson Hall once the books were moved to Baker.

Within a decade of its physical establishment, the Hood held pieces from significant artists, from the reputed and renowned Old Masters like Rembrandt to the so-called New Masters like supposed artist and well-known chronic abuser of paint and canvas Jackson Pollock. Roy Lichtenstein, known for his ability to photocopy comic books in an ungainly large format and sell it as art at the Leo Castelli Gallery, gifted Richard Serra’s alleged “minimalist masterpiece”, a variant of which collapsed upon an installer at the Walker Art Center in Minneapolis, killing the installer; the gift now lies in the walled-off courtyard behind the Warner Bentley bust.

Published in the Dartmouth Review’s edition commemorating the reopening of the Hood after an extensive remodelling and expansion. Read the piece here.

The Dartmouth Review: Book Review of St. Paul’s Outside the Walls

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St. Paul’s Outside the Walls

The building’s long history and spiritual connotations evidently lead to the creation of myths surrounding it that were tacked onto its true historical identity. The Grand Tour resulted in the painter Giovanni Paolo Panini and etcher Giovanni Battista Piranesi creating highly detailed views of the interiors — with some added drama and a good sprinkling of figments of their imagination. Each favoured a particular vision of what the space was like and therefore privileged that in their representations. By separating its historical identity from the reality of the building’s history and clearly defining the two, Camerlenghi understands and reconciles the role of hearsay and myth in the histories that surround a remarkably long-lasting edifice.

One of the other things that Camerlenghi addresses extremely well is the acceptance of loss. The basilica, while considered widely to be a repository of important objects of both spiritual and historical interest, also exerts its own identity. Its inopportune destruction — which one conspiracy theory attributed to the Rothschild family, which had arrived in Rome only five days before the fire — grants the book the power of postulating while being authoritative, an accomplishment that is hard to find in contemporary art history. Art historians, as a group, tend to be overly sensitive to the loss of the very objects that they study (and, if I may say so, almost venerate). The pinning for the old does exist, but it refuses to overpower and overwhelm the ability to prioritise and present information in a critical manner.

Read the full review of Nicola Camerlenghi’s book, St. Paul’s Outside the Walls: A Roman Basilica, from Antiquity to the Modern Era (CUP, 2018), here: http://dartreview.com/st-pauls-outside-the-walls/

The Dartmouth Review: Lawsuit Alleges Cover-up of Sexual Misconduct

On Thursday, the Trustees of Dartmouth College were sued for $70 million by seven former and current students (including an ’18 who graduated this past Spring) in the Psychology and Brain Sciences (PBS) Department, in relation to the College’s handling of systematic sexual harassment and assault at the department. The introduction to the lawsuit claims that “Dartmouth College has knowingly permitted three of its…professors to turn a…department into a 21st century Animal House”, tipping its hat to the eponymous movie that reinforced Dartmouth’s reputation as a den of debauchery. It adds that “for well over a decade, female students…have been treated as sex objects.”

The College’s response to the lawsuit has been muted at best. A press release made by the College acknowledges that while “sexual misconduct and harassment have no place at Dartmouth,” the College “strongly disagree[s] with the characterisations of Dartmouth’s actions.” The focus of the lawsuit isn’t on the actions of the three professors, but on the College’s handling of reports of sexual misconduct, harassment, and assault — the plaintiffs state as such, claiming that the “plaintiffs now turn to this Court for appropriate relief to…force Dartmouth College to enact meaningful reforms.”

Read the full article here: http://dartreview.com/lawsuit-alleges-cover-up-of-sexual-misconduct/

Dartmouth Alumni Magazine: Drama King

Theater director Bob Greenwood ’63 takes his company across the globe.

 

As a child, Bob Greenwood ’63 enjoyed his first theater performances at the Opera House in Lebanon, New Hampshire. Although his parents lost their house in Etna, New Hampshire, during the Depression, they sold apples to earn enough money to take him to shows, experiences that inspired Greenwood to become an actor.

The article was published in print in the Nov–Dec 2018 issue. Read the full article on the Dartmouth Alumni Magazine‘s website here: https://dartmouthalumnimagazine.com/articles/drama-king-0

The Dartmouth Review: A Tale of Two Dartmouths

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Baker Library

Nathaniel Woodrich, the Librarian of the College, was so moved at the dedication of the Tower Room, that he launched into a long speech, reminiscent of Robin William’s portrayal of John Keating in Dead Poets Society. “No rules or restrictions are posted here. It is assumed that the room and its contents will be regarded as one would the library of one’s club. It is possible that in after years some students may feel that in this room were spent some of the most valued hours of their college life. Now and then during the winter, poetry or prose is read aloud here by members of the faculty, with lights dim, the fire glowing, and coffee served in the background.” Larson intended for the library to be a home away from home for the entire Dartmouth community, and not just a gigantic home for the tomes that filled its shelves.

