Show Notes
“In tyranny, you may not have a whole lot of political freedom, but you can still live a pretty free life under tyranny,” says Roger Berkowitz in this week’s episode of The World in Time. “In your private world, you can live under a dictator and still read what books you want and talk to people as long as you don’t act out in the public sphere. Totalitarianism is quite different. It tries to get inside your head, and make you, and make everyone, believe. And it has secret police, and snitches, and surveillance. And it tries to fully organize society. It’s the most organized and successful attack on freedom that one can imagine. And so for Arendt, you can’t just be an individual and sit in jail and be free if you’re going to protect yourselves from the dangers of totalitarianism and the end of constitutional, free government, which is what she’s worried about. You need to act politically, and you need to act politically with a certain amount of power.”
This week on the podcast, Donovan Hohn sits down for a conversation with Roger Berkowitz, writer, scholar, and academic director of the Hannah Arendt Center for Politics and Humanities at Bard College. They discuss the life and work of Hannah Arendt and two essays that share a name, “Civil Disobedience”—one by Arendt, the other by Thoreau, both recently collected in a volume that Berkowitz edited and introduced. Their conversation touches broadly on the works of the two writers, on their differences and disagreements, on the political tumults that inspired their famous essays, and on the lessons to be learned from them in the present day.
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More from The World in Time / Lapham’s Quarterly
“Friendship is an enormous part of my life, and it was an enormous part of Arendt’s life,” Roger Berkowitz says on this week’s episode of The World in Time. “She was said to have a genius for friendship by her friends. She was an exile, stateless for eighteen years, and she really did come to believe that friendship is what she called a ‘homeland.’ She didn’t think of herself as German, or Jewish, or American, or European. She said, ‘The only people I love are my friends.’ Friendship is hard, and she uses this beautiful metaphor. She says, ‘Friendship exists on the knife’s edge.’”
“Rabbi Luria’s Kabbalist creation story, however baroque, accounts boldly for both moral evil and natural calamity,” Annie Dillard wrote in her 1999 book, For the Time Being. “The creator meant his light to emanate, ultimately, to man. Grace would flow downward through ten holy vessels, like water cascading. Cataclysm—some say creation itself—disrupted this orderly progression. The holy light burst the vessels. The vessels splintered and scattered. Sparks of holiness fell to the depths, and the opaque shards of the broken vessels imprisoned them. This is our bleak world.”
As a companion to last week’s episode of The World in Time, we are sharing with listeners the first episode of Passages: On Morrison, a limited podcast series hosted by Namwali Serpell. The series takes the form of a traveling salon. In this first episode, Serpell and poet Tracy K. Smith read the opening of The Bluest Eye, Toni Morrison's debut novel, and discuss all that the passage emits and erases. They also explore how the cultural treatment of Morrison as a literary icon or monument has obscured a true appreciation of her literary form, an appreciation that comes from turning to the page. Lapham’s Quarterly brings voices from the past up to the microphone of the present. Back issues are available for purchase on our website. To make a tax-deductible gift, visit the donation portal hosted by Bard College’s Hannah Arendt Center for Politics and Humanities. You can find information about the Quarterly’s ongoing revival here. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
“The canon raised Toni Morrison,” says Namwali Serpell on this episode of The World in Time. “The canon is how she became who she is. Faulkner, Woolf, Shakespeare. She is much more interested in taking what’s there and reading it accurately, honestly. Let us be clear-minded and clear-sighted about what is there. But we don’t need to destroy it. And in fact, the Melville I read after reading Morrison’s analysis of the whiteness of the whale is a richer Melville.”
This bonus episode of The World in Time brings together a pair of conversations, one about the making of a movie, another about the making of an archive. Director John Kirby and producer Libby Handros talk to acting editor Donovan Hohn about their collaboration with Lewis Lapham on his 2005 "dramatic documentary musical," The American Ruling Class, now streaming on the Criterion Channel. Then writer and technologist Paul Ford, architect of the Harper's Magazine digital archive and co-founder of Aboard, a software consultancy, joins Hohn for a conversation about the new Lapham's Quarterly digital archive, whether technologists can move fast without breaking things, the gold rush origins of Silicon Valley, what Lewis Lapham would have made of our new Gilded Age, the magnificence of George Eliot's Middlemarch, and much else.