Hello! It’s been a while since I posted since, as usual, many projects press, so it’s rare for me to have the time to write the kinds of polished essays I like sharing here. But I’ve been hoping to share more things, since a lot of the history work I’ve been doing lately has helped me with reflecting on current events, and I want to share that faster than the slow grind of book-length work and academic journals will allow. So I’m going to start posting a few things here that are a little rougher. I hope to still post formal essays a few times a year as before, but I’m going to start also sharing things like transcripts of lectures or talks I’ve given, excerpts from my teaching notes, or assemblages from Twitter threads which took meatier turns. I hope you’ll enjoy them, but I’ll also try to always make clear what kind of content each post is, so you know which are the polished essays you’re used to.
I’m also launching a Patreon, so if you’ve enjoyed my posts, books, music etc. please consider supporting me.
I’ve felt torn about Patreon for a long time since, unlike so many wonderful scholars and authors I know, I have a steady living wage from my university and don’t struggle to get by. But, as my Patreon page explains, what I don’t have enough of is the means to hire help. As someone trying to create a lot (and as a chronic pain sufferer who often has fewer than 7 days in my week) it makes an enormous difference to how much I can do if I can pay for help: pay a music editing service to turn polish vocal tracks into completed albums without spending hours on it myself, to pay my part-time assistant Denise who helps with my calendar and paperwork and fire-hose of email which so easily eat up whole days, to hire a sound editor to finally make it possible to launch a podcast with my good friend Jo Walton talking about books, and craft of writing, and history, and science, and Florence, and gelato, and interviewing awesome friends. Even the little post below was made possible by having help, and wouldn’t exist otherwise. And supporters will get updates on what I’ve been up to, and early access to blog posts and podcast episodes, and snippets of outtakes and works in progress. So if you’d like to help me hire the help I need to turn more ideas into reality, and to have more time to write, please have a look at the Patreon page for details, and thank you very much!
Why I Teach Machiavelli Through His Letters
(excerpt from a lecture transcript, so this is how I explain this to students too)
Teaching Machiavelli through his letters is a separate thing from being an historian accessing Machiavelli through his letters. One of the reasons that I love teaching Machiavelli through his letters is that you get a very different view of the person from letters. You get unimportant details. You get the things that the person cared about that week, as opposed to the things that the person wanted to be discussed by many people in the context of that person’s name for a long time. You do get the serious political thought, but you get it mixed with “Where is my salary?” “Hello my friend,” “Here’s the party I was at,” “I have a cold,” all of these very human elements that don’t come to us when we just read a thesis.
Thanks to interdisciplinarity, both at University of Chicago and elsewhere, I move from department to department a lot–I spend some of my time with historians, and some with classicists, political science people, Italian literature or English literature people, and with philosophy people. Each of these disciplines has a different way of approaching text, but many of them approach the text perhaps not with the formal philosophical attitude of “death of the author, we care only about the text,” but all the same with the effective attitude of “we try to learn about this author only through the text,” and only through the formal polished text, the treatise.
When I’m trying to unpack not only Machiavelli but history in general to my students, it’s very easy for the history to seem like a sequence of marble busts on pedestals who handed us great books. It’s much harder to get at the fact that those people are also people who are like us: people who messed up, people who ran out of money, people who had anxieties, people who failed in things that they undertook. People who had friends, people who were nervous without their friends, and lonely. And that isn’t a version of history that we get shown very often. We get shown heroes, we get shown villains, and we get shown geniuses, as if there isn’t a person present as well. Machiavelli is a very valuable example, because we have such a great corpus of letters, but he’s also such a name. If you want to make a shortlist of people who are a marble bust on a pedestal in the way that they’re presented as we talk about the history of thought, Plato, Aristotle, Socrates, Cicero, Machiavelli, are major major figures in that way. So the letters humanize them and make them real.
I feel it’s important not to approach these works as if these people are somehow superhumanly excellent, as if these people are somehow perfect in what they undertake. I’ll often be at a conference where someone will talk about a passage in a work in isolation. I was recently at the Renaissance Society of America conference, and there was an interesting discussion of a passage in which Ficino had a really weird interpretation of this one passage of Lucretius. And there was a very nasty fight between two scholars over the interpretation, in which one of the scholars insisted he’s making this complicated subtle three-part reading of a thing that relates to another thing, diagram diagram diagram. The other person said “I think he translated the passage wrong. Because the passage was really hard. And his copy didn’t have a very clear script. And I think he didn’t read the sentence the way we read the sentence.” And the first person was adamant that it is inappropriate to question whether someone like Ficino might have had trouble reading a piece of Latin, that of course his Latin is immaculately better than our Latin. And his Latin was better than our Latin, because he spent more of his life doing it and I do believe he’s better than most classicists at this — but most classicists really struggle with that line. And when you read the commentaries on it there’s lots of ambiguity even now about what it means, and we have dictionaries, which he did not.
It was very interesting to me to see that battle between thinking of the figure as human, in which the question “Did he mess up?” is a valid question, as opposed to thinking of the person as someone who could never mess up. And a lot of the ways we approach historical figures, whether it’s Machiavelli, or Aristotle, or anyone, involve the idea that all of their works are fully intended, that they’re somehow in an a-temporal vacuum, that we should look at them all in sequence, that no one is ever going to change his mind about a thing unless the person themselves made changing their mind about a thing be a big deal. We create this idea of these geniuses where everything they wrote even from early on is exactly what they meant, which then all gets incorporated into material.
I want my students to come away from my courses not thinking about historical figures like that, but remembering that every historical figure had to pay for socks, or had to deal with laundry, or have a servant who dealt with laundry for them and then they had to deal with the servant. But they all had everyday practical existences, and they all mess up. Machiavelli’s letters give you access to somebody who feels like a real human being. Some of the things he’s doing are really weird. Some of the things he’s doing involve bizarre sexuality. Some of the things he’s doing involve uncomfortable politics. Some of the things he’s doing involve very astute politics. Some of them involve very terrifying moments like his wife saying: “I’m so glad you’re alive, we heard that Cesare Borgia massacred all of his people, I’m so glad you’re alive!” And others are very much “We’re trying to get my brother a job and no one will give him a job because it was corruptly given to the other person and we have to figure out how to get my brother a job,” which is not the sort of thing we imagine such people giving their hours to.
When you read Michelangelo’s autobiography there’s an interesting point in it where he stops talking about art for a while and starts talking about the lawsuit that went on between him and people associated with Giuliano della Rovere because he was contracted to build Giuliano della Rovere’s tomb, but then for a variety of complicated reasons the tomb did not materialise as it was supposed to have, largely because the plan for the tomb was the most insane ridiculous over-the-top impossible tomb that you could ever possibly conceive of. That was obviously never going to happen. But also there were lots of fights between him and della Rovere over who had to pay for the marble and whether the marble was delivered and he said the marble was delivered and Della Rovere said the marble wasn’t delivered and there was a crack in it… and all these lawsuits went back and forth, and also Guiliano della Rovere was starting a giant war and invading Ferrara. At one point Michelangelo ran away from Rome saying “I’m not going to work on this stupid tomb any more” and went to Florence, and then Giuliano della Rovere moved an army over to besiege Florence and started threatening them “Florence! I will besiege you and burn you down unless you give me back Michelangelo!” We have these great documents where Michelangelo is begging Signoria “Please don’t make me go back to Della Rovere! I hate him and he just torments me. I’ll build you really good defensive walls! Look at my engineering ideas for how to improve the walls!” and they had to say “No, I’m sorry Michelangelo, we’re not going to war with the Battle Pope just for you, go back to Rome, build the stupid thing.” And he did go back to Rome, and then Della Rovere made him paint the Sistine Chapel ceiling knowing Michelangelo hated painting, basically as punishment for trying to run away. I’m not exaggerating. And that’s why there are lots of angry figures in the Sistine Chapel ceiling. But the wonderful horrible flirtatious strange antagonism between Michelangelo and Giuliano della Rovere is magnificent.
And in his autobiography he’s talking about this lawsuit that arose because of the della Rovere tomb project, in great detail, and then there’s a line that says Michelangelo realized that, while dealing with a bunch of lawsuits and Pope Adrian and such, he’d been so stressed he hadn’t picked up a chisel in four years. Because he spent the entire time just dealing with the lawsuit. (Anyone feeling guilty about being overwhelmed by stress this year, you’re not alone!) And we have four years worth of lost Michelangelo production, because he didn’t do any art that entire time, because he was just dealing with a stupid lawsuit. And that’s not the sort of thing that fits into our usual way of thinking about these great historical figures. We imagine Michelangelo in his studio with a chisel. We do not imagine him in a room with a bunch of lawyers being curmudgeonly and bickering and trapped in contract hell.
Those sorts of things are important, I think, to reintroduce into the way we imagine historical figures. That they have an everyday mundanity that we imagine that they don’t. And I think that’s a big part of why when we compare ourselves to them we feel as if we can’t live up to that greatness. Because we tell edited versions of the lives of great men and great women, in which we edit out the things that feel like us. So of course we feel as if our everyday lives full of mundanity can’t rise to those levels, because we’re not comparing ourselves to the real people, we’re comparing ourselves to the edited version in which we take out the mundanity! So Machiavelli’s letters give us that. And they give us a person with problems, and a person with mistakes, and a person with a sense of humor, and a person with sexuality, all of these elements we erase from our marble busts on pedestals. And so that’s a big part of why I use the letters while teaching, and when my students read them I want them to put together “Here is a real person who is like us,” as well as “Here is the everyday on the ground experience of what it’s like to live in this crisis.”
We need that, when we live in a real crisis ourselves, and it makes us feel so often like we’re powerless and weak compared to these impressive people in the past–but they felt that way too.
Short version: I’m posting today to share two files I made for my university. One is a Healthy Work Habits and Self-Care Guide for the Pandemic Crisis, which many people have said they found helpful and refreshingly different from others that are going around (details below). Some bits are academia specific but most of it is applicable broadly, and I’ve left in the links to university services because it’s likely you can find such services . The other is teaching-specific, a guide to Adapting a Syllabus for the Crisis, not focused on remote teaching, but on the fact that everyone on Earth is already on the verge of breaking down, so it’s vital to do all we can to structure courses and assignments to have a little more leeway, and paths to recover when students (and instructors) do break down.
I want these to help as many people as possible, so please download them, share them, excerpt them, adapt them, make a version for your school or business, use them any way you wish; while credit would be nice my only firm request is that, as you pass them on, you also pass on the wish to pass them on. (If you want .docx files they’re here for self-care and here for syllabus design.)
Early this spring, as the COVID-19 crisis set in, someone on #DisabilityTwitter asked (I wish I could find the tweet) if others too had found that the self-care skills needed for chronic pain are the same as the ones needed to cope with the pandemic.
I was among many who answered “Yes!”, and soon a small thread was describing our experiences, that it felt almost like a superpower, already understanding the slow, invisible toll of constant daily trauma, the exhaustion that sets in, how to self-monitor, how to spot when you can’t do it and should switch to a different task (rest is a task), and how to fight back against that self-accusing voice inside that insists you should keep pushing through, and is plain wrong. Worldwide health organizations have recognized this as a World Mental Health Epidemic, as well as a viral epidemic. Chronic exposure to fear and anxiety (which are forms of pain), have a real, measurable traumatic effect on the brain, dealing neurological damage which is worse because it repeats every day, and which is affecting every human on Earth right now. Symptoms include fatigue, difficulty concentrating, difficulty sleeping, short temper, diminished higher cognitive functions like writing, reading, creativity, second languages and other skills seeming to vanish away. Does that sound familiar? It’s very familiar to me, the feeling of waking up one morning to find I just can’t do it, words aren’t flowing, my eyes keep straying from the screen, the Latin or Italian which made sense yesterday is just a wall. This is not to say that the crisis hasn’t been bad for me and others with chronic pain, it’s like having the condition twice at once; not like, it is having two chronic-traumatic conditions at once, the usual plus 2020 (and with quarantine many aspects of treatment and care are harder, higher risk, or just not possible). But having the skill set there was still invaluable.
So I joined my university’s committee to adapt teaching for COVID in the fall, and made these guides.
A lot of it is stuff that’s always helpful, but polished specifically for the current crisis. Here’s a little bit of the logic behind the things I tried to focus on, while the downloadable files themselves are more the focused methods than the abstract principles:
First, I tried to make it non-proscriptive. A lot of Pandemic productivity advice says “60% of people are more productive when they [wear a suit or whatever] so you must do it!” So the other 40% of people should, what, get bent? So I tried to focus on learning about yourself: try this work tip, then try the opposite, try different things to learn what helps you personally produce at your best.
Second, I talk about self-care as a work task and a duty. Culture pressures us to skip it, that when corners need to be cut we cut rest, play, and sleep. We shouldn’t. When we cut those, we start producing less (in quality and quantity) in those hours when we do work. It hurts our productivity as much if not more than cutting work tasks, and also makes us miserable. I remember a dreadful article a couple years ago with the thesis If you want to be successful you have to work 60 hours a week like these rich CEOs, but when you looked at the breakdown of what they called “work” they counted in those 60 hours all their commuting time, the gym & shower, power naps, tennis with a colleague, lunch meetings. So, to be clear, if you worked 9-5 with a 30 min commute on each end they were counting that as 10 hours’ work for the CEO but only 8 for employees, and if there was a trip to the gym and dinner or drinks with colleagues after work the CEO got to count those too, increasing 10 to 12, but the employee didn’t. If you counted only the activities that regular employees get to count as “work” the CEOs were working barely 35 max but the article was calling it 60 to advance this horrible false argument that only work-a-holics get ahead (a claim so many corporations want us to believe). You know what that article showed helps people get ahead? Having time in the day for rest, and exercise, and breaks, and games, and leisurely lunches, and spending time outside, and counting that self-care as vital to your work. Most jobs won’t count that as work (and the offices that do have nap rooms & massage chairs & lego rooms often do that to entice employees to also ridiculously late and never leave), but we can at least count self-care as work in our minds, and tell our guilt reflexes that this is not where corners should be cut.
