by Joseph Shieber

One of the best television comedies of the last decade was The Good Place. Over the course of four seasons, its creator, Michael Schur, and a phenomenal ensemble cast tackled topics that I had thought to be too arcane for network television. The so-called “trolley problem”? Kantian deontology? Utilitarianism? All in the series, served up with Schur’s finely honed comedic chops.

Despite having already had countless opportunities to explore the moral philosophical underpinnings of the show – on Vox alone Schur had a 100-minute interview with Ezra Klein on the moral philosophy of The Good Place and Dylan Matthews wrote an extended piece on “How the Good Place Taught Moral Philosophy to its Characters – And Its Creators” – Schur revisits this territory in his new book, How To Be Perfect: The Correct Answer to Every Moral Question. 

To which my first reaction was: Really, Michael Schur? You didn’t have enough to do creating and writing sitcoms for NBC? You just had to sell a philosophy book project to Simon & Schuster? I was almost enraged enough about his amateurish poaching on my professional bailiwick to sit down and craft an unputdownable pitch that would land me an exclusive, even more impressive deal with Universal Television than the one he signed. (Suck it, Schur!)

After I realized that I didn’t know the first thing about pitching a television series, I decided that my fall-back plan would be to read How To Be Perfect and then mock it with haughty disdain – not only at faculty cocktail receptions but also to my immediate friends and family … and here, at 3QD. So I read the book and I can now tell you it’s … really quite good, actually. Read more »

by Brooks Riley

by Derek Neal

The character of the American abroad is an archetype in American fiction. By placing the American outside of his native country (usually in Europe), writers such as Henry James and James Baldwin were able to explore what constitutes American identity. More often than not, this identity is revealed in their novels not through what the identity contains, but in what it lacks.

Indeed, the American in Europe is an empty vessel. Like the negative of an image, his surroundings are filled in, and the empty space where a person should be appears in outline. Thus, the American has the task of creating his own identity, of forging his own personality without the aid of history or culture but through sheer willpower alone. Whether this is a true representation of what it means to be American is irrelevant; this is the conception that writers have created in literature, giving rise to the myth of the American in Europe. Every time an American character enters Europe, they enter into this legacy, intentionally or not. It is a sort of self-orientalizing, as one can stereotype and mythologize oneself just as one can others.

Henry James and James Baldwin are two progenitors of this genre. For both, the American is a prodigal character and the return to Europe is a return home, to where his real roots lie. The trip to Europe, or the permanent move in some cases, is a search for self-knowledge, and similarly to the biblical Garden of Eden, Europe is often cast as a place of sin and danger, a place one might never escape from if one isn’t careful. Read more »

by Mike O’Brien

“The thing that hath been, it is that which shall be; and that which is done is that which shall be done: and there is no new thing under the sun.” —Ecclesiastes 1:9

“Bullshit.” —Mike O’Brien 04-04-2022

It is a strange enough thing to collect knives. It is a step stranger still to collect sharpening stones; a further abstraction from reality, an auxiliary activity supporting a hobby which is itself a pantomime of preparedness and practicality. No matter. Once one is lodged firmly enough down a rabbit hole, the only options available are to hope for rescue, or to keep crawling deeper. I have clearly chosen the latter.

The two collection are, in principle, complimentary. Or they would be, if my knife collection served any use that would engender a need for resharpening. As it is, they remain pristinely polished and razor sharp, to no wordly end. The fact that their polished edges are also sharp is almost incidental; the added challenge of making them both polished and sharp is an undertaking of curiosity, contemplative time-wasting, and vain self-overcoming. Still, it’s cheaper than collecting cars, with far less surface area over which to preen.

Of course, function is a factor in this appreciation. The marvel of an alloy hard enough to cut glass is that it can cut glass, in addition to the marvel of our ability to produce such an alloy. Diamonds can cut glass, but you can’t make a reasonably priced pocket knife out of diamonds (actually… well, it’s complicated). But an alloy that can cut glass, while being transformable into a shape of our choosing, and while also being re-sharpenable after God-know-what manner of use managed to dull it, is something more special still. It is an example of human ingenuity’s power to manipulate natural substances to suit whatever specialized application we may devise. It is awe-inspiring, both in the sense of wonderment and dread. Read more »

by Michael Abraham

I am leaving, and I am taking nothing.

I am leaving, and I am taking nothing, and there is a void inside me—a round, black sphere, like a planet, or like the absence of a planet where a planet should be. I am coming apart in the stress of it. I am borrowing money and time, bleeding my pride out my feet as I run from this bar to that bar to be anywhere, to be out. It is not only that I am sad. It is that I am depleted, that I have given all I can give, and, now, there is no gift left. There is no gift, as in, there is no special sense of possibility glimmering, of the impossible becoming possible through me. There was once this gift, this special sense, and now there is only its having been there, its having flown off to someone somewhere else.

