A conservative review of Kenan Malik’s Not So Black and White by Sohrab Amarhi in Unherd:
A little more than a year ago, I was sharing a boozy dinner with a prominent conservative pundit when the conversation turned to matters racial. Reflecting on the unrest that had roiled America in the summer of 2020, my companion looked beyond the immediate controversies to venture what he saw as the “real problem”.
White people, he said, have been “too polite” to state obvious racial truths. Like the superiority of Bach, Mozart and Beethoven over all other musical forms and practices. There is no equality between these glories — white glories — and the simplistic rhythms and disconsonant noises that prevail among other peoples (save for East Asians, he granted, who have admirably made Western classical music their own).
I was repulsed. Not, mind you, because I’m any sort of an aesthetic relativist. While liberality demands that we approach each artistic tradition on its own terms, respecting its inner integrity, there finally are objective standards; and by any measure, the Mass in B Minor leaves the drone of the didgeridoo in the Australasian dust. No, what got to me was the weird racialisation of classical music: the idea that Bach & co. embody the achievements not of Christian or even European civilisation, but of the white race, and that this racial “reality” is supposed to bear (unspecified) political consequences.
Race chauvinism is an all too typical “meme” these days, part of a global resurgence of particularism. Ever since the collapse of the Eastern Bloc shuttered the utopian horizon of socialism, questions of belonging and identity have shoved their way back to centre stage, usually at the expense of the more universalist aspirations that used to animate the modern world.
More here.

Daniela Gabor and Ndongo Samba Sylla in Boston Review:
Herman Mark Schwartz in Phenomenal World:
Cormac McCarthy had provided me with a context, even a language, to internalize the things I saw and cannot unsee. Segments of human beings were stacked along the road between the smoking-bombed-out war machines.
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HUNTSVILLE, Ala. — It was an unusually chilly Thursday night in December, and a drag queen named Miss Majesty Divine was putting the final touches on her show makeup. She was about to go onstage for her regular gig at a basement tiki bar, one of the last performances before Christmas. Up at street level, two unwelcome guests had arrived. They were not fans. They were men with bushy beards, one holding a bullhorn, the other a placard that depicted a drag queen holding a screaming baby and the hashtag #stopdragqueenstoryhour. “Repent, you filthy dog! You are going to burn in hell!” the one with the bullhorn shouted. “God sent AIDS to deal with people like you!” Madge, as she is known to her friends and adoring fans, was unfazed. “I teach math to middle schoolers,” Madge deadpanned. “You think I haven’t been called some things?”
Something was in the water in Austin. In the 1960s, a gang of classics scholars and philosophy professors had rolled into town like bandits, the University of Texas their saloon: William Arrowsmith, chair of the Classics Department, who scandalized the academic humanities with a Harper’s Magazine essay titled “The Shame of the Graduate Schools,” arguing that “the humanists have betrayed the humanities” and that “an alarmingly high proportion of what is published in classics—and in other fields—is simply rubbish or trivia”; John Silber, promoted to dean of the College of Arts and Sciences just ten years after graduating from Yale, who promptly replaced twenty-two department heads, much to the ire of the university’s board; and a third, an unassuming former radio broadcaster from the United Kingdom with a knack for classical languages and only a master’s degree to his name.
On CBS “60 Minutes” last night, scientists
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