(And if you’re a Terra Ignota fan, remember how the Utopian Oath requires you to promise to take that minimum of rest and play that’s necessary for your productivity? And remember that in their society twenty hours a week is the default work week? Utopia’s standards of rest and play are very high, and skipping the self-care that keeps you at your best is oathbreaking just as much as skimping on work. Also, Unusual Frequency has awesome new Utopian travel mugs if you want to reconfirm defeating death and attaining the stars! And Cousin flags if you want to affirm doing so kindly while taking care of yourself and others.)
Third, I talk about the brain like an organ. A body part. Which it is, one we push to its max a lot in daily life. So we should monitor it like one. Tennis elbow affects 40% of serious players, so it’s common sense for any tennis player to learn about tennis elbow and how to watch for it to set in. The latest studies I’ve seen show at least mild depression affecting 33% of undergrads, 41% of Ph.D. students, and in this pandemic it’s affecting a huge swath of the entire human race, so we should all learn about it, and watch for it, and train ourselves on how to mitigate it as much as possible while the symptoms are still mild, just like tennis players learn about tennis elbow. The only reason we don’t is that our culture stigmatizes problems with the brain totally differently from other organs, treats them as a failure of character or failure of will; they aren’t. “Push through the pain” is the wrong advice for that tendon in a tennis player’s elbow, and it’s the wrong advice for brain things too.
Fourth, I tried to stress in both documents that, in this situation, breaking down is normal. Lower productivity is normal. Grief, exhaustion, short tempers, snapping at friends, regretting it, they’re all normal. We have to plan for that, expect it, brace for it, recognize that in a team or in a household these months are going to be everybody taking turns having small breakdowns – if we prepare for that we can help each other prevent the *bigger* breakdowns that are the real problem. Voices inside will tell us that the days we wake up in the morning and sit down to work and just… can’t… deal, are bad, our fault, our weakness, failure, but all the neuroscience we have says it’s not our fault, it’s natural, it’s what brains do pushed past their limit, and our brains are past their limit. So on the mornings when you sit down to work and just can’t deal, and the self-doubt voice inside looms up to say weak! failure! push back. That voice is common too. I hear it. I still hear it after years of chronic pain and every saying that the pain is real, that I should take it easy, and all my friends being supportive, and my family, but something in our culture still makes us blame ourselves inside, weak! failure! So if you hear that voice on mornings when you just can’t deal, try to summon up another voice to shout back at it: everyone on Earth is breaking down. Today my job is not this task–today my job is to take care of myself, and protect the work I’ll be able to get done tomorrow.
A closing thought: Early in the pandemic the anecdote went viral that Isaac Newton came up with his theory of gravity while he was quarantining in the country from a plague, and many people (not jokingly enough) used it to say we should have high standards for what we produce in a pandemic, or that if we don’t set high standards it means we’re not geniuses like him. The true fact (historian here, this is my period!) is that Newton did theorize gravity while quarantining, but didn’t have library access, and while he was testing the theory he didn’t have some of the constants he needed (sizes, masses), so he tried to work from memory, got one wrong, did all the math, and concluded that he was wrong and the gravity + ellipses thing didn’t work. He stuck it in a drawer. It was only years later when a friend asked him about Kepler’s ellipses that he pulled the old notes back out of the drawer to show the friend, and the friend spotted the error, they redid the math, and then developed the theory of gravity. Together, with full library access, when things were normal after the pandemic. During the pandemic nobody could work properly, including him. So if anyone pushes the claim that we should all be writing brilliant books during this internationally recognized global health epidemic, just tell them Newton too might have developed gravity years earlier if not for his pandemic. And for a better historical model to use for how productive we should be in 2020, remember 1522-3, when Michelangelo was being hounded by lawsuits, and there was a political takeover crisis in his homeland, and he was so stressed he wrote later that he couldn’t touch a chisel the whole time, he couldn’t concentrate on any kind of art, too stressed and scared. Even Michelangelo, whom everyone agrees to call “genius.” Breaking down is normal for everyone, there are no special geniuses immune somehow to the slings and arrows of outrageous 2020. So next time you find a project taking longer than your planned, and your attention straying, and your ability to cope fading away, remember that if you’re getting anything accomplished in these months you’re already doing better than Michelangelo. And then do some self-care.
“If the Black Death caused the Renaissance, will COVID also create a golden age?”
Versions of this question have been going around as people, trying to understand the present crisis, reach for history’s most famous pandemic. Using history to understand our present is a great impulse, but it means some of the false myths we tell about the Black Death and Renaissance are doing new damage, one of the most problematic in my view being the idea that sitting back and letting COVID kill will somehow by itself naturally make the economy turn around and enter a period of growth and rising wages.
Brilliant Medievalists have been posting Black Death pieces correcting misconceptions and flailing as one does when an error refuted 50 times returns the 51st(The Middle Ages weren’t dark and bad compared to the Renaissance!!!). As a Renaissance historian, I feel it’s my job to shoulder the other half of the load by talking about what the Renaissance was like, confirming that our Medievalists are right, it wasn’t a better time to live than the Middle Ages, and to talk about where the error comes from, why we think of the Renaissance as a golden age, and where we got the myth of the bad Middle Ages.
Only half of this is a story about the Renaissance. The other half is later: Victorian Britain, Italy’s unification, World Wars I and II, the Cold War, ages in which the myth of the golden Renaissance was appropriated and retold. And yes, looking at the Black Death and Renaissance is helpful for understanding COVID-19’s likely impact, but in addition to looking at 1348 we need to look at its long aftermath, at the impact Yersinia Pestis had on 1400, and 1500, and 1600, and 1700. So:
This post is for you if you’ve been wondering whether Black Death => Renaissance means COVID => Golden Age, and you want a more robust answer than, “No no no no no!”
This post is for you if you’re tired of screaming The Middle Ages weren’t dark and bad! and want somewhere to link people to, to show them how the myth began.
This post is for you if you want to understand how an age whose relics make it look golden in retrospect can also be a terrible age to live in.
And this post is for you if want to ask what history can tell us about 2020 and come away with hope. Because comparing 2020 to the Renaissance does give me hope, but it’s not the hope of sitting back expecting the gears of history to grind on toward prosperity, and it’s not the hope for something like the Renaissance—it’s hope for something much, much better, but a thing we have to work for, all of us, and hard.
I started writing this post a few weeks ago but rapidly discovered that a thorough answer will be book-length (the book’s now nearly done in fact). What I’m sharing now is just a precis, the parts I think you’ll find most useful now. So sometimes I’ll make a claim without examples, or move quickly over important things, just linking to a book instead of explaining, because my explanation is approaching 100,000 words. That book will come, and soon, but meanwhile please trust me as I give you just urgent parts, and I promise more will follow.
Now, to begin, the phrase “golden age” really invokes two different unrelated things:
(1) an era that achieved great things, art, science, innovation, literature, an era whose wondrous achievements later eras marvel at,
(2) a good era to live, prosperous, thriving, stable, reasonably safe, with chances for growth, social ascent, days when hard work pays off, in short an era which—if you had to be stranded in some other epoch of history—you’d be likely to choose.
The Renaissance fits the first—we line up to see its wonders in museums—but it absolutely positively no-way-no-how fit the second, and that’s a big part of where our understandings of Renaissance vs. Medieval go wrong. So, our outline for today:
Renaissance Life was Worse than the Middle Ages (super-compressed version)
Where did the myth come from in the first place? (a Renaissance story)
Why is the myth of a golden Renaissance retold so much? (a post-Renaissance story)
Conclusion: We Should Aim for Something Better than the Renaissance
It’s also important to begin this knowing that I love the Renaissance, I wouldn’t have dedicated my life to studying it if I didn’t, it’s an amazing era. I disagree 100% with people who follow “The Middle Ages weren’t really a Dark Age!” with “The Renaissance sucks, no one should care about it!” The Renaissance was amazing, equally amazing as the Middle Ages, or antiquity, or now. I don’t love the Renaissance for being perfect. I love it because it was terrible yet still achieved so much. I love it because, when I read a letter where a woman talks of a nearby city burning, and armies approaching, and a friend who just died of the plague, and letter also talks about ideas for how to remedy these evils, and Xenophon’s advice for times of war, and how Plato and Seneca differ in their advice on patience, and the marvelous new fresco that’s been finished in the city hall. To find these voices of people who faced all that yet still came through it brimming with ideas and making art, that makes me love the human species all the more. And gives me hope.
In Florence, there are little kiosks near the David where you can buy replicas of it, and alongside the plain ones they have copies dipped in glitter paint, so the details of Michelangelo’s design are all obscured with globs of sparkling goo. That’s what the golden age myth does to the Renaissance. So when I say the Renaissance was grim and horrible, I’m not saying we shouldn’t study it it, I just want you to scrape off the glitter paint and see the details underneath: damaged, imperfect, a strange mix of ancient and new, doing its best to compensate for flaws in the material and mistakes made early on when teamwork failed, and violent too—David is, after all, about to kill an enemy, a celebration of a conquest, not a peace. Glitter drowns all that out, and this is why, while the myth of the golden Renaissance does terrible damage to how we understand the Middle Ages, it does just as much damage to how we understand the Renaissance. So let’s take a quick peek beneath the glitter, and then, more important, let’s talk about where that suffocating glitter comes from in the first place.
Part 1: Renaissance Life was Worse than the Middle Ages (super-condensed version)
The Renaissance was like Voldemort, terrible, but great.
On February 25th 1506, Ercole Bentivoglio, commander of Florence’s armies, wrote to Machiavelli. He had just read Machiavelli’s Deccenale primo, a history in verse of the events of the last decade. Bentivoglio urged Machiavelli to continue and expand the history, not for them, but for future generations, so that:
“knowing our wretched fortune in these times, they should not blame us for being bad defenders of Italic honor, and so they can weep with us over our and their misfortune, knowing from what a happy state we fell within brief time into such disaster. For if they did not see this history, they would not believe what prosperity Italy had before, since it would seem impossible that in so few days our affairs could fall to such great ruin.”
Of these days of precipitous ruin, Burkhardt, founder of modern Renaissance studies, wrote in 1869:
“The first decades of the sixteenth century, the years when the Renaissance attained its fullest bloom, were not favorable to a revival of patriotism; the enjoyment of intellectual and artistic pleasures, the comforts and elegancies of life, and the supreme interests of self-development, destroyed or hampered love of country.” (The Civilization of the Renaissance in Italy, end of Part 1)
Burkhardt seems to be describing a different universe from Bentivoglio, so desperate to prove to posterity that he tried his failing best to defend his homeland’s honor. Yet this was the decade that produced Leonardo’s Mona Lisa, Michelangelo’s David, Raphael’s Marriage of the Virgin, Bramante’s design for the new St. Peter’s Basilica, Josquin des Prez’s El grillo (the Cricket), the first chapters of Ariosto’s epic Orlando Furioso, and Castiglione’s first courtly works at the court of Urbino, soon to be immortalized in the Courtier as the supreme portrait of Renaissance culture. These masterworks do indeed seem to project a world of enjoyment and artistic pleasure in utter disconnect with Bentivoglio’s despair. Can this be the same Renaissance?
This double vision is authentic to the sources. If we read treatises, orations, dedicatory prefaces, writings on art or courtly conduct, and especially if we read works written about this period a few decades later—like Vasari’s Lives of the Artists which will be the first to call this age a rinascita—we see what Jacob Burkhardt described, and what popular understandings of the Renaissance focus on: a self-conscious golden age bursting with culture, art, discovery, and vying with the ancients for the title of Europe’s most glorious age. Burkhardt’s assessment was correct, if we look only at the sources he was looking at. If instead we read the private letters which flew back and forth between Machiavelli and his correspondents we see terror, invasion, plague deaths, a desperate man scrambling to even keep track of the ever-moving threats which hem his fragile homeland in from every side, as friends and family beg for frequent letters, since every patch of silence makes them fear the loved one might be dead.
Machiavelli’s correspondent, Ercole Bentivoglio, typifies the tangled political web which shaped these years. His father had been Sante Bentivoglio, who began as a blacksmith’s son and common laborer but was identified as an illegitimate member of the Bentivoglio family that dominated Bologna (remember Gendry in Game of Thrones?), so Sante was called to rule Bologna for a while when the only other adult Bentivoglio was murdered in an ambush, and young Ercole grew up in a quasi-princely court with all the grandeur we now visit in museums. Ercole’s mother was Ginevra Sforza, an illegitimate niece of Francesco Sforza who had recently conquered Milan, replacing the earlier Visconti dukes who had in turn seized the throne by treachery fifty-five years before. Renaissance politics isn’t turtles all the way down, it’s murders and betrayals all the way down.
Why was life in the Renaissance so bad? This is going to be a tiny compressed version of what in the book will be 100 pages, but for now I’ll focus on why the Renaissance was not a golden age to actually live in, even if it was a golden age in terms of what it left behind.