***

I walk circles around this place that I am leaving, and I note all the little, special things, the daily clutter of being alive. I do not think about the time that I have spent here. I think only of leaving, of fluttering off like a moth—not like a butterfly, for I am not going off in a gay manner. I am somber like a moth. To be somber is not to be destitute; it is not to despair. There is a certain resignedness to being somber, a certain goodnaturedness. One who is somber is like falling water, carried forward irrepressibly, tinkling and shimmering as the onward pull of gravity does what it will always do, which is to draw on and downward—that is to say, to be somber is to face inevitability. One who is somber has an air about him, is better-off than other sad folks. One who is somber is like a moth. This is the best that I can explain it, the allure of the feeling that I am feeling. It is not enough to say that everything in my life is ending and starting again. That is true. But it is better to say that I am a small and fragile thing, a small and fragile thing with a certain gravitas, a certain solemnity, moving into the broader world to see what the broader world has in store, moving into the broader world because there is no choice, because it is in my nature to move. Fluttering, fluttering.  

***

I don’t want to get into specifics because specifics muddy the water; they make complication where there might be the simplicity of feeling and all its affordances. Read more »

The literary critic Hugh Kenner (whom I got to know a bit when I was an undergrad at Johns Hopkins) once wrote about the French writer Joris-Karl Huysmans (1848-1907) that he “…tired of flowers, and indulged in artificial flowers, and then tired of those and sought out real flowers so exotic they could pass for artificial.” This flower, in a restaurant I was in recently, reminded me of that. It was a real flower that could pass for artificial.

by Dick Edelstein

In Barcelona the daily scramble to deliver children to school results in terrible congestion in the upper part of the city, where the more economically privileged send their children. Watching this phenomenon brings back my own school days, when the most embarrassing thing any of us could imagine was being dropped off by parents. If such a thing were necessary for some unavoidable reason, the kids urged their parents to drop them a short distance away from the school so their peers wouldn’t see them getting out of the car. To be seen being coddled in this way was unimaginably embarrassing, almost as bad as having your mother show up to deliver a forgotten lunch box. Everything about parents tended to be embarrassing and much of the time we pretended not to have any. But there was a single exception to the drop-off rule. If the parents happened to own a 1956 Chevrolet, with its futuristic swept-wing design, then it was obligatory to be dropped off at school on some occasion, even if the ride was for only for a couple of blocks, so the other kids could look with sheer envy on this most prestigious possession. Read more »

by Pranab Bardhan

All of the articles in this series can be found here.

Since my Chair was in International Trade, most of my teaching in Berkeley was in that field of Economics, both at the graduate and undergraduate levels. The undergraduate classes in Berkeley are large, and mine had sometimes more than 200 students, even though this course was meant mostly for later-year undergraduates. Large classes bring you in close touch (particularly in office hours) with a refreshing diversity of young people. But they also bring other kinds of experience.

In large crowded classrooms the borderlines were always a bit fuzzy–sometimes nearby pedestrians will saunter in just out of curiosity, to hear a funny-looking man speaking in a funny accent; some others were from the aimlessly-loitering often mentally-disabled street people. One day as I was teaching, one woman belonging probably to the latter group seated in a backbench suddenly stood up, looked at the ceiling for a minute and then gave out a piercing wail. As I was pondering how to handle this, fortunately for me she slowly walked out of the auditorium. Read more »

by Eric J. Weiner

Scholarship is a choice of how to live as well as a choice of career. –C. Wright Mills

In 2001, I felt lucky to get a tenure-track job in the College of Education and Human Services (CEHS) at Montclair State University (MSU) in New Jersey. Not only was the university a short jaunt from New York City, but the leadership in CEHS, in partnership with the University’s Office of the President, had instituted a faculty reward system for tenure and promotion that used Ernest Boyer’s four-pronged system of scholarship to guide its evaluation of faculty work. The Center of Pedagogy (CoP) oversaw all aspects of Boyer’s progressive model of faculty development across departments, schools and colleges as well as provided support for matters concerning pedagogy, curriculum, community-university partnerships, and learning. The move to adopt Boyer’s faculty reward system showed the University’s commitment to support the diversification of its faculty and student-body by broadening how it defined and evaluated scholarship. Given the University’s history as a normal school and the College’s deepening relationship to the work of John Goodlad, the move to embrace and build upon Boyer’s model had both intellectual as well as ideological coherence.

