The Chronicle of Higher Education plays no
role in the life of the various academic disciplines but it features a
classified ads section that lists administrative positions in colleges and
universities and it is therefore much read by those aspiring to rise in the
Academy. In 1987 the Chronicle asked me to review a new book by a University of
Chicago professor named Allan Bloom. What follows was my attempt to come to
terms with a really awful book. The readership of the Chronicle being what it
is, a good many people failed to note the ironic tone of the review and I heard
through the grapevine that a number of them actually called the University of
Chicago to find out whether Bloom was real.
Enjoy.
Aficionados of the modern American novel have learned to
look to Philip Roth for complex literary constructions that play wittily with
narrative voice and frame. One thinks of such Roth works as My Life as a Man
and The Counter Life, Now Saul Bellow has demonstrated that among his other
well-recognized literary gifts is an unsuspected bent for daring satire. What
Bellow has done, quite simply, is to write an entire corruscatingly funny novel
in the form of a pettish, bookish, grumpy, reactionary complaint against the
last two decades. The "author" of this tirade, one of Bellow's
most fully realized literary creations, is a mid- fiftyish professor at the
University of Chicago, to whom Bellow gives the evocative name,
"Bloom." Bellow appears in the book only as the author of an
eight-page "Foreword," in which he introduces us to his principal and
only character. The book is published under the name "Allan
Bloom," and, as part of the fun, is even copyrighted in
"Bloom's" name. Nevertheless, Bellow is unwilling entirely to risk
the possibility that readers will misconstrue his novel as a serious piece
of nonfiction by a real professor, and so, in the midst of his preface, he
devotes more than a page to a flat- footed explanation of his earlier novel,
Herzog, in which, he tells us straight out, he was deliberately trying to satirize
pedantry. This bit of hand waving and flag raising by Bellow detracts from the
ironic consistency of the novel, but he may perhaps be forgiven, for so
compellingly believable is this new academic pedant, "Bloom," that
without Bellow's warnings, The Closing of the American Mind might have been
taken as a genuine piece of academic prose.
The novel is, for all its surface accessibility, a subtly
constructed palimpsest concealing what old Hyde Park hands will recognize as a
devastating in-house attack by Bellow on his own stamping ground, the Committee
on Social Thought. ("Bloom" is described on the jacket as a professor
in the Committee on Social Thought.) The real target, indeed, is a former
member of that committee, the late Leo Strauss, a brilliant, learned, utterly
mad historian of political thought who spawned, nurtured, reared, and sent out
into the world several generations of disciples dedicated to his paranoid
theories of textual interpretation. (Strauss, whose hermeneutics placed special
emphasis on concealment, absence, and misdirection, appears only once in the
book, in an aside. Bellow leaves it to the cognoscenti to recognize the true
significance of the allusion.)
As conceived by Bellow, "Bloom" is the
quintessential product of the distinctive educational theories that flourished
at the college of the University of Chicago during and after the heyday of
Robert Maynard Hutchins. The key to those theories was the particular
mid-western, upwardly mobile first-generation version of the Great Conversation
that came to be known, in its promotional publishing version, as The Great
Books.
According to this pedagogical conception, Western
civilization is a two-millennia-old conversation among a brilliant galaxy
of great minds, permanently encapsulated in a recognized sequence of great
texts, with Aristotle's plan for the organization of human knowledge as the
architectonic armature. Plato, Aristotle, Aeschylus, Thucydides, St.
Augustine, St. Thomas, al Farabi, Maimonides, Erasmus, Cervantes, Bacon,
Shakespeare, Descartes, Hobbes, Locke, Spinoza, Leibniz, Newton, on and on they
come, reflecting on the relationship between man and the universe, chatting
with one another, kibitzing their predecessors, a rich, endless, moveable feast
of ideas and intellectual passions. The list, by now, has grown enormously
long, but- and this is the secret of its mesmerizing attraction to the eager
young students who were drawn to Chicago- it is finite. However much work it
may be to plow through the great books, once one has completed the task, one is
educated! One can now join the Great Conversation, perhaps not as an active
participant, but certainly as a thoughtful listener. And this is true, regardless
of one's family background, upbringing, lack of private schooling, or
inappropriate dress. Unlike the Ivy League, where the wrong social class marked
one permanently as inferior, Chicago offered a "career open to
talents."
The virtue of a Chicago education was a certain intoxication
with ideas, especially philosophical ideas, that sets off graduates of the
Hutchins era from everyone else in the American intellectual scene. When I
taught there briefly, in the early 1960s, I was enchanted to find professors of
music reading books on Kant, and biologists seriously debating the
undergraduate curriculum in Aristotelian terms. The vice of that same system is
a mad, hermetic conviction that larger world events are actually caused or
shaped by the obscurest sub-quibbles of the Great Conversation. By a fallacy of
misplaced concreteness, of the sort that the young Marx so brilliantly
burlesqued in The Holy Family, Chicago types are prone to suppose that it is
the ideas that are real, and the people in this world who are mere
epiphenomena. Bellow captures this distorted mentality perfectly in
"Bloom," who, as we shall see, traces the cultural ills of the past
twenty years implausibly, but with a wacky interior logic, to the twisted
theories of two German philosophers.