Let’s look at life expectancy: In Italy, average life expectancies in the solidly Medieval 1200s were 35-40, while by the year 1500 (definitely Renaissance) life expectancy in Italian city states had dropped to 18.
It’s striking how consistently, when I use these numbers live, the shocked and mournful silence is followed by a guy objecting: those numbers are deceptive, you’re including infant mortality—voiced as if this observation should discredit them. Yes, the average of 18 does include infant mortality, but the Medieval average of 35 includes it too, so the drop is just as real. If you want we can exclude those who die before age 12, and we do get a smaller total drop then, average age of death 54 in the 1200s dropping to 45-48 in 1500, so only a 12-16% drop instead of 48%, but the more we zoom the grimmer the Renaissance half proves. Infant mortality (within 12 months) averaged 28% both before and after 1348, so the big drop from Medieval to Renaissance Italy is actually kids who made it past the first year, only to die in years 2-12 from new diseases. We also think of the dangers of childbirth as lowering women’s lifespans, but death from childbirth stayed steady from Medieval to Renaissance at (for Tuscany) 1 death per 40 births, while the increase in war and violence made adult male mortality far higher than female even with the childbirth threat. If we look at the 20% of people who lived longest in Renaissance Italy it’s almost entirely widows and nuns, plus a few diehards like Titian, and poor exiled Cardinal da Costa of Portugal languishing in Rome to the age of 102, with everyone he’d known in the first 2/3rds of his life long gone. Kids died more in the Renaissance, adults died more, men died more, we have the numbers, but I find it telling how often people who hear these numbers try to discredit them, search for a loophole, because these facts rub against our expectations. We didn’t want a wretched golden age. (Demographics are, of course, an average, and different bits of Europe varied, but I’m using the numbers for the big Italian city-states precisely because they’re the bit of Europe we most associate with the golden Renaissance, so if it’s true there, it’s true of the Renaissance you were imagining.)
Why did life expectancy drop? Counter-intuitively the answer is, largely, progress.
War got worse, for one. Over several centuries, innovations in statecraft and policy (which would continue gradually for centuries more) had increased the centralization of power in the hands of kings and governments, especially their ability to gather funds, which meant they could raise larger armies and have larger, bloodier wars. Innovations in metallurgy, chemistry, and engineering also made soldiers deadlier, with more artillery, more lethal weapons, more ability to knock a town’s walls down and kill everyone inside, new daggers designed to leave wounds that would fester, or anti-personnel artillery designed to slice a line of men in half. Thus, while both the Middle Ages and Renaissance had lots of wars, Renaissance wars were larger and deadlier, involving more troops and claiming more lives, military and civilian—this wasn’t a sudden change, it was a gradual one, but it made a difference.
Economic growth also made the life expectancy go down. Europe was becoming more interconnected, trade increasing. This was partly due to innovations in banking (which had started in the 1100s), and partly, yes, the aftermath of the Black Death which caused a lot of economic change—not growth but change—some sectors growing, others shrinking, people moving around, people trying to stop people from moving around, markets shifting. There were also innovations in insurance, for example insuring your cargo ship so if it sinks you don’t go bankrupt like our Merchant of Venice. This meant more multi-region trade. For example, weaving wool into fine-quality non-itchy thread required a lot of oil, without which you could only make coarse, itchy thread. England produced lots of wool but no oil (except walnuts), so, in the Renaissance, entrepreneurs from England, instead of spinning low-profit itchy wool, started exporting their wool to Italy where abundant olive oil made it cheap to produce high-quality cloth and re-export it to England and elsewhere. This let merchants grow rich, prosperity for some, but when people move around more, diseases move more too. Cities were also growing denser, more manufacturing jobs and urban employment drawing people to crowd inside tight city walls, and urban spaces always have higher mortality rates than rural. Malaria, typhoid, dysentery, deadly influenza, measles, the classic pox, these old constants of Medieval life grew fiercer in the Renaissance, with more frequent outbreaks claiming more lives.
The Black Death contributed too—in school they talk as if the plague swept through in 1348 then went away, but the bubonic plague did not go away, it remained endemic, like influenza or chickenpox today, a fact of life. I have never read a full set of Renaissance letters which didn’t mention plague outbreaks and plague deaths, and Renaissance letters from mothers to their traveling sons regularly include, along with advice on etiquette and eating enough fennel, a list of which towns to avoid this season because there’s plague there. Carlo Cipolla (in the fascinating yet tediously titled Before the Industrial Revolution) collected great data for the two centuries after 1348, in which Venice had major plague bursts 7% of years, Florence 14% of years, Paris 9% of years, Barcelona 13% of years, and England (usually London) 22% in the earlier period spiking to 50% in the later 1500s, when England saw plague in 26 out of 50 years between 1543 and 1593. Excluding tiny villages with little traffic, losing a friend or sibling to plague was a universal experience from 1348 clear to the 1720s, when plague finally diminished in Europe, not because of any advance in medicine, but because fourteen generations of exposure gave natural selection time to work, those who survived to reproduce passing on a heightened immune response, a defensive adaptation bought over centuries by millions of deaths.
Today thousands of cases of Y. pestis (the plague bacterium) still occur each year, largely in sub-Saharan Africa and East Asia where it was not endemic so immunities didn’t develop. And if geneticist Mihai Netea is correct that the immune mutation which helps those of European descent resist Y. pestis also causes our greater rate of autoimmune disorders, then the Black Death is still constantly claiming lives through the changes it worked into European DNA over 400 years (and literally causing me pain as I type this, as my own autoimmune condition flares). While the 1348 pandemic was Medieval, most of the Middle Ages did not have the plague—it’s the Renaissance which has the plague every single day as an apocalyptic lived reality.
Economic growth also made non-military violence worse. Feuds (think Montagues and Capulets) were a Medieval constant, but the body count of a feud depends a lot on how wealthy the head families are, since the greater their wealth and the larger their patronage network, the larger the crowd of goons on stage in the opening scene of Romeo & Juliet when partisans of the two factions are biting their thumbs at each other, and the larger the number of unnamed men who also get killed in the background while Romeo fights Tybalt. In Italy especially, new avenues for economic growth (banking and mercenary work) quickly made families grow wealthy enough to raise forces far larger than the governments of their little city states, which made states powerless to stop the violence, and vulnerable to frequent, bloody coups. The Bentivoglios of Bologna and Sforza of Milan (whose marriage alliance produced Ercole who wrote that letter to Machiavelli) had risen by force, ruled by force, and were in turn overthrown by force, several times each, in fact, as rulers were killed, then avenged by returning sons or nephews, and cities flip-flopped between rival dynasties every few years:
In the 1400s most cities in Italy saw at least four violent regime changes, some of them as many as ten or twelve, commixed with bloody civil wars and factional massacres, until all Italy’s ruling houses were so new that the Knights Hospitaller—who normally required knights to have been noble four generations to join—let Italians in with only two generations because otherwise there would have been no one. Petrarch talked about this in his poem Italia Mia, which we think was written by 1347 (i.e. before the Black Death); he described Italy’s flesh covered with mortal wounds, caused by “cruel wars for light causes, and hearts, hardened and closed/ by proud, fierce Mars,” and his poor poem begging Italy’s proud, hard-hearted people for, “Peace, peace, peace.” It sounds just like what Ercole described to Machiavelli, doesn’t it? Well, Petrarch’s poem is as far from Machiavelli’s history as Napoleon’s rise from Yuri Gagarin’s space flight, a long time during which the wars grew worse, armies bigger, cities richer, plagues more frequent, steady escalation of the same things Petrarch feared would wipe out Italy 150 years before.
Important: none of this was new in the Renaissance! These were all gradual developments: banking, trade, centralization, the cultural produce of the Renaissance too (paintings, cathedrals, music, epics), these had all been gradually ramping up for centuries, changing the character of Europe decade by decade. Banking innovations started in the 1100s, insurance innovations in the 1300s, economic shifts before as well as after 1348, political shifts accumulated centuries, it’s all incremental. Thus, when I try to articulate the real difference between Renaissance and Medieval, I find myself thinking of the humorous story “Ever-So-Much-More-So” from Centerburg Tales (1951). A traveling peddler comes to town selling a powder called Ever-So-Much-More-So. If you sprinkle it on something, it enhances all its qualities good and bad. Sprinkle it on a comfy mattress and you get mattress paradise, but if it had a squeaky spring you’ll never sleep again for the noise. Sprinkle it on a radio and you’ll get better reception, but agonizing squeals when signal flares. Sprinkle it on the Middle Ages and you get the Renaissance. All key qualities were already there, good things as well as bad, poetry, art, currents of trade, thought, finance, law, and statecraft changing year by year, but add some Ever-So-Much-More-So and the intensity increases, birthing an era great and terrible. Many different changes reinforced each other, all in continuity with what came before, just higher magnitude, the fat end of a wedge of cheese, but it’s the same cheese on the thin end too. The line we draw—our slice across the cheese—we started drawing because people living in the Renaissance started to draw it, felt it was different, claimed it was different, and their claims reordered the way we think about history.
Some more quick un-fun facets of Renaissance life: while the Medieval Inquisition started in 1184, it didn’t ramp up its book burnings, censorship, and executions to a massive scale until the Spanish Inquisition in the 1470s and then the printing press and Martin Luther in the 1500s (Renaissance); similarly witchcraft persecution surges to scales unseen in the Middle Ages after the publication of the Malleus Maleficarum in 1486 (Renaissance); and the variety of ingenious tortures being used in prisons increased, rather than decreasing, over time. Rule of thumb: most of the scary practices we think of as “Medieval” were either equally true of the Renaissance, worse in the Renaissance, or only started in the Renaissance. If you want corrupt popes, they too can be more terrible as they get richer. And pre-sanitation, the more luxury goods traveled, the more people grew wealthy, the wider the variety of food people ate, and with more kinds of foods came more different kinds of parasites living in your intestines eating your from the inside out, hooray! Even in the Middle Ages we can tell your social class from the variety of parasite eggs in your preserved feces (the more you know!), but in the Renaissance the total could go up, and the frequency and intensity of chronic pain with it (not to mention a wider variety of horrible toxic things doctors would try to feed you as a cure; before sanitation more doctors = bad, not good).
In sum, if you’re a time traveler and you’re being banished, don’t pick the Renaissance.
As for how an age so terrible to live through produced the masterpieces and innovations we still hold in awe, my ultrashort answer is that Renaissance art and culture was also a gradual ramp-up from ever-changing Medieval art and culture, and that the leaps we seem to see in the later period are the desperate measures of a desperate time.
Legitimacy is a key concept here. The secret we all know is that governments, countries, laws, they’re all just a bunch of stuff we made up. They exist only as long as we all keep agreeing they exist, and act accordingly. Far more than Tinkerbell, regimes and governments need us to believe in them or they die. Sometimes this death takes the form of people just ignoring old structures, like in the Hellenic age when a remote Greek colony might hear from the founding city so infrequently that it starts ignoring the empire and just makes its own government. A more common consequence when people stop believing in governments is that some rival will take advantage of that lack of confidence, and rise up to claim power instead, whether through an electoral primary challenge or a bloody civil war.
For this reason, regimes to work hard to gain legitimacy, that is to acquire any and all things that make people agree the regime is real, and has the right to rule. When a usurper murders the old king but marries his widow, sister, or daughter, that’s an attempt to secure legitimacy in a world where people are used to government going with blood right. When no local royal-blood bride is available, the usurper might instead marry a princess from a famous distant kingdom, and fill his court with expensive, exotic treasures and other indications that he’s connected to foreign powers and money—this is another bid at legitimacy since it implies the new ruler has strong allies and the means to bring prosperity and trade. There are lots of other ways to project legitimacy: getting trusted local elites to work for you, getting religious leaders to bless you, publishing your pedigree (fake or real) with mighty ancestors, cracking down on crime and having showy trials, paying an astrologer to circulate your horoscope with great predictions, mounting a big parade, building an equestrian statue of yourself in the square that everyone walks past, receiving ambassadors in a showy way so everyone sees how much foreign powers honor you, repairing bridges and caring for orphans so people talk about your generosity and virtue, even a modern city funding a zoo and orchestra and art museum is that city projecting legitimacy with the trappings we associated with cultured power. When a regime has lots of sources of legitimacy, it makes people more willing to go along with that regime continuing. Some sources of legitimacy tie into a culture’s traditional ideas about what makes power lawful (religion, heredity, virtue, particular values), while other sources of legitimacy, like a collection of exotic animals or a fancy palace, just impress people, and make them feel that life under this regime will probably be good, and that overthrowing it would probably be difficult if it has money to throw away on palaces and elephants.
Thus the radical oversimplification is that, when times get desperate, those in power pour money into art, architecture, grandeur, even science, because such things can provide legitimacy and thus aid stability. Intimidating palaces, grand oratory, epics about the great deeds of a conqueror, expensive tutors so the prince and princess have rare skills like Greek and music, even a chemical treatise whose dedication praises the Duke of Such-and-such, these were all investments in legitimacy, not fruits of peace but symptoms of a desperate time. In an era when a book cost as much as a house (it really did!), and Florence’s Laurenziana library cost more per GDP than the Moon Landing, you don’t get that level of investment unless elites think they’re going to get something out of it. Just as today giant corporations fund charities or space tech because they get something out of it, publicity raising their stock prices, so a mighty merchant family might repair a church or build a grand public square and put their coat of arms on it, drawing investment and intimidating rivals.