Writing for the Carnegie Foundation for the Advancement of Teaching, Boyer’s work arises out of a frustration with the narrow way scholarship is traditionally conceptualized and rewarded within the modern university. In Scholarship Reconsidered (1990) he writes, “We believe the time has come to move beyond the tired old ‘teaching versus research’ debate and give the familiar and honorable term ‘scholarship’ a broader more capacious meaning, one that brings legitimacy to the full range of academic work.” He argues for a faculty reward system that considers the scholarship of the professoriate as having four overlapping functions: Scholarship of Discovery; Scholarship of Integration; Scholarship of Application; and Scholarship of Teaching. He rejects the idea that there should be a hierarchy of scholarship in the academy while acknowledging that Discovery and Integration–when produced for publication in peer review academic journals–have historically been recognized as the most legitimate forms of intellectual work. Read more »

—on scanning the news feed this morning:

Stasis—a collateral effect of nuclear power

We face the conundrum of dealing with Tony Soprano.
Tony, you know, will stop at nothing while you,
being disinclined to fire a nuclear warhead
(when Tony has some too)
are left with the fist of cutting off his credit.

This is the truth of modern war and diplomacy:
to take the chance that your enemy
actually cares about something other than himself.
We’re at the threshold of mob rule or Armageddon.
It’s a tough choice for a rational mind
because you understand it may be your last.

It’s a horrendous choice for a president. Hell,
it’s a horrendous choice for anyone who cares about anyone.
But it may not be for Tony. We just don’t know. So now,
maybe that old philosophical question has an answer:
How many choices can dance on the head of a pin,
just one?

Jim Culleny
3/21/22

by Jeroen Bouterse

He had a visceral aversion to war, was strongly in favor of social distancing in times of pandemic, and believed it would be a good thing if the Germans turned down their heaters a notch or two.[1] Of these still sympathetic opinions, the last was admittedly informed by his discomfort with wood stoves. Erasmus did comment on fuel markets once: echoing a friend’s joke, he claimed to be annoyed by heretics for being burned at such a scale that it drove up wood prices.[2]

It was one of the many occasions in which he spoke with dry irony about things that disturbed him deeply. Erasmus found his own way of talking about violence and war, and the other horrors that humans inflict upon each other. At the deepest level, his analysis was that war is bad. He was not, confirms his biographer Sandra Langereis, a very strong political thinker. An individualist rather than a sociologist, he tended to see war as a moral evil, and blame it on the foolishness and wrongheadedness of rulers. The people found cities; the mighty raze them to the ground.

Perhaps this is a good time to read Erasmus. Read more »

Bridget Mullen. Threshold Blues, 2018.

Acrylic and Flashe on linen.

More here and here.

by Varun Gauri

When modern Buddhists and mindfulness practitioners say the ultimate cause of stress and suffering is the craving for permanence, especially the misguided craving for a permanent “self,” which “self” are they talking about?

In his interesting and provocative book Why I Am Not a Buddhist, Evan Thompson explores the possibilities: (1) The pre-reflective self, elemental to consciousness, is related to the fact that we cannot perceive an object without being aware that we are perceiving it. For example, I cannot notice a sunset without the knowledge that I am aware of the sunset. (2) I experience an imagined center of agency and locus of being. This is the sense, and the legal fiction, that someone is in charge in there, a CEO or author of our actions and thoughts. (3) Many of us believe in a non-material essence or soul. (4) I have an awareness of being embodied, the understanding that what happens to my arm also happens to me. (5) There is a social self that exists in relationships to others. I am continually monitoring where I stand in relation to parents, friends, families, colleagues, nations, and others. Am I loved, known, cared for? (6) Cognitive psychologist discuss the generalized ability to reflect on our own experience — the faculty for meta-awareness that is the source of introspection and planning. (7) Following from that capacity for meta-cognition, I am aware of  “an extended self,” which emerges from an historical past and is thrown into time (there was something before me and there will be something after). This self has a kind of gnawing awareness of an unknown future, or rather, a future uncertain but for my certain death. This is the self that has to go places, that has an autobiography and that spins a narrative identity. It is the self that existentialists discuss, the one that establishes a stance —  courageous, fearful, indifferent — toward our impending demise.  Read more »

by Rafaël Newman

For John Duffy (November 5, 1963—March 3, 2022)

…great confusion ensued, and everyone was compelled to drink large quantities of wine. Aristodemus said that Eryximachus, Phaedrus, and others went away—he himself fell asleep, and was awakened towards daybreak by a crowing of cocks, and when he awoke, the others were either asleep, or had gone away; there remained only Socrates, Aristophanes, and Agathon, who were drinking out of a large goblet which they passed round, and Socrates was discoursing to them, compelling the other two to acknowledge that the genius of comedy was the same with that of tragedy, and that the true artist in tragedy was an artist in comedy also. To this they were constrained to assent, being drowsy, and not quite following the argument. And first of all Aristophanes dropped off, then, when the day was already dawning, Agathon. Socrates, having laid them to sleep, rose to depart; Aristodemus, as his manner was, following him. At the Lyceum he took a bath, and passed the day as usual. Read more »

by Brooks Riley