Larson, too, was touched by the library. He said, “They believed that to surround young men with beauty is good.” Such a notion, not unfounded in many a neoclassicist, relies on trust. Students were to be treated not as old teenagers but as young adults, and therefore they deserved to be let loose in this Georgian wonderland of Larson’s creation. Larson was the living embodiment of the Winckelmannian notion of “noble simplicity and quiet grandeur,” which has long been a guiding force for fellow neoclassicists ever since Johann Winckelmann wrote those words in his 1755 masterpiece, Thoughts on the Imitation of Greek Works in Painting and Sculpture. It is unknown whether Larson ever read Winckelmann, but he did live a life the latter would have been proud of.

Read the full piece here: http://dartreview.com/a-tale-of-two-dartmouths/

The Dartmouth Review: A Tale of Two Murals: Hovey and Orozco

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A segment of the Hovey Murals.

At the centre of this battle are the Hovey murals in what is now the Class of 1953 Commons, which were painted by Walter Beach Humphrey, Class of 1914. A recent ‘study group’ convened by the Interim Provost Dave Kotz recommended to President Hanlon that the offending murals be torn out of their original setting and be confined to a dark, unseen container in an offsite storage facility, probably never to be seen again by Dartmouth students of the years to come, a recommendation that Hanlon unfortunately accepted. Since the early 1970s, the mural has been inaccessible to the general student body, so it is no surprise that the administration has decided to get rid of the mural almost entirely. This is the same administration that went on record last year to say that “the endorsement of violence in any form is contrary to Dartmouth values.” The hypocrisy, though alarming, reflects the double standards of an administration that is ready to denounce physical violence but is all too willing to physically desecrate works of art — and in the past and the future, suppress free speech and expression as well.

Read the full article here: http://dartreview.com/11567-2/

Preface to ‘Piccole Vite Infelici’

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In “Piccole Vite Infelici” Stefano narra di una città che io amo alla follia. Roma fa da sfondo non solo alla vita dei quattro protagonisti del libro ma anche ai comprimari che hanno provenienza, usi e costumi diversi da quelli occidentali. Una città, Roma, che ha qualcosa da dare ad ognuno di loro e che ha un fascino che non ha eguali per chi sa cercarlo. Nonostante l’introduzione dell’autore — che asserisce che la città faccia semplicemente da sottofondo alla storia — vi assicuro che essa è un personaggio ineludibile ed fondamentale in cui i quattro si muovono e si esprimono.

La versione di Roma che Stefano presenta nel suo libro è di una metropoli multiculturale e tollerante alle differenze, un riflesso dell’ethos che l’antica Roma aveva una volta. Capitale di un vasto impero che allora si estendeva dalla Turchia alla Gran Bretagna, Roma ha recentemente affrontato questioni di auto-introspezione in relazione all’afflusso di rifugiati e migranti provenienti da tutti gli angoli del mondo (per non parlare del mare di turisti che ogni anno affolla la città). Così, mi ritrovo a chiedere cosa sia Roma — e la Roma di Stefano è la Roma in cui ho vissuto, che ho amato e apprezzato. È la Roma che accoglie lo straniero e che rimuove in lui ogni passato.

Il punto di forza di Stefano è il discostarsi totalmente da ogni stereotipo. Quella contenuta in “Piccole Vite Infelici” non è una versione di Roma in stile “Elena Ferrante” per intenderci. La città non ha la meglio sulle persone che la abitano e scelgono di viverci. La relazione delicata e simbiotica tra la città e la sua popolazione è onnipresente senza arrivare a descrivere troppo ciò che può essere o ciò che è. Occorre “leggere tra le righe”: solo così si può scoprire dove i personaggi e la città arrivano veramente a collidere. A fondersi.

Anch’io sono stato un giovanotto che girovagava per le strade di Roma, cercando tra le sue vie la “salvezza intellettuale”. Anch’io credo nella città e nello stesso modo in cui lo fa Stefano — che in questo libro descrive la Capitale d’Italia come “Una città, (Roma NdR), sa come amarli per poi nascondersi nelle pieghe della sua imponente fragilità, e infine rannicchiarsi su se stessa per giocare come il gatto col topo.” Fai tesoro della città — tienilo a mente mentre leggi questo romanzo, e rimarrai stupito di come Stefano possa guidarti attraverso le vite dei suoi personaggi che animano le vie di Roma.

Il libro, scritto da Stefano Labbia, è stato pubblicato nell’ottobre 2018 dalla casa editrice italiana Maurizio Vetri Editore.