Culture is a form of political competition—if war is politics by other means, culture is too, but lower risk. This too happened throughout the Middle Ages, but the Renaissance was ever-so-much-more-so in comparison, and whenever you get a combination of (A) increasing wealth and (B) increasing instability, that’s a recipe for (C) increasing art and innovation, not because people are at peace and have the leisure to do art, but because they’re desperate after three consecutive civil wars and hope they can avoid a fourth one if they can shore up the regime with a display of cultural grandeur. The fruits fill our museums and libraries, but they aren’t relics of an age of prosperous peace, they’re relics of a lived experience which was, as I said, terrible but great.
All this I’ll explore further in the book, but if you want more info in the meantime you can get an excellent overview of the period in Guido Ruggiero’s The Renaissance in Italy, and a look at how this fed philosophical innovation and birthed Renaissance humanism in James Hankins’s Virtue Politics. For today, though, our goal isn’t to look deeply at the David, it’s to look at the glitter we just scraped off it, and to understand where that glitter comes from.
Part 2: Where did the Myth Come From in the First Place? (A Renaissance Story)
Whenever I’m with Medievalists and the subject turns to one of the bad things people say about the Middle Ages (dark age, backwards, superstitious, stagnant, oppressive, enemy of progress, all homogenous), I make a point of speaking up and saying, “Yeah, that’s my guys’s fault. Sorry.” It was a joke the first time, and it’s still half a joke, but I keep doing it because there’s this special smile under the resulting chuckle, this pause, warming, affirming, on the Medievalist’s face that says: I’ve always felt I deserved an apology from the Renaissance! Thank you!
Because the beginning of the problem was the Renaissance’s fault.
Pretty-much every culture, when it tells its history, divides it into parts somehow (reigns, eras, dynasties). These labels may not seem like a big deal, but they have a huge effect on how we imagine things. Think of how the discourse about boomers vs. Gen-X vs. millennials affects people’s self-identities, who associates with whom, and the kinds of discourse we can have with those terms that we couldn’t have with different ones. The lines and labels in our history are powerful. In my Terra Ignota science fiction novels I mention that the people in my 25th century society debate whether World War I ended in 1945 or 1989, and it always blows readers’ minds for a few seconds, and then follows the reflection: yeah, I could see WWI and WWII being considered one thing, like the Wars of the Roses. My first exposure to the way this makes your brain go *whfoooo* was as a kid and hearing Eugen Weber provocatively call WWI and WWII “The Second Thirty Years War”. Feels weird, right? Weird-powerful.
People living in the European and Mediterranean Middle Ages generally (oversimplification) divided history into two parts, BC and AD, before the birth of Jesus and after. For finer grain, you used reigns of emperors or kings, or special era names from your own region, i.e. before or after a particular event, rise, reign, or fall. There was also a range of traditions subdividing further, such as Augustine’s six ages of the world which divided up biblical eras (Adam to Noah, Noah to Abraham, etc.), though most of those subdivisions are pre-historical, without further subdivision post Christ’s Incarnation. The Middle Ages also had a sense of the Roman Empire as a phase in history, but it was tied in with the BC-to-AD tradition, and with ideas of Providence and a divine Plan. Rome had not only Christianized the Mediterranean and Europe through the conversion of Constantine c. 312 CE, but authors like Dante stressed how the Empire had been the legal authority which executed Christ, God’s tool in enacting the Plan, as vital to humanity’s salvation as the nails or the cross. Additionally, many Medieval interpreters viewed history itself as a didactic tool, designed by God for human moral education (not the discipline of history, the actual events). In this interpretation of history, God determined everything that happens, as the author of a story determines what happens. The events of the past and life were like the edifying pageant plays one saw at festivals: God the Scriptwriter introduces characters in turn—a king, a fool, a villain, a saint—and as we see their fates we learn valuable lessons about fickle Fortune, hypocrisy, the retribution that awaits the wicked, and the rewards beyond the trials and sufferings of the good. The Roman Empire had been sent onto the world’s stage just the same, a tool to teach humanity about power, authority, imperial majesty, law, justice, peace, offering a model of supreme power which people could use to imagine God’s power, and many other details excitedly explored by numerous Medieval interpreters. (Many Renaissance interpreters still view history this way, and the first who really doesn’t do it at all is Machiavelli.)
The two people most directly responsible for inventing the Middle Ages are two men from Tuscany: Petrarch (Francesco Petrarca, 1304-1374), and Leonardo Bruni (1370-1444).
Petrarch was the first person to talk about the era after the Roman empire as a separate, bad period of shadow, misery, darkness, and decay. Petrarch gained his fame with his Italian poetry, and popularized the sonnet (though we have a long time still to wait for Shakespeare), but later in his life he was part of a circle of Italian scholars who loved, loved, loved, loved Cicero, and read his political works intensively as they thought about questions of republicanism and statecraft. Petrarch described himself as having been born in exile. He was born in exile in space quite literally, while his parents were in banishment, and he grew up in Avignon in the period the papacy was there in French control. But he also considered himself an exile in time, exiled from that community of antiquity which was the true home of his spirit. I already quoted his lament Italia Mia, and his sense of the degeneration of his era was enhanced by the feeling that France’s control of the papacy had ravaged and spoiled Rome and Italy. He also lived through the Black Death, and lost almost all his scholar-friends in it. Two surviving friends wrote to him after the main wave had passed to plan a precious reunion—they were attacked by bandits on the way, and one murdered, while the other escaped but was missing for many months. You can understand why Petrarch, reading of the Pax Romana when the ancient texts claim you could walk in safety from one end of Rome’s empire to the other, might see his age as one of ash and shadow. He projected that ash and shadow back on everything since Rome, lumping together for the first time the long sequence we now refer to as the Middle Ages.
Petrarch, importantly, did not claim his era was already a golden age, nor did he use the word Renaissance; he claimed his era needed tohave a transformation, that desperate times called for desperate measures, and that if Italy was to have any hope of healing it must look to its ancient past, to Rome, the Pax Romana, that dream age when there were no bandits on the road or pirates in the sea. The lost arts that nurtured the age of Emperors were languishing in ancient tomes waiting to be restored if only people reached for them. We know the Renaissance as the era that revived a lot of lost Roman technologies, geometry, engineering, large-scale bronze work, and those were important, but what Petrarch really thought would change things were people, intellectual technologies, not science or engineering tools.Petrarch wanted the library that educated Cicero, and Seneca, and Caesar. When we today look at ancient Rome we’re often struck most by the wicked Emperors, Caligula, Nero, the anecdotes of decadent corruption, but Petrarch instead saw the republican Brutus, who executed his own sons when they conspired to take over the state—in a world where city after city was falling to monarchal coups, and Lord Montague was used to using his great influence to make the Prince let Romeo get away with murder, the thought of Brutus putting Rome before his family felt like a miracle. (Unhelpfully, Petrarch didn’t write a single clear treatise where he spelled this out, but if you want a sample try his letters and invectives, or for the mega-thorough scholarly version see James Hankins’ Virtue Politics).
Important: even using antiquity wasn’t new in the Renaissance. Medieval people had been reading Seneca, and Cicero, and Virgil the whole time, and imitating and reusing ancient stuff, they just used the classics differently from how Petrarch did, just as the classics are also used differently in the 17th century, and the 19th century, and today. There were some major innovations in Renaissance engagement with the classics (several stages of innovation in fact), that differentiate them from Medieval, but those are complexities for another day.
Leonardo Bruni was the next step. He was child when Petrarch died, and grew up in the era of heady excitement of trying to use classical education to create the golden age Petrarch proposed. Bruni studied Latin with a focus (as Petrarch encouraged) on imitating ancient Latin instead of Medieval Latin whose grammar and vocabulary had evolved (as any language does) over the centuries. Bruni served as Chancellor of Florence, and imitated ancient Roman historians in writing his History of the Florentine People, which for the first time formally divided history into three parts: ancient, middle, and modern, which we now call Renaissance. He also filled his history with analysis and deep interpretation, which many Renaissance scholars will tell you was the first modern history, the first history of a post-classical time/place, and the first truly analytic history written since antiquity, and then Medievalists will scream at them and pile up examples of Medieval chronicles full of framing and moral analysis, which absolutely are doing sophisticated interpretive work, and vary enormously from each other, but Bruni’s is recognizably as different. Why? Largely because Bruni actively wanted his history to seem innovative and different, and wrote with that as a goal, in a new kind of Latin, with new structure, setting out to make something everyone would look at and say: Wow, it’s like what the Romans did!
With Bruni we had three periods—ancient, medieval, and the new age. That new age wasn’t called rinascita until Vasari’s Lives of the Artists in 1550 (more than a century after Bruni) and renaissance proper was coined by Jules Michelet in 1855, but Bruni’s idea of three periods, and that this new one could be a golden age, caught on quickly because of its potential for… (da da da daaa!) …legitimacy! Back then, as now, claiming that you’re the start of a new golden age is an ideal way to make your (teetering, illegitimate) regime seem exciting, full of momentum, glorious. History-writing modeled on Bruni quickly became all the rage, and you could awe people with a history of how great your city/people/family is, get them excited about a golden age, make yourself seem legitimate. And Bruni’s history writing had another power too.
One set of events Bruni described in his Florentine History were the conquests of Gian Galeazzo Visconti the “Viper of Milan” (1351-1402), a man who lived up in every way to his badass family crest of a serpent swallowing a helpless little dude. After ambushing and supplanting his uncle, the Viper seized Milan (bribing appropriate powers to make him duke), then took Verona, Vicenza, Padua, and tried for all of northern Italy including Bologna and Florence, securing a great victory at the Battle of Casalecchio in 1402. But then (according to Bruni) brilliant Florentine cunning arranged the would-be conqueror’s defeat and downfall. When Bruni’s history circulated in 1444, the Viper’s grandson Duke Filippo Maria Visconti did a spit take: “What the?! We didn’t lose that war! Granddad dropped dead of a f*ing fever and the troops had to go home! The Florentines never beat us in a single battle! They can’t say won the war!” They can. They did.
It turns out history isn’t written by the winners; history is written by the people who write histories.
So, what are you going to do about it, grandson of the Viper of Milan? There’s only one thing to do: hire one of these new classically-educated humanisty types to write a history of your city and your family framed your way, and replacing the murdered-his-uncle bribed-the-king totally-illegitimate conquest-by-force narrative with a glorious lineage that constantly kicked Florence’s ass!! That’s what he did—that’s what everybody did, Milan, Venice, France, England, Hungary, Naples; everybody had to have a history, and all the histories claimed there had been a bad middle age, that it was over, and that we were now in the glorious classical-revival-powered new age which had the potential to surpass it thanks to the virtues and glories of [Insert Prince Here]. This is why, up in England, baby King Henry VI’s uncle Duke Humphrey of Gloucester tried to hire Leonardo Bruni to come to England and work for him, and write a history that would shore up the tenuous Lancastrian claim to the throne (we’re entering the Wars of the Roses here). And this is why, while Bruni stayed in Florence, another major Florentine figure Poggio Bracciolini actually was lured by the high pay to go to England and work for Humphrey’s rival Cardinal Beaufort. And all these histories pick and choose details to make the current regime/ruler look great and legitimate, at the expense of making the newly-invented middle age look bad.
This is why all Medievalists, deep down inside, know they deserve an apology from the Renaissance.
One attempt at a solution is dropping the term Renaissance, but that doesn’t actually solve the problem, since it leaves us with antiquity and a period from then to… what? Is the dividing line the Enlightenment? Industrialization? Colonialism? The Industrial Revolution? The Agricultural Revolution? The French Revolution? WWI? No matter how late you push the line, any of these divisions is still accepting Bruni’s ancient-middle-modern division, and involves making a claim about what begins the modern. Normal parlance in history now is “early modern” which begins with [insert-scholarly-squabble-here] and ends roughly with the French Revolution, which is generally agreed to kick off “modern” proper. While “early modern” does avoid accepting claim that the Middle Ages were bad and needed a rebirth, and I use it myself, I also think it’s a dreadful term, since (A) it’s confusing (“early modern” sounds like the Crystal Palace, not Shakespeare’s Globe), and (B) the term actively worsens the degree to which your selected start date is a judgment call about what makes us modern. Because the real problem with the myth of the bad Middle Ages versus golden Renaissance is not what Petrarch and Bruni created within the Renaissance itself—it’s what happened later to entangle both terms with an equally problematic third term: modern.
Part 3: Why is the Myth of a Renaissance Golden Age Retold so Much? (a post-Renaissance story)
The thing about golden ages—and this is precisely what Petrarch and Bruni tapped into—is that they’re incredibly useful to later regimes and peoples who want to make glorifying claims about themselves. If you present yourself, your movement, your epoch, as similar to a golden age, as the return of a golden age, as the successor to a golden age, those claims are immensely effective in making you seem important, powerful, trustworthy. Legitimate.
In sum, one of the most powerful tools for legitimacy is invoking a past golden age. Under my rule we will be great like X was great! Whether it’s a giant golden age (Rooooome!) or a tiny golden age (the US 1950s!), if you can claim to be bringing it back, you can make a very clear, appealing case for why you should have power. This claim can be made by a king, a duke, a ruling council, a political party, an individual, or a whole movement. It can be made explicitly in rhetoric (I am the new Napoleon!) or implicitly by borrowing the decorative motifs, vocabulary, and trappings of an era. An investment banking service that uses a Roman coin profile as its logo, names its different mutual funds after Roman legions, and has a pediment and columns on its corporate headquarters is trying to project legitimacy from the idea of antiquity as a golden age of power and stability.
