Tag Archives: Jay Thompson

Praxis and the Feeling Heart

When Jesus comes back to Seville, performing miracles for the people, he’s manacled by the Inquisition and sentenced to be burned at the stake.

This, at least, is how it happens in Ivan’s story, the heart of the first half of The Brothers Karamazov. The night before he’s to die, Jesus is visited by the stern, bloodless Grand Inquisitor, who tells him (monologues, rather—Dostoevsky’s Jesus never replies) that he’s dangerous: that he asks too much of humanity. Refusing to prove his divinity; refusing to feed the hungry before asking them to be virtuous; and most of all, granting humans the freedom to choose: this, the Inquisitor says, is demanding too much.

If Jesus wants to save humanity, the Inquisitor says, he should overwhelm temporal power, turn stones to bread, and command obedience. Hearing a simple moral appeal, the commandment to love a neighbor and honor God, the hungry will rise against their leaders, the doubtful will scoff, and those with choice will choose to damn themselves. Mankind wants a strong leader.

This fable has a surprise ending, and echoes on its town throughout the novel, but in retelling it to my dad this fall, he told me it reminded him of Jean-Jacques Rousseau. Rousseau, the French liberal philosopher of the social contract, makes a different claim about human nature: that we can’t know a thing about our innate qualities unless we look at the life of humans before society. Natural man is uncorrupted, self-sufficient, and (Wikipedia quote) “disinclined to witness suffering.” If some modern humans (the rabble and the bourgeoisie) are lost causes, Rousseau suggested, it’s because of the artificial nature of society, which has taught us greed, idleness, ego, and immoral desire.

Where does this leave a teacher? I’ve spent the last year working through the thought and pedagogy of Paulo Freire, the late Brazilian teacher, philosopher, and political exile (that’s him up top, second from left). Freire, schooled in Marxism and liberation theology and writing in a time shaped by the revolutions in Cuba and China, saw human nature differently. The oppressed, as a class, were created by violence, but they aren’t lost for good. Humans may not see the machinery that shapes their daily lives, but they’re rich in empirical knowledge, the day-to-day sense of relationships and power by which they survive. Freire, more optimistic than Dostoevsky or Rousseau, believed that, by asking the right questions, you can awaken the desire for freedom—for “humanization,” for subjecthood in life—in anyone. Even Rousseau’s man warped by civilization, even the Inquisitor’s rabble ruined on Christ.

The gift is the kind of critical reflection you need to turn your empirical knowledge into a knowledge of systems: systems of oppression, but also of history, self, and community.

And Freire, unlike Dostoevsky or Rousseau, had tried it—had worked and taught and seen it was possible to teach critical faculties, a sense of self-determination, authentic love. It was his work with peasant literacy and critical pedagogy programs that got him “invited” to leave Brazil by the dictatorship in the 1960s.

So. You can believe we’re lost souls if you like, but don’t tell me that radicalism is cynical. Kisses kisses—

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I’ll Never Forget You

I have to admit, I hated how much I loved Hüsker Dü. I spent my whole late adolescence put off by and hooked on their melodies, sour-and-sweet, the trebly, overwhelming wash of Bob Mould’s guitar. Zen Arcade—their double-LP hardcore-and-more concept record—jumped out to me between Human League and Janice Ian CDs at the satellite branch of the Everett Library, scuffed but still playable, when I was fourteen. Who was that music librarian? “Something I learned today, black and white is always gray.”

I took Zen Arcade home and listened to it on a C90 cassette, with their cover of “Eight Miles High” appended to fill the tape’s last minutes, every day for about four years. The music felt like me and it felt like my hometown: Zen Arcade’s screaming and the compression and chiming guitar, the spasms of psychedelia and the long acid jam at the end of Side 4, the gorgeous melodies, felt as big to me as my teenage emotional life, when getting off the local bus I’d get overwhelmed—by nothing, by a pine tree or knocked-over mailbox—you know that teenage time when people slipped notes in lockers, smoked out behind their jobs, and handwrote letters.

“Spilled my guts, you just threw them away.” If home had been Brooklyn or Arcata it might have been different, but Everett, where I lived from eight to eighteen, was teeming around the edges, gray and hollowed-out-feeling in the middle. Punk rock, especially the sheet-metal noisemakers, seemed to fit our county: noise stripmall-white, rolling out of my ears over the hills and sagging tract houses and strawberry farms near Highway 2 and rising up to the overcast. There were times I couldn’t stand it: “Somewhere satisfaction has no name.” Even the gray- and crayon-colors of Zen Arcade‘s cover felt like me and the land. Now, ten years after I moved away, I only listen to Hüsker Dü when a similar big-self mood fills my heart and I feel like nothing but that wash will match me, or meet me. It’s not often.

(And, just for the record, I only listen to them on record: never remastered and never really mastered all that well to begin with, the album sound compressed and remote anywhere but on LP through a good, dirty set of speakers. Never decide anything in good taste, only in good appetite. Over and out!)

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