JOHN GRAY ON AL QAEDA

alqaedaGRAYbook.jpg As long as we're on the subject of Al Qaeda, here's what the British don John Gray, my preferred philosopher, says on the first page of one of his handy little books: "No cliché is more stupefying than that which describes Al Qaeda as a throwback to medieval times." He goes on to point out that its "closest precursors are the revolutionary anarchists of late-nineteenth-century Europe." Not a view widely held by the common run of experts. Nor is this:

The modern myth is that science enables humanity to take charge of its destiny; but "humanity" itself is a myth, a dusty remmant of religious faith. In truth there are only humans, using the growing knowledge given them by science to pursue conflicting ends.

This of course includes Al Qaeda whose suicide warriors are a rebuke to the belief governing Western societies "that modernity is a single condition, everywhere the same and always benign." Or that: "As societies become more modern, so they become more alike." Or that: "Being modern means realising our values -- the values of the Enlightenment, as we like to think of them.

If Gray (whom I've written about before) offers any consolation, it is this:

The new world envisioned by Al Qaeda is no different from the fantasies projected by Marx and Bakunin, by Lenin and Mao, and by the neo-liberal evangelists who so recently announced the end of history. Like these modern western movements, Al Qaeda will run aground on abiding human needs.

But that hardly means there will be an end to terrorism. "Once Al Qaeda has disappeared, other types of terror -- very likely not animated by radical Islam, possibly not overtly religious -- will surely follow," Gray writes on the concluding page of his handy little book. "The advance of knowledge does not portend any age of reason. It merely adds another twist to human folly."

Postscript: The term "neo-liberal" may seem confusing to Americans. It is more or less equivalent European usage for our "neo-conservative." Bill Osborne has provided a fuller explanation of what it means in Marketplace of Ideas:

Some of neo-liberalism’s most important tenets are cutting public expenditure for social services such as health insurance, education and cultural programs. This is consistent with its other policies, such as the deregulation of the market to allow the free flow of capital and limit restrictions caused by issues such as environmentalism and job safety; privatization of state-owned enterprises such as schools, parks, toll highways, hospitals, utilities, and water supplies; and the replacement of traditional concepts such as "the public good" or "community" with values emphasizing "individual responsibility." (We thus see that in its technical economic meanings, neo-liberalism differs from the common American political usage of the term "liberal." Neo-liberalism refers instead to the historical meanings of market-liberalism as freed from government intervention or involvement.

Es claro?

July 8, 2005 10:54 AM |

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Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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