The newborn United States of America when it decided to make the Washington Monument be a giant obelisk, that was another bid at legitimacy and projecting power by invoking the golden ages of ancient Egypt and conquering Rome, combined in the Washington Monument’s case with other things like, instead of the traditional gold tip on top, using high-tech more-expensive-than-gold aluminum, mixing golden age with power claims about wealth and science.
…because the Renaissance had called itself a golden age, by the 17th century it had joined the list of epochs that you can invoke to gain legitimacy, and has been invoked that way many times. This is why 18th and especially 19th and earlier 20th century governments and elites raced to buy up Italian Renaissance art treasures and display them in their homes and museums. This is why Mussolini, while he mostly invoked imperial Rome, used the Renaissance too, and even made special arrangements to meet Hitler inside the Vasari Corridor in Florence to show off the art treasures of the Uffizi. And this is why the US Library of Congress building is painted all over inside with imitations of Renaissance classicizing frescos and allegorical figures in Renaissance style even though the quotations they include and values they celebrate are largely not Renaissance.
One consequence of golden ages being so powerful is that powers squabble over them: “I’m the true successor of [XXX]!” “No, I’m the true successor!” You see this in the fascinating modern day dispute over the name Macedonia in which both Greece and the country now called North Macedonia both want to be seen as the land of Alexander the Great, and argued over the name tooth and nail, dragging in both the UN and NATO. Since golden ages are mythical constructions (the events are real but the golden age-ness is mythmaking) they’re easy to redefine to serve claims of true successor status—all you have to do is claim that the true heart that made the golden age great was X, and the true spirit of X flourishes most in you. Any place (past or present) that calls itself a new Jerusalem, new Rome, or new Athens is doing this, usually accompanied by a narrative about how the original has been ruined by something: “Greece today is stifled by [insert flaw here: conquest, superstition, socialism, lack of socialism, a backwards Church, whatever], but the true spirit of Plato, Socrates and the Examined Life flourish in [Whateverplace]!”
Ancient Rome is particularly easy to use this way because Rome had several phases (republic, empire, Christian Rome) so if some rival has done a great job declaring itself the New Roman Empire you can follow up by saying the Empire was the corrupt decadent period and the Roman Republic was the true Rome! Simply quote Cicero and talk about wicked emperors and you can appropriate the good Rome and characterize your rivals as the bad Rome. If republic, empire, and Christian Rome are all claimed, you can do something more creative like the 19th century romantic movement which claimed the archaic pastoral Rome of Virgil’s Georgics, replacing pediments and legionary eagles with garlands and shepherds and claiming a mythic golden age no one had been using lately.
The same is true of claiming Renaissance. If you can make a claim about what made the Renaissance a golden age, and claim that you are the true successor of that feature of the Renaissance, then you can claim the Renaissance as a whole. This is made easier by the fact that “the Renaissance” is incredibly vague. When did it start? 1400? 1350? 1500? 1250? 1550? 1348? When did it end? 1600? 1650? 1700? You can find all these dates if you dig through books about “the Renaissance” written in different countries and different fields (art history, literary history). I pointed out that Petrarch’s Italia Mia is as far from Ercole’s Bentivoglio’s letter to Machiavelli as Napoleon’s rise from Yuri Gagarin’s space flight, but even at Machiavelli we’re still only half-way through the large, vague period that different people label Renaissance. On my own university campus, if I drop by different departments and ask colleagues when Renaissance begins, I get 1200 or 1250 from the Italian lit department (some of whom say Machiavelli is already “modern”), but in the English building I might get 1450 or even 1500. I think drawing a line after Black Death makes sense for Italy at least, or maybe at 1400, but there are plenty of counter-arguments, and people on campus who identify as Medievalists who study things later than some things I work on. I think it’s great for Medieval and Renaissance to overlap, since I—looking mainly forward—ask different questions about someone like Petrarch from the questions my Medievalist colleagues ask. The only “wrong” answer to where the line falls, in my opinion, is to believe there is a clear line.
And if we zoom into this long, vague period, when was the “high Renaissance” i.e. the best part, the most characteristic part? If you ask a political scientist it’s usually the very early 1400s, when Bruni and other innovative political thinkers were writing; if you ask an art historian it’s the decades right after 1500 when ¾ of the Ninja Turtles overlapped; if you ask a theater scholar it’s Shakespeare who was born fully 200 years later than Bruni and his peers discussing politics. It all depends on what you think defines the Renaissance, so if you have a different focus then different dates feel like periphery or core.
So, just as when we invoke Rome we can pick republican Rome, imperial Rome, pastoral Rome, Christian Rome, the conquering Rome of Julius Caesar or the peaceful Rome of the Pax Romana, similarly there are a huge range of Renaissances one can invoke: Bruni’s, Raphael’s, Machiavelli’s, Luther’s, Shakespeare’s. But choosing your Renaissance is an especially potent question because of… (drumroll please)… the X-Factor.
Okay, deep breath.
After the Renaissance, in the period vaguely from 1700 to 1850, everyone in Europe agreed the Renaissance had been a golden age of art, music, and literature specifically. Any nation that wanted to be seen as powerful had to have a national gallery showing off Renaissance (mainly Italian) art treasures, and capital buildings with Renaissance neoclassical motifs, while an individual with elite ambitions had to know classicizing Latin, and a bit of Greek, and have opinions about Raphael, Titian, Petrarch, and the polyphonic motets of Lassus. Seriously: in the original Doyle Holmes stories, so 1850-1910, after having Watson establish Holmes’s “Knowledge of literature—nil. Philosophy—nil.” still has Holmes carry a pocket Petrarch and write a monograph on the polyphonic motets of Lassus, because that’s what a smart, impressive person did in 1850. This also meant that Renaissance art treasures were protected and preserved more than Medieval ones—if you’re valorizing the Renaissance you’re usually criticizing the Middle Ages in contrast, so these generations learned to think of Renaissance art as good taste and the periods on both sides (Medieval and baroque) as bad taste, and a lot of great Medieval art was left to gather dust, or rot, or was even actively destroyed, since nothing invokes the Renaissance like sweeping away the “bad” medieval. As a result, the Renaissance became a self-fulfilling source base: go to a museum today and you see much more splendid Renaissance art than Medieval, leading to the natural conclusion that the Renaissance produced more art in general, but Middle Ages did make splendid art, it’s just that later centuries didn’t preserve it as carefully, so less survives, and what survives is more likely to be in storage than in the main gallery.
The transition from people being excited about Renaissance art and culture to being excited about the Renaissance as an era came in the mid-1800s, primarily with the work of Swiss historian Jacob Burkhardt, and his 1869 The Civilization of the Renaissance in Italy. It’s a gorgeous read, unskimmably rich prose, and Burkhardt’s work was a major breakthrough moment for the practice of history as a whole, because he showed how you could write a history, not of a country or a person, but of a culture, discussing the practices and ideas of an era, examining art and artists side-by-side with authors, soldiers, and statesmen as examples of people of a period and the way they thought, acted, and lived. The book pioneered cultural history, the practice of trying to study societies and their characteristics, acknowledging the interrelationship of politics with art and culture instead of examining them separately. Cultural history remains a major field, and one where some of the best work on once-neglected topics like women, pop culture, and non-elites has flourished. But…
Burkhardt was also the main figure who popularized the terms “modernity” and “modern.” He argued that the Renaissance was the birth of “modern man,” and that modern man was defined by a powerful sense of human excellence and human potential. According to Burkhardt, the core of this change—the spirit of the Renaissance which sparked the triumphant path of progress toward modernity—was the rise of individualism. As he says in the beginning of Part II:
In the Middle Ages both sides of human consciousness—that which was turned within as that which was turned without—lay dreaming or half awake beneath a common veil. The veil was woven of faith, illusion, and childish prepossession, through which the world and history were seen clad in strange hues. Man was conscious of himself only as member of a race, people, party, family, or corporation—only through some general category. In Italy this veil first melted into air; an objective treatment and consideration of the state and of all the things of this world became possible. The subjective side at the same time asserted itself with corresponding emphasis; man became a spiritual individual, and recognized himself as such.
The Medievalists reading this are gnashing their teeth, and yes, this moment is core to the persistence of the myth of the bad, backward, stagnant, sleepy middle ages, and equally core to the myth of the Renaissance Man: awake, ambitious, aware of his own power, rational, ripping through the cobwebs of superstition, desirous of remaking the world but also of intentionally fashioning him or herself into something splendid and excellent. A human being who realizes human beings can be their own masterpieces.
In the mid-19th-century, when Burkhardt wrote, Europe was very enamored of individualism, of new democratic ideas of government, of nationalism and ideas of individual consciousness and national consciousness, and of the notions of genius, both genius individuals and the geniuses of peoples. Thus, Burkhardt’s claim that the Renaissance was born from individualism gave all sorts of 19th century movements the ability to claim the Renaissance golden age as an ancestor. Germany, Britain, the young United States, despite having little to do with Italy, they could all claim to be the true inheritors of Renaissance greatness if they could claim that individualism and the opportunity to be a self-made man prospered more truly among their peoples than in Italy.
But there was more: by claiming that the Renaissance—and all its glittering art and innovation—was caused by individualism, Burkhardt was really advancing a claim about the nature of modernity. Individualism was an X-Factor which had appeared and made a slumbering world begin to move, sparking the step-by-step advance that led humanity from stagnant Medieval mud huts to towers of glass and iron—and by implication it would also define our path forward to an even more glorious future. In other words, the X-Factor that sparked the Renaissance was the defining spirit of modernity. If individualism was responsible, not only for the Renaissance, but for the wonders of modernity, then logically those regimes of Burkhardt’s day which most facilitated the expression of individualism could claim to be the heart of human progress and to hold the keys to the future; those nations which did not advance individualism (where socialism prospered, for example, or “collectivism” which was how 19th century Europe characterized most non-Western societies) were still the slumbering Middle Ages, in need of being awakened to their true potential by those nations which did possess the X-Factor of human progress.
I hope you winced a few times in the previous paragraph, recognizing toxic 19th century problems (eurocentrism, orientalism, “White Man’s Burden” thinking), as well as basic historical errors (spoiler: you can find plenty of individualism in Medieval texts, and lots of things that are absolutely not individualism in Renaissance ones). But those specifics aren’t the big problem. The big problem was how entrancing the idea of an X-Factor was, the notion that there is one true innovative spirit which defines both Renaissance and modern, and advances in a grand and exponential curve from Petrarch through Leonardo and Machiavelli on to [insert modern hero here]. Thus Burkhardt birthed what I call thequest for the Renaissance X-Factor. Because when the first scholars disagreed with Burkhardt, they didn’t objcet to the idea that the Renaissance was caused by a great defining X-Factor, they loved that idea, they simply argued about what exactly the X-Factor was.
Thanks to Burkhardt, the Renaissance came to be defined as the period after Medieval but before Enlightenment when something changed and pushed things toward modernity—the moment that the defining spirit of modernity appeared. From that point on, claiming you were the successor to the Renaissance didn’t just mean claiming a golden age like Rome, it let you also claim that modernity itself was somehow especially yours. If you could argue that the reason the Renaissance was great was that it did the thing you do, then you are the heart of modernity and progress, even of the future, while those who don’t celebrate that spirit are the enemies of progress. Thus every time someone proposed a new X-Factor, a different explanation for what made Renaissance different from Medieval, that made it possible to make new claims about the nature of modernity, and which nations or movements have it right. This model even lets one claim the future: the X-Factor was born in the Renaissance, grew in the Enlightenment and in modernity, and is the key to unlocking the next glorious age of human history as it unlocked both Renaissance and modern. This lets you advance teleological arguments about the inevitable triumph of [democracy, nationalism, atheism, capitalism, whatever]. It’s a version of history that’s not only legitimizing but comforting, since it lets you feel you know where history is headed, what will happen, who will win.
To give specific examples, if we’re in the middle of the Cold War, and an influential historian publishes a book arguing that the X-Factor that sparked the Renaissance was double-entry bookkeeping, i.e. the rise of banking and the merchant class, America can say: “The Renaissance X-Factor was the birth of capitalism! The fact that it was a golden age proves capitalism will make a golden age too, and the true successor of this golden age is our alliance of modern capitalist regimes!” If, on the other hand, we’re in a nationalist wave, say in 1848 or 1920, and someone argues that the X-Factor that sparked the Renaissance was the call for national unity articulated in Petrarch’s Italia Mia or Savonarola’s sermons (this is Pasquale Villari), and that what ended the Renaissance golden age was when Italy was conquered and divvied up among the Bourbons and Hapsburgs, then the Renaissance can be claimed as a predecessor by the Italian unification movement, the German unification movement, any nationalist movement anywhere can claim that uniting peoples into nations is what drives modernity. If we claim the Renaissance was birthed by the rise of secular thought, that Renaissance geniuses were the first people to break through the bonds of superstition, and that Leonardo and Machiavelli were secret atheists (this is Auguste Comte), then we can claim that secularization and the secular state is the heart of human progress and modernity. And if someone claims the X-factor was republican proto-democratic thought, the political writings and discourse of civic participation unique to the Italian city republics, Florence, Venice (this is Hans Baron), then we can claim that republican democracy is the key to human progress, that modern democracies are the heart of modernity, and everything else is backwards, outside, Medieval, bad, and needs to be replaced.