The novel (which is to say, Bellow's "Foreword")
begins with what turns out to be a bitingly ironic observation. "Professor
Bloom has his own way of doing things." And indeed he does! Once
"Bloom" has begun his interminable complaint against modernity- for
which, read everything that has taken place since "Bloom" was a young
student in the 1940s at the University of Chicago- we are treated to a
hilarious discourse of the sort that only a throwback to the Hutchins era could
produce.
"Bloom's" diatribe opens with some animadversions
upon the culture of the young. After a few glancing blows at feminism, he quite
unpredictably launches upon an extended complaint about the music that the
young so favor. Bellow's image of a middle-aged professor trying to sound
knowledgeable about hard rock is a miniature comic masterpiece.
Now "Bloom" arrives at his real message. The
deeper cause of the desperate inadequacies of our contemporary culture, it
seems, is the baleful effect upon us of Friedrich Nietzsche and Martin
Heidegger! Inasmuch as only a handful of American intellectuals can spell these
gentlemen's names, let alone summarize their doctrines, "Bloom's"
thesis has a certain manifest implausibility. But, as Bellow well knows, true
Straussians spurn the obvious, looking always in silences, ellipses, and
guarded allusions for the true filiations that connect one thinker with
another, or a philosophical tradition with the cultural and political world.
"Bloom's" expository style, so skillfully
manipulated by Bellow, makes it extraordinarily difficult to tell what he is
actually saying. Its most striking surface characteristic is an obsessive name-
dropping that turns every page into a roll call of the Great Conversation.
Consult the book at random (my copy falls open to pages 292-93), and one finds,
within a brief compass, mention of Christopher Marlowe, Machiavelli (a
Straussian buzzword, this), Bacon, Descartes, Hobbes, Leibniz, Locke,
Montesquieu, Voltaire, Jacques Maritain, T.S. Eliot, Rousseau, Newton,
Socrates, Moses, Cyrus, Theseus, Romulus, Swift, and Aristophanes.
But despite the talismanic invocation of these and many
other great names, there is precious little real argumentation in
"Bloom's" "book." Indeed, despite his academic style of
exposition, "Bloom" rarely enunciates a thesis that he is prepared to
stand behind. All is irony, allusion, exposition, and under- cutting reserve.
Eventually, one realizes that Bellow is deliberately, and with great skill,
conjuring for us a portrait of a man of Ideas, if not of ideas, whose endless
ruminations on moral and intellectual virtue conceal a fundamental absence of
either.
The turning-point in "Bloom's" monologue comes
late in the novel, in a chapter entitled "The Sixties." Suddenly, the
mist disperses, the allusions evaporate, and we discover what is really eating
away at "Bloom's" innards. It seems that, in the course of his
distinguished academic career, "Bloom" taught at Cornell University
during the late sixties. Two decades later, "Bloom" is so dyspeptic
about the events there that he can scarcely contain himself. "Servility,
vanity and lack of conviction," "pompous," "a mixture of
cowardice and moralism" are among the phrases with which he characterizes
his colleagues of that time. For "Bloom," at Cornell, Columbia, and
elsewhere, the rebellious students were blood brothers to the Brown Shirts who
supported nazism. "Whether it be Nuremberg or Woodstock, the principle is
the same."
Stepping back a bit from the fretwork of the novel, we may
ask ourselves what Bellow's purpose is in committing an entire book to the
exhibition of "Allan Bloom." Clearly, simple good- hearted fun must
have played some motivating role, as well, we may suppose, as a desire to set
the record right concerning the Committee on Social Thought. But as the final
portion of the book makes manifest, Bellow has a deeper aim, one that is
intensely earnest and, in the fullest and most ancient sense, moral. The
central message of the Greek philosophers whom "Bloom" so likes to
cite is that ultimately morality is a matter of character. Plato's brilliantly
rendered portraits not only of Socrates but also of Gorgias, Callicles,
Thrasymachus, and the others is intended to show us how virtue is grounded in
character, and right action in virtue. Merely to know what can be found in
books, or indeed on clay tablets, is no guarantee of virtue. As Aristotle
remarks in a celebrated ironic aside, one cannot teach ethics to young men
who are not well brought up. "Bloom," as Bellow shows us across three
hundred tedious pages, is as intimate with the Great Conversation as any
Chicago undergraduate could ever hope to become. And yet, at the one critical
moment in his life, when he confronts inescapably the intersection between
political reality and his beloved Great Books, "Bloom's" vision
clouds, his capacity for intellectual sympathy deserts him, and he cries
"the Nazis are coming" as he shrinks from America's most
authentically democratic moment of recent times.
In the end, Bellow is telling us, the Great Conversation is
not enough. One needs compassion, a sense of justice, and moral vision. Without
these, the Great Books are merely dead words in dead languages. I strongly
recommend The Closing of the American Mind to anyone who desires a fiction of
the mind that takes seriously the old question of the role of reason in the
formation of virtuous character.