Today, I shall write about something deeply personal and,
for me, very important, namely what lies at the root of the work I have done
during my entire professional career. I cannot tell whether this will be of
interest to anyone other than myself, but I think that the way I work is
actually rather odd for an academic and therefore perhaps worth spelling out in
some detail.
I began my professional career 71 years ago in what was then
for someone interested in philosophy a quite conventional manner. My first
semester as an undergraduate at Harvard, I took Willard Van Orman Quine’s
course in symbolic logic – philosophy 140 – and for the next several semesters
I studied all of the mathematical logic offered at either the undergraduate or
graduate level by the Philosophy Department.
This was in those days the royal world to professional success but it
was not the road I took, even though I was appropriately ambitious. Instead,
after earning a Bachelor’s and a Master’s degree and spending a year abroad
wandering about Europe, I chose to write a doctoral dissertation on the
Treatise of Human Nature and the Critique of Pure Reason.
In those days, in the United States, the history of modern
philosophy was not, so to speak, a great career move. There was no prominent
American professor of philosophy whose field of special interest was the
philosophy of David Hume and the only notable Kant scholar was Lewis White
Beck, the local bigwig in the Philosophy Department of the decidedly second
tier University of Rochester. If you wanted to make a name for yourself in American
philosophy, formal logic or analytic philosophy was the way to go. Why then did
I choose to write on so professionally unpromising a subject? And why, despite
having lucked into an instructorship in philosophy and general education at
Harvard, did I choose to devote my time to writing a book on Kant’s First
Critique?
I can begin to offer an answer by talking about the great
Southern 12 string guitarist and folksinger Leadbelly. When I was a young
teenager I spent the summers at a left-wing middle-class eight week sleep away “work
camp” called Shaker Village, in the Berkshires. The counselor at the camp
responsible for folklore was a wonderful woman named Margot Mayo, who
introduced us to the music of Leadbelly. The famous folklorist Alan Lomax had
recorded Leadbelly on one of his trips through the South and I listened to the
record at Shaker Village. In the liner notes, Lomax described Leadbelly, who
was twice convicted of murder and twice pardoned by the governor of Texas
because of his singing, as “the lead man in the toughest chain gang in the
toughest prison in Texas.” That phrase stuck in my mind and became to me the
definition of what it was to be big-league.
When I studied the Critique of Pure Reason with Clarence
Irving Lewis in my senior year at Harvard, it was immediately clear to me that
Kant was the greatest philosopher who had ever lived, that his First Critique
was his greatest work, and that the passage known as the Deduction of the Pure
Concepts of Understanding was the most difficult and profound passage in that
work – the lead man on the toughest chain gang in the toughest prison in Texas.
I was seized by the desire, no by the necessity, to plumb that passage to its
depths, to understand it so clearly and completely that I could explain it in
simple clear language and then to write that explanation in a way that my
reader could understand. Nothing else in the world seemed important to me but
that. During the time that I was writing my book, Kant’s Theory of Mental
Activity, I was falling in love with a woman who would become my first wife, I
was starting my first job as an instructor at Harvard, I was devoting endless
hours to the campaign for nuclear disarmament, I was helping to create and then
to run a new program at Harvard called Social Studies, and I was serving in the
Massachusetts National Guard, but none of that touched me anything like as
deeply as my engagement with, my struggle with, and my eventual triumph in my
effort to understand the central argument of the Critique of Pure Reason.
For the first and only time in my life, I showed the
manuscript to two friends – Ingrid Stadler and Charles Parsons – before
submitting it for publication. I was grateful for their comments but I did not
really care what anybody else thought about what I had written. All that mattered
to me was that I had told the story of Kant’s argument in a way that was, at
least for me, clear, precise, coherent, and logically powerful.
As the years went by, I wrote books on anarchism, on the
philosophy of education, on the philosophy of liberalism, on Kant’s ethical
theory, on the formal structure of Marx’s economic theories, on the literary
structure of Capital, on Afro-American studies, and always I was driven by the
same need – to plunge deep into a difficult and sometimes even obscure tangle
of theory, to understand it deeply and precisely, and then to explain it to my
reader in a fashion that was completely devoid of jargon and made little or no
reference to what other thinkers had found in the same material.
Philosophical arguments in any discipline (I have virtually
no sense of disciplinary boundaries) have always seemed to me at their very
best to be stories. I work in my head, not on the page. Until an argument is
clear to me – until I can tell its story – I cannot write. I work by telling
the story over and over again in my head to an imaginary audience, an ideal
audience that will not allow me to move on with my story until what I have told
up to that point is clear. Once the story is clear in my mind I can start to
write. Then, characteristically, I start on page 1, tell the story for as many
pages as it takes until I reached the end, have the resulting story nicely
typed up, after which I submitted it to a publisher.
I do not keep up with “the literature.” I put very few
footnotes in my books. I tend not to read the reviews when they come out. And I
have no sense that I am part of a community of scholars collectively adding to
the accumulating total of human knowledge. I am a storyteller. I would be
Garrison Keillor if I could.
Let me finish with a story dating from 1986. I have in my
long life been something of a therapy junkie. Including my full-scale seven
year Freudian psychoanalysis during my time teaching at Columbia, I think I
have had full-time or part-time therapy for 15 years! My last engagement with
this practice took place during the time when my first wife and I had separated
and I was struggling, unsuccessfully as it turned out, to patch up our marriage.
In all my years of therapy, during which I had complained endlessly about this
and that in my life, I had never actually shed a tear, not even as my first
marriage was breaking up. But one day, sitting in my therapist’s office in
1986, for some reason I stopped complaining about my wife and started talking
about my work. I explained that my writing and my teaching had always been an
effort to show to my students or to my readers with clarity and simplicity the
power and beauty of certain ideas. As I said to my therapist “I try to show
these ideas so that my students or readers can see them clearly and can see how
beautiful they are” I unexpectedly choked up and started to cry.
It was the clearest proof I could imagine of what has
throughout my life been truly important to me.