To this day, every time someone proposes a new X-Factor for the Renaissance—even if it’s a well-researched and plausible suggestion—it immediately gets appropriated by a wave of people & powers who want to claim they are the torch-bearers of that great light that makes the human spirit modern. And every time someone invokes a Renaissance X-Factor, the corresponding myth of the bad Middle Ages becomes newly useful as a way to smear rivals and enemies. As a result, for 160 years and counting, an endless stream of people, kingdoms, political parties, art movements, tech firms, banks, all sorts of powers have gained legitimacy by retelling the myth of the bad Middle Ages and golden Renaissance, with their preferred X-Factor glittering at its heart.
We scholars do our best to battle this, to introduce a complex and un-modern Renaissance, but the very usefulness of the myth guarantees that it will be repeated much more broadly than our no-fun efforts to correct it. A lot of Renaissance historians today reject the idea of a single X-Factor and try instead to talk about combinations of mixing factors. Many of us also try to argue that the Renaissance was not fundamentally modern, that it was its own distinctly un-modern thing. But it’s a hard sell, because the narrative of a special spirit launching us from Petrarch to the Moon Landing is enchanting, and because a complicated, messy, un-modern Renaissance snatches away the golden Renaissances most people meet first. Nobody in this century has read about the French Invasion of 1494, or even about the Guelphs and Ghibellines, before meeting the genius cults of Leonardo and Michelangelo.
Scraping the glitter off to reveal the imperfect and violent David underneath is an assault on our understandings of our past and present, on what it means to be ourselves, even on our sense of where the future is heading. People find that unsettling. And people who look to Renaissance celebrities as role models and intellectual ancestors don’t like to hear about their rough un-modern sides. So people get hostile, or unsettled, they keep telling the myths, and use cherry picked sources to glob the glitter-paint back on. It’s not always done in bad faith—if from early childhood you’ve always learned the Renaissance was sparkling and golden, and you see a bare patch where the glitter has come off, of course you’ll think that bare patch is the error, that the still-sparkly parts are the real thing. You treat the oddball patch as damage, and keep believing what that documentary or museum label told you years ago when you saw your first Renaissance masterpiece and fell in love. So the myth persists, and for every attempt to correct it we’re up against a dozen tour guide scripts, and TV specials, and corporate statements, and outdated textbooks, and new books (fiction and nonfiction alike) that glob the glitter on. So you can understand why, from time to time, Renaissance and Medieval specialists alike just have to stop and scream like Sisyphus.
Conclusion: We Should Aim for Something Better than the Renaissance
This, in not-very-brief, is why we keep telling the myth of the golden Renaissance, and bad Middle Ages.
Now, let’s look again at our other starting question: “If the Black Death caused the Renaissance will the COVID pandemic cause a golden age?” You see the problems with the question now: the Black Death didn’t cause the Renaissance, not by itself, and the Renaissance was not a golden age, at least not the kind that you would want to live in, or to see your children live in. But I do think that both Black Death and Renaissance are useful for us to look at now, not as a window on what will happen if we sit back and let the gears of history grind, but as a window on how vital action is.
The Black Death first: it didn’t cause the Renaissance, no one thing caused the Renaissance, it was a conjunction of many gradual and complicated changes accumulating over centuries (banking, legal reform, centralization of power, urbanization, technology, trade) which came together to make an age like the Medieval but ever-so-much-more-so. The idea that the Black Death caused a prosperity boom comes from old studies which showed that wages went way up after the Black Death, creating new possibilities for laborers to gain in wealth and rise in status (like the golden 1950s). But those were small studies from a few places (mainly bits of England), and we have newer studies now that show that wages only rose in a few places, that in other places wages didn’t rise, or actually went down, or that they started to rise but elites cracked down with new laws to control labor, creating (among other things) the first workhouses, laws limiting freedom of movement, and other new forms of unfreedom and control. What the Black Death really caused was change. It caused regime changes, instability letting some monarchies or oligarchies rise, or fall. It caused policy and legal changes, some oppressive, some liberating. And it caused economic changes, some regions or markets collapsing, and others growing.
If you really want to know what COVID will do, I think the place to look is not Renaissance Italy, but the Viking settlements in Greenland, which vanished around 1410. Did they all die of the plague? No. We’re pretty sure they never got the plague, they were too isolated. But the Greenland settlements’ economy had long depended on the walrus trade: they hunted walruses and sold the ivory and skins, and ships would come from Norway or Iceland to trade for walrus, bringing goods one couldn’t make in Greenland, like iron, or fine fabric, or wheat. But after 1348 the bottom dropped out of the walrus market, and the trading ships stopped coming. By 1400 no ships had visited Greenland for years except the few that were blown off-course by storm. And meanwhile there were labor shortages and vacant farms on the once-crowded mainland. So we think the Greenland Vikings emigrated, asked those stray ships to take them with them back to Europe, as many as could fit, abandoning one life to start another. That’s what we’ll see with COVID: collapse and growth, busts for one industry, booms for another, sudden wealth collecting in some hands, while elsewhere whole communities collapse, like Flint Michigan, and Viking Greenland, and the many disasters in human history which made survivors abandon homes and villages, and move elsewhere. A lot of families and communities will lose their livelihoods, their homes, their everythings, and face the devastating need to start again. And as that happens, we’ll see different places enact different laws and policies to deal with it, just like after the Black Death. Some places/regimes/policies will increase wealth and freedom, while others will reduce it, and the complicated world will go on being complicated.
That’s why I say we should aim to do better than the Renaissance.
Because we can. We have so much they didn’t. We know so much.
For one thing, we know how pandemics work. We know about germs, viruses, contagion, hand-washing, sanitation, lowering the curve. We can make plans, take action that does something. Forget 1348, even in 1918 we didn’t understand how to treat influenza, how it moved, and hand washing was still controversial. 1918 was a US election year but we didn’t discuss delaying or changing the election, there was nothing we could do to make it safer, we didn’t know about six-feet-apart, or sanitizing voting booths, or have the infrastructure to consider vote-by-mail, all we could do was let men (women still had two more years to wait) vote and die. We’ve come a long way.
This year, 2020, this is the first time in the history of this planet that any species has faced a pandemic knowing what it is, and how to take effective action. We aren’t taking perfect action, and we absolutely should be criticizing and condemning the many flaws—some small, some huge—in how it’s being dealt with, but there is real, efficacious action we can take. As an historian, not just of the plague of 1348, but of the plagues of 1435, and 1485, and 1494, and 1503, and 1596, and 1630, and 1656, what I see is those many generations who not only had to live through this over and over, but who had no hope that their children would ever be free of it. We know about vaccines, and that we’ll make one—it’ll take a while, and we’ll mess up various ways along the way, but none of us is afraid our grandchildren will grow up spending one year in ten locked up in their homes like this as COVID-19 spreads; we will solve it. We know we’ll solve it, and any other age in history would treasure that confidence like miracle. Because all Petrarch could say after losing his world in 1348 was that, the next time plague comes back, we should console ourselves by thinking of it as dying with much good company.
We know about mental health now too. We’re talking about the mental health crisis of COVID, the mental health costs of fear, poverty, racial injustice—in 1918 we were still excited by electroshock, and debating the radical new idea that outpatient psych treatment might be a thing, instead of doing only institutionalization. We have the language to talk about the mental cost of crisis, and that language alone opens so many possibilities for helping, acting, aiding that previous eras never had. Without the concept, we couldn’t start to try to treat it—now we can.
And we have more language: social safety net, social welfare, social services, concepts for thinking how state and society can put structures in place to relieve human suffering. We have economics now, not the kind of economics that’s trying to prognosticate the stock market, the basic kind with terms like GDP, and unemployment rate, and wealth gap, and retirement age, and inflation. There were economies in 1348, and even social services, hospitals, orphanages, city grain supplies, but we didn’t have a science for discussing it, vast banks of data comparing how different systems work, or help, or harm. After the Black Death when different places tried different policies for their recovery, they didn’t have comparisons, examples—we do. We won’t be guessing in the dark when each nation decides its recovery plan for this pandemic—we won’t be omniscient, but even partial knowledge makes us powerful. That raises the stakes.
Because, like after 1348, there is about to be big change. There are many options before us, different things that states can do post-COVID, some of which will help with poverty, empower labor, lend a helping hand to those exhausted Greenland Vikings as they start again, and there are other things states can do that will instead widen the gaps, entrench elites, help the rich get richer and see the disempowered locked more inescapably into modern versions of workhouses. Different places will make different choices. Some places will see regime changes, others just policy shifts, but there aren’t vast wheels of history that lock a pandemic into automatically yielding a boom or bust. There is no automatic outcome. Rather, all nations in the world are about to make a set of choices which will have a far larger, deeper impact on the next decades, on lives, rights, options, everything, than the normal choices states make in a normal year. The stakes are higher. Unlike in 1348 we have a lot of knowledge, answers, options, concepts we could try like safety nets, or UBI, or radical free markets, many very different things. Which means that acting now, demanding now, voting, pushing, proposing change, we’re shaping policies that will affect our big historical trajectory more than normal—a great chance to address and finally change systemic inequalities, or to let them entrench. There is no predetermined outcome of pandemic; pandemic is a hallway leading to a room where something big is going to be decided—human beings decide.
I love space exploration. I’ve written novels about it, and a song that makes everyone cry, I make myself tear up thinking about it all the time, especially civilian spaceflight and the hope that this chapter of history might be advanced by curiosity, teamwork, and human hope, not war or competition. But after looking forward to it for so long, the recent SpaceX launch was the first I’ve watched in a long time without tearing up. Because watching a space ship launch while looters are smashing shops outside my window (and cops ignoring them in favor of harassing peaceful protestors & giving carte blanche to the gunwielding vigilante on the corner) feels a lot like Leonardo painting the Mona Lisa while cities around were literally burning (and rich merchants’ private goons guarding their wealth & allies as faction dictated). This year, this specific year, 2020, with the world shut down by plague, and civil strife, and fire in the streets, and teetering distrust in governments, this is the first time our present has reminded me of the Renaissance. But we aren’t the Renaissance—we have social science, and efficacious medicine, and the Enlightenment under our belts, when we learned we can analyze our laws and institutions, and step by step replace them with better ones. We aim for better.
At the Renaissance Society of America Conference some years ago, two scholar friends got into a debate about whether Machiavelli’s world was fundamentally pre-modern, different from our own, or whether fundamentally it faced the same problems we do. Responding to the claim that the Renaissance was far more violent than our present, the advocate of Renaissance-as-modern quoted the statistic that modern Chicago had as many murders every year as Renaissance Florence. The rebuttal that surged in my mind was that the population of Florence was less than 100K, so Chicago’s millions have far fewer murders per capita, but the other speaker had a far better answer. We’re working to change that murder rate. We study it, understand it, plan interventions, act. We believe it’s a problem we can solve, should solve, that citizen and state should act, and if the state will not the state should change. We have policy studies, plans, alternatives.
Petrarch wanted to end the cruel wars for light causes that were wounding Italy, but had no plan beyond sending his poem out into the world, and urging elites to have their kids read Cicero. Machiavelli also wanted to end the cruel wars for light causes, and seeing that reading Cicero had failed he proposed a new way of evaluating history, collecting examples of what worked and didn’t in the past, basing our statecraft and actions on them so the next time we try things we’ll choose more wisely. It was the birth of social science. It took us a long time for us to get good at it, to turn the observations in The Prince into big databases and systematic studies, just as it took a long time for medicine to get from the four humors to our confidence that we can make a vaccine, but we can make one. We can make good social policy. Will we do it perfectly? No. Many bad policies will be advanced, just as vaccines and treatments will be distributed unfairly and slowed down by bigotry and selfishness. But we can do it, we have tools, as real in our hands and libraries as the knowledge of vaccines is real—tools Machiavelli and Petrarch would have given anything to have. We can aim for better than another Renaissance.
Below you’ll find some news, links to excerpts from Terra Ignota book 4, and a discussion of point-of-view in the craft of writing, but I’m posting today mainly to announce that I have an essay about censorship and its relationship with genre fiction in this month’s Uncanny Magazine, which is now free to read online. I’ve been researching censorship for a couple years now, in collaboration with Cory Doctorow, and it was delightful being invited to share my thoughts with the genre fiction writer/reader world because genre fiction has a lot of power to affect our ability to resist censorship, more power than I think most people realize.
It feels strange having an essay on an unrelated political topic come out in the midst of this Black Lives Matter & COVID double-crisis, but they are related if we look more carefully. Every time we see coverage of an injustice, news of brutality or cruelty, news of heroism; every time we talk about the challenges and importance of disseminating medical news; every time we read op-eds and cheer, or disagree, or criticize, share, or condemn; every time someone exposes a fake, a lie; in all these cases we’re depending on free speech, on journalism, analysis professional and amateur, on speech. Networks of digital communication are disrupting everything right now, by amplifying voices that have been silenced. In this, the digital revolution is following the pattern of past information revolutions (printing press, radio, etc.). During any information revolution, there is a cost of switching to the new medium: the cost of new equipment, the cost of setting up distribution and building an audience, the cost in time and effort of learning a new method; whether it’s buying a printing press or learning a new app, there is a cost. Consequently, the first adopters of a new information technology are always those who haven’t been able to communicate with the previous technology, the voices that have been silenced, the communities that have been unable to find each other, or have been actively silenced. First adopters of the printing press included scholars eager to spread rare Cicero to peers spread across Europe, but also religious and political radicals whose demands for change, banned on pulpits and in town squares, could circulate in pamphlets which authorities at first had no way to control. My wonderful colleague Kathleen Belew has done work on the ditto machine, the first cheap way to print small-scale at home, and how (much like the early internet) it empowered many communities to speak and find each other: LBGT+ groups, tropical fish hobbyists, civil rights activists, science fiction fans, linguistic minority communities, and also the KKK, which saw a surge of membership and activity via ditto-printed newsletters, just as it’s seen on digital platforms (Kathleen’s book Bringing the War Home: The White Power Movement and Paramilitary America is invaluable reading right now).
We are living in the crisis of uncontrolled expression that comes with any information revolution, the equivalent of 1517; most of the denunciations of Church corruption in Luther’s 95 Theses had been voiced by others many times before, but in 1517 pamphlet distribution was so fast-yet-uncontrolled that when he released the 95 Theses they were in print in London 17 days after he made them public, enabling a pan-European movement and making it impossible for those in power to silence the calls for change they had silenced before. Black Lives Matter has momentum now around the world, a call for change that can’t be silenced; the hate it battles also has momentum, and amid their clash another wave is gaining momentum, as it does in every information revolution: the wave of those in power (politicians, corporations, alarmed elites) wanting to silence the uncomfortable voices empowered by the new medium. We need to fight this battle too, a battle to find a balance between protecting the new ability of radical voices to speak while also protecting against hate speech, misinformation, and other forms of communication toxic to peace and democracy. As I explain in my essay, genre fiction, we who read it, we who write it, have a lot of power to affect the battle over censorship. These days are hard; as someone both disabled and immunocompromised I can’t go join the protests in the streets, not without both endangering fellow protesters by getting in their way, and the risk of this one moment of resistance destroying my ability to be here helping with the next one, and the next. But I can help on the home front as it were, working to protect the tools of free expression which those out on the streets depend on every minute, every protest, every video exposing cruel realities. Everything we do to strengthen speech and battle censorship protects our best tool, not just for this resistance, but for the next one, and the next. Change needs to speak, hope needs to speak, and one thing we absolutely have the power to do–especially we within the F&SF community–is to defend the instincts that defend free speech. So that’s what my Uncanny essay is about, and I hope it makes you feel a little bit more powerful, with the responsibility that brings. (And if you enjoy it, you can see more discussion of the question in this video, and please support Uncanny Magazine!)
Meanwhile, a few other things:
Two excerpts from Perhaps the Stars, the now-finished 4th book of Terra Ignota,were recently released as part of the Decameron Project, an awesome project which is raising money to protect refugees from COVID by posting a new story every day of the pandemic, in the spirit of Boccaccio’s Decameron. Lots of amazing authors have shared stories or novel excerpts, tons there to enjoy, and these two excerpts from book 4 are philosophical ruminations on the role of distance in the human condition, a bit topical in our current lockdowns and crisis.
I also recently did a giant 2.5 hour marathon podcast episode on the Singularity Podcast, where we talked about progress, technology, history, pandemics, teleology, the singularity, the history of knowledge, the crisis of the late 16th century when there was “too much to know”, what science fiction is for, how learning is a form of joy, and all sorts of things. I think it’s one of the best interview discussions I’ve ever done, and a lot of people have said they were wowed and comforted by it, so it’s highly recommended (when you have the time).
In happy personal news, the French edition of Too Like the Lightning (Trop semblable à l’éclair) has won the Grand Prix de l’Imaginaire 2020 award for Best Translation, for the heroic work Michelle Charrier did reflecting all the complicated things I do with gender, and archaic language, with my thee’s and thou’s and he’s and she’s. Michelle absolutely deserves it, and it makes me especially happy too. A few years ago I heard the French translation of Gene Wolfe’s Shadow of the Torturer had won France’s best translation award–that book was a huge influence on me and Terra Ignota, and I remember wishing at the time that I could someday write something complex and subtle enough that the French translation would require the same skill and mastery to translate. So I’m very happy for Michelle, but it’s also a little wish of mine come true.
Finally, at Balticon 54 last week Jo Walton and I did a craft-of-writing panel focused on point of view, and afterward we had some great discussions in text chat which I thought others might enjoy – I’ve condensed and saved a best-of here (with consent from those who asked the questions). The panel was also filmed and will be online once Balticon does the captioning, and when I figure out how to post a link to it I will do so here but right now I don’t know. Meanwhile, enjoy!
On Writing And Point of View
Question: What I don’t get is why they tell new writers to not have multiple POVs in a novel. I mean, if the story calls for it, and you’re clear on the change, why not?
Jo Walton: Minimizing POVs is good discipline because it’s very easy to get sloppy. So it’s one of those things that’s good advice when you’re starting out, but not a law.
Ada Palmer: I agree that minimizing POVs is often wise. Whenever I find myself wanting a scene to be in a different POV I think really hard about it. Sometimes it’s the right answer, but the fail condition is that you have too many POVs and the reader expects each of them to have follow-through and they don’t
Jo Walton: You need as many as you need, but no more. It’s good discipline as an exercise to try doing without the switch
Ada Palmer: In particular I think one challenge with multiple POVs, especially adding one part-way through, is making clear to the narrator whether we’ll keep seeing this POV again or not. Since once you switch to a new POV this could be a one-time thing, or it could be that we’re now going to constantly take turns, and if you’re doing the one-time thing but a reader thinks you’re doing the many-times thing then the reader can be distracted waiting for narrator #2 to come back and wondering how long it will be. In Too Like the Lightning we do switch narrators a couple times but I’m always careful to make very clear to the reader that it’ll be the exception not the rule. I do it using chapter titles, but it can be done many ways, but you want to make sure you think hard about whether the reader (A) expects this new POV to now be a frequent companion, (B) expects the new POV to be one-time or rare, or (C) doesn’t know. Any of these can be what you want (sometimes C is what you want) but you always want to decide clearly what you want the reader to be thinking, and communicate that in some way. I have a chapter called “Sniper’s Chapter” narrated suddenly by a character called Sniper, and it makes it very clear that it’ll be unique. But another time I might switch and intentionally give no clue how long it’ll be until we see the original narrator again, because I want the reader to not know. I want the reader to have that suspense.
Ada Palmer: A good way to summarize it is that you want to think carefully about whether you want the reader to be in suspense about what the narration will do next, and if so what you want that suspense to be. Do you want there to be very regular alternation of characters? Or irregular so it’s uncertain? Let’s imagine we were doing Romeo & Juliet but jumping POVs. If we regularly alternate Romeo, Juliet, Romeo, Juliet then the reader isn’t in suspense, but if we are mostly Juliet with only occasional Romeo chapters then during any given Juliet chapter the narrator will be wondering how long it’ll be until we see what Romeo thinks of things. Or if we were rotating Romeo, Juliet, Mercutio, Romeo, Juliet, Mercutio, and then we do the death of Mercutio during a Romeo chapter, during the next Juliet chapter the reader will be in suspense wondering what will happen when we would get to the next Mercutio chapter, and guessing (will it be a new character? will it be a ghost? will it be nothing?). That suspense may be something you can use effectively, or it may be something you don’t want that would distract the reader — that’s why you want to always think it through.
Jo Walton: I once did a chapter from the POV of a dead character in the rotation like that
Ada Palmer: We usually think of plot as the main source of suspense, but narration can be a big source of it
Jo Walton: Oh yes
Ada Palmer: One challenge that often makes one resort to a POV is when there’s information you want to get across that your existing narrator(s) wouldn’t have access to. In book 3 of Terra Ignota I had a real struggle at one point where we really needed to know what was going on with one faction (the Mitsubishi) who at that time would not be sharing their info with our narrator (or indeed with any of the narrators we’d had so far). It was a real puzzle for a long time and I was considering using another POV but there wasn’t any new POV that I felt would really justify itself since there wasn’t any character whose interiority I really wanted to share. In the end I realized I could have the narrator overhear a phone conversation in which the faction was talking to a different person that they did have reason to share info with, and that was a much simpler solution to the problem which didn’t require substantially changing the characterization of whoever I would’ve had be the interim narrator. At another point I use a newspaper clipping to achieve the same. Different source of info but no new POV – documents can be great that way, if what you need is to get info across that no narrator would see but you don’t want to gain another narrator.
Question: Would titling chapters by character (in addition to place/date-time) smooth out the potential bumps that make a POV change difficult for the reader?
Ada Palmer: It can, but it doesn’t smooth the first bump, only the later ones. It can be a tool to clearly signal when you’re changing characters (as can style, or tone, or subtitles, etc.) but it doesn’t get over the initial challenge of asking the reader to settle into and get to know a new voice. It’s hard the way your class being moved to a new classroom is hard, it requires adjustment. It’s disruptive. it needs to have payoff: ah, way better chairs! (worth-it) but if it isn’t worth-it, if there isn’t a clear gain (ah, new information!) it can be frustrating.
Question: Would also it help if the new POV has already been present, and to some degree characterized, before the switch?
Ada Palmer: Yes and no. It makes the switch easier, and for people who like that character it’ll make that character be excited. On the other hand, the more new and unexpected the POV the more new and unexpected the information and perspective and expansion of experience that can come with it. In our Romeo & Juliet, if when Mercutio dies our new POV is Friar Lawrence, that’s pretty easy, we know him already, we get to learn more about why he thinks his stupid plan is a good plan, it all works. If the POV is instead Lord Capulet it’s more unexpected, he’s been unsympathetic so far, we don’t know from the play what he’s doing during much of the action, we aren’t excited to enter his head but we’re learning more new stuff and our perspective is more radically different. If our new POV jumps to Cesare Borgia who is camped with his army having just sacked Modena and is thinking of trying to conquer Verona, and his scouts have just come to tell him that Verona is weak thanks to this feud with the Montagues and Capulets and that if Borgia allies with one of them and promises to fight the other it could aid his conquest of the city, suddenly our mind is blown and the story is totally different–but the author really has to follow up on this, and can’t just have it be a one-off! It has to become what the rest of the book is about! Jumping instead to Friar Lawrence or Lord Capulet could be a one-off and still work.
Jo Walton: I want Cesare conquers Verona! In Daniel Abraham’s Dagger & Coin series, he uses absolutely standard fantasy different POVs by chapter, but he uses kinds of characters we don’t expect as POVs. Like Lord Capulet would be. There is in fact an elderly conservative lord who wants people to get off his lawn. You never see POVs like that, so it’s refreshing.
Question: So zooming way out, is the PoV character the one where you know some of their thoughts? How about a scene were they’re not present, but other characters are, but you don’ thear anyone’s thought, just conversation?
Ada Palmer: There are many ways to do that.
Jo Walton: Everything is from some POV
Ada Palmer: The phone conversation example I used is one. Having there be a transcript or in-world document is another. Switching to another POV is another. In general if you want to see a scene but your narrator isn’t there, you want to avoid just narrating it in generic 3rd person because your readers will wonder who is narrating if they’re used to there being a narrator. So you either have to make the voice very different to make clear that it’s absolutely not just another character narrating now, or you need to do something else to signal the difference, like having it be a transcript, or an overheard phone call, or in a different tense, or something clear. Just leaving your narrator w/o changing the narration will be awkward and confusing.
Jo Walton: It’s a really good exercise to filter everything through one POV and then rewrite the same scene through another — not for final story, but to learn. And doing unlikely people is also a good way to learn a lot about how to write. And doing 1st and then 3rd on the same scene.
Question: Do we have to know and care a lot about a new narrator before we switch to them? I feel like they have to be really interesting to make the reader willing.
Ada Palmer: Sometimes, but switching into the POV of someone who’s hidden a lot about themselves can be an amazing moment to suddenly learn the truth about them. What if in our Romeo & Juliet, after Mercutio dies, we suddenly switch into the POV of the Prince of Verona, who’s basically been doing nothing throughout the play and about whom we know very little, but suddenly it turns out he’s actually aware of what’s happening and scheming to get Romeo & Juliet to kill themselves because he wants the Montague and Capulet houses to die out so he can confiscate their goods! Shock! Unexpected! Or what if we instead switch into that random servant who accompanies Romeo to the tomb, whom we know nothing about, but he suddenly turns out to be a prophet who’s used alchemy to predict what’s going to happen and is here to try to prevent the double-suicide, and then we see the tragic fascinating story of what intervenes to make him still fail to save them even though he knows what’s going to happen! Both of those suddenly make an unexplored character’s very unexploredness into something fascinating
Ada Palmer: Another thing that can be powerful is paying attention to when your reader will be excited to get to particular POVs. Sort-of like being excited to see who’ll write the next Mercutio chapter after he dies, you can, for example, set up a pattern where the reader realizes a certain POV must be coming and gets excited
Jo Walton: Martin does that with Jaime Lannister. And with the long absence of Theon. You can see the pattern of antici…..pation
Ada Palmer: Let’s imagine a story where our main POV is the captain of a prison who, and the pattern is that we always have two chapters from the captain’s POV, and then we see one from the POV of one of the prisoners in the cells. And the cells are numbered and we’re counting down from cell 8, then 7, then 6, visiting each prisoner only once. But as we go we keep hearing/learning strange things about the prisoner in cell 2: that prisoner is given strange food, everyone’s scared, everyone just calls it “Number Two” and never uses a name or even a pronoun, we learn it’s been there a looong time, we get into great suspense and excitement as we get toward cell 2. But wait… what’s in cell 1 which we haven’t heard anything about and will come after the super-mega-foreshadowed cell 2? We get meta-suspense. Now, you can achieve most of that suspense w/o switching POV if, instead of being in each prisoner’s head, we instead simply had every third chapter be the captain interacting with that particular prisoner. Doing it while staying in the captain’s head is easier for the reader. But on the other hand switching into their heads could gain a lot. It depends on which the story needs more – smoothness staying with one narrator, or the extra breadth and complexity of getting all those POVs, which would let us plunge quickly into their opinions, experience, backgrounds, knowledge, telling a lot of new info more quickly than the same POV could. Those POVs could let us quickly explore a big giant detailed world build in a way one POV couldn’t, or they could be too complex and more than the story will really make have payoff. And in the sequence, he buildup needs to be worth-it. Whatever is in cell 1 has to stand up even after whatever was in cell 2.
Here the discussion wound down, though of course one could discuss POV forever!!!! But for the meantime here is a short list of works with interesting uses of POV that are useful to read and think about as you want to learn more about unusual or powerful ways to do POV:
Sumner Locke Elliott, The Man Who Got Away
Gene Wolfe, Soldier of the Mist – the narration is a scroll
Gene Wolfe, The Shadow of the Torturer – how complex a first-person narrator can be
Daniel Keyes, “Flowers for Algernon”
Alfred Bester, “Fondly Fahrenheit” (and a lot of other Bester too!)
Agatha Christie, Endless Night
Melissa Scott, The Kindly Ones– we never learn the 1st person narrator’s gender, in the 80s that was a novelty, also it’s really great immersive spaceship and planet SF
Roger Zelazny, A Night in the Lonesome October — dog POV
Ted Chiang’s “Story of Your Life” (2nd person direct address)
Choose Your Own Adventure Books (true 2nd person, unlike 2nd person direct address)
For Jo Walton doing interesting POV things see the short story on Tor.com “Escape to Other Worlds With Science Fiction,” and her forthcoming Or What You Will. (Her Small Change books also have an unusual example of alternating first/third)
And for Ada Palmer, see Terra Ignota, which does a LOT of unusual things with POV, and keeps doing more volume by volume.
The discussion also, at the end, included a discussion of examples how strange POVs can get, including the Chintsubu boys’ love manga by Nase Yamato, which adopts the POV of talking penises, and while I don’t particularly recommend as a literary work but, like Asumiko Nakamura’s short story I Am a Piano, is a fascinating example of how outside-the-box a POV can be.
It was my honor last night to, for the second time, present the John W. Campbell Award for Best New Writer, on behalf of last year’s brilliant winner Rebecca Roanhorse who couldn’t attend this year. Many have asked me to post the text of the speech, which was unluckily disrupted by automated voice recognition subtitles on the screen behind me which garbled the words far too hilariously for the audience to keep from laughing, though it was very clear everyone tried hard. It’s funny, I feel that in any other venue on Earth uproarious laughter during a very serious speech would have felt mortifying, but this community is both so welcoming & respectful and so fun & comfortable that, between the sea of faces scrunched by clear attempts to fight the laughter, and audible shouts of “We love you, Ada!” from the front rows during the laughter roars, it really just felt hilarious and warm. I hope I find a video somewhere so I too can enjoy such disasters as “dog mechanism” for “dogmatic” and “Bored of the Rings and Cream of Thrown” for Lord of the Rings & Game of Thrones. More seriously, it was a great honor to speak again at this year’s Worldcon, and I couldn’t be more proud of Jeannette Ng‘s courageous acceptance speech, bringing attention to the crisis and violence happening right now in her home city of Hong Kong, and to the great responsibility we in the science fiction and fantasy community have to make sure that the theme of empire–which has numerous positive depictions in genre literature from space empires to the returns of kings–does not end up celebrating the dangerous, colonial, and autocratic faces of empire, and that as we explore empire in our work (including in my own work) we do so in ways which examine empire’s problems and advance versions of empire which reverse or rehabilitate it, and which affirm the greater values of free-determination, autonomy, and human dignity.
Separately (though very much in that spirit), I’m working on some Charity Fundraising for Refugees, and will put details in this post below the speech, so please look if you’re interested in helping!
JOHN W. CAMPBELL AWARD PRESENTATION SPEECH 2019 (Dublin Worldcon)
First awarded in 1973, the John W. Campbell Award welcomes outstanding new writers to the genre fiction community. Last year’s winner Rebecca Roanhorse could not attend to present the award this year, but as she and I corresponded about what we wanted, we focused first on our excitement that once again we are welcoming a brilliantly diverse group of new voices with perspectives long under-represented in literature, and second on how many of the finalists for this award administered by the World Science Fiction Convention are authors of fantasy.
In 1620 Francis Bacon published the first proposal for the formation of a community of scientists dedicated to exchanging ideas and collaborating to seek knowledge and technology that would improve the human condition generation by generation. When defining this new category of scholar—the scientist—Bacon described not mere encyclopedist compiling unsorted facts as ants pile sand in their anthills, nor dogmatists who weave elaborate spider webs of theory out of the stuff of their own minds untethered to reality. Rather the scientists like honeybees would gather among the fruits of nature and, processing those fruits through the organs of their own being, produce something good and useful for the world. In this first and richest definition of science, authors of genre fiction are all scientists, all gathering among the fruits of culture, literature, history, scientific discovery and social discovery, and processing those treasures through the diverse and diversifying organs of our being to create worlds, unrealities, which, whether fantasy realms, or eerie near futures, worlds of cosmic horror or alternate history, are good and useful for this world which we make wiser by constantly comparing it to others, worse, better, different, alien, or eerily familiar. In historical fiction, alternate history, and fantastic worlds we genre authors and readers test thousands of governments every year, far more than this little blue planet could ever give us room to try, and by so testing them we yield questions, and warnings, and broadened possibilities which enrich scientific understanding, political science, real government policy, and the palette of possible futures that we believe could come about. There are youth activists striking around the globe today inspired in no small way by the heady optimism of dystopian revolutions or the fantasy overthrow of enchanter tyrants, narratives which celebrate our capacity to resist tyrannies by depicting the victory of action over regimes of terror far darker than any lived reality. Sales of Orwell’s 1984 which have skyrocketed worldwide over the past three years as we face new censorship and surveillance technologies, threats to the global free press, and authoritarian resurgence, but so have sales of Tolkien and of Game of Thrones in fact the whole world of genre fiction whose readers debate good government and when a war is just, and by so doing yield, as Bacon promised, those honey treasures that empower our teamwork to keep building a better and more examined human future. So I say, in the best way, we here at the World Science Fiction Convention are all scientists, part of a community doing what Bacon envisioned, studying our world, testing our hypotheses in innumerable simulations, and thereby giving every generation new tools of empowerment, analysis, action, and global progress social as well as technological. In that spirit please join me in honoring six outstanding scientists of worlds beyond our own: Katherine Arden, S.A. Chakraborty, R.F. Kuang, Jeannette Ng, Vina Jie-Min Prasad, and Rivers Solomon.
So, on that note, I’m working with a number of fellow fantasy and science fiction authors, editors, readers & fans to organize two different things su
One project is “WORLDS OF WELCOME” an effort to raise money for refugees, in this case for RAICES to help those in the camps on the US side of the US-Mexico Border, by organize an online auction of items donated by the F&SF community: signed books, craft items, fanworks & merchandise, custom fiction, editors willing to give query critiques, or members of underrepresented groups willing to give sensitivity reads to in-progress fiction. We hope the auction will run in October. We are currently soliciting donations of items for the auction, and a few more people to help organize it. If interested, please email us at WorldsOfWelcome@gmail.com — more information to come in the next months.
Separately, if you’d like to give immediate and ongoing aid to refugees, I’ve just helped launch a Patreon for Cittadini Del Mondo (Citizens of the World), a brilliant microcharity in Rome which cares for the needs of the thousands of refugees in Italy who slip through the international aid system. This heroic and incredible 12-person team provides thousands of refugees with medical services, legal aid, language courses, prenatal care, and runs an Intercultural Library containing literature and kids’ books in refugees’ native languages, to help people who have lost everything reconnect with their languages and cultures. With such a tiny group even a few dollars a month can make a huge difference in their ability to stock the clinic for winter, buy new socks and shoes for new arrivals, or provide a warm and welcoming place where kids can explore the world of imagination as we all treasure. Please check it out (and pass it on!)
I wrote 752 words of my novel after the pain set in today.
I’m a writer. Getting the words down, advancing the project, is everything to me, my joy, my vocation, my activism, my chance to pay it back and pay it forward, everything. Today about 11:15 AM I felt a “bad pain day” starting to kick in. Sometimes the pain hits crippling levels instantly but today, like many days, I could tell I would have about 30 minutes before it got really severe, maybe 60. I have strong painkillers for bad days, but the problem is they also affect my mind, make me drowsy, loopy, punchy, hazy, a cycling mixture of altered states that make thinking unclear, like thinking through a stage-blindfold like actors use for plays, which you can see through but the world is dim and grainy from the fabric mesh. And I really, really, wanted to write today. And here’s where the teamwork starts, the kind of teamwork that keeps working even when there may not be a team to see.
First I scarfed some leftovers to take the meds I need to take with food, the weaker meds that only partly dull the pain but leave my mind clear to keep working. And while those were kicking in, and while I was still strong enough to walk, I put on the breadmaker on a timer and took some frozen fish out to thaw, so dinner would be easy in the evening when my bash’mates (housemates) got home from work and they’d be free to spend less time cooking and more with me. Note the teamwork at work already in our household, planning to have things on hand like kitchen timers and frozen fish to free us up to deal with pain days. Then I assembled my working nest on the sofa, my pile of blankets each of which has a story that makes me (a present from my Mom, a souvenir from a group trip to Iceland, my Mars blanket which matches the Jupiter one I gave a friend who’s off working on mapping Venus now…), which were all folded together from the last time I had needed them and friends had gathered them together. Next I made a pot of the energizing pain-killing ginseng-oolong tea (gift from another friend) that helps both pain and concentration, and hooked up the electric mini-blanket which yet another friend dashed out to buy me at a convention a couple years ago when the pain was really bad, which I’ve used dozens of times since, every time getting a little more done (whether it’s writing or just email or just rest) thanks to still benefiting from that past act of teamwork. Notice, my support team is seven already even though I haven’t yet interacted with anyone, because past help, and planning help creates a teamwork that helps me make the most out of the few minutes and little strength I do have to get things done before/around the pain. Teamwork that makes me an inch more powerful when I need to be.
I then tell my soon-to-leave-for-his-laboratory housemate it’s a bad pain day and he quickly, perfectly talks through the day plan, when he’ll be available to help or help distract me and when he won’t (x-ray beam experiments wait for no one!), so I know exactly what I can expect as I plan out my day, and how much strength to exhaust on writing and how much I need to save for basic things like being strong enough to make it back to bed at bedtime. I settle in to work, but also pull up a group chat with some friends and tell them it’s a pain day. Now I write, with periods of concentration alternating with patches when the pain flares and my concentration fades and I can’t keep it up. But when I can’t there are my friends discussing free speech and cat memes and our tabletop campaign and the likely human impact of cryptocapitalism, and I can read along and send sporadic happy faces even if I don’t have brain enough to do much more. And it helps, distracts, helps me fight off the tears, because the hardest part of pushing through like this, of sticking with the weak meds, are the frequent points when the pain flares, and shatters my attention, and I’m staring at the ceiling furious that this—this stupid weakness! Pain! this time vampire! this inner entropy!—is stopping me. But when that happens I can pull up chat, and read along, and fight off the rage and grief that make the kind of rage grief loop that sucks me down. And there’s more teamwork than that. When it’s bad I also think about friends, friends who aren’t here. I think about fellow author friends who are also chronic pain sufferers, our conversations, walking along the street, in a cafe, a hotel gym, vivid memories of talking with people who understand, sharing our strategies, how we all fight it together, even when we’re fighting it alone. I think about the books that they finished and smile, and know they think about the ones I’ve done and smile, together. And as the pain waves come I think about other friends, other warm times, encouragement I know they’d give if they were here, will give when they are here which won’t be long. And then I realize that the pain has faded, and the water in the corners of my eyes is easing up, and I plunge in again. For ten minutes or so, before the next pain waive rises again, but ten minutes may mean thirty more words, and—as the Romans say—that is not nothing. So after a long afternoon I have 752 words, and they’re not perfect words, I’ll have to polish them (especially pacing) tomorrow, but they’re good words, especially that one bit where the geometry was tricky, and I’ve laid one more paving stone in this long path toward my everything. Through teamwork, twenty people’s teamwork, more, even if through most of today I was alone. Because being supported sometimes, somewhere, once, carries over, makes me stronger, more powerful, more able to judge how much to push, and try. Support carries forward over time. And tomorrow or the next day it will be worse and I will need the strong drugs and to sacrifice those hours to semiconsciousness. But today, a few days here and there throughout the year, I had the little extra strength to write 752 words, good words of a good novel. And I wanted to share that, share how powerful these good, small acts of support feel from the other side, and what they help us—the many of us who really need them—do.
Written through the pain, and posted without proofreading or editing because I think a sample of the raw thoughts might be valuable in itself, 6/18/2019
NOTE: This post now has two, long substantive comments from me (as well as others from friends and a great poem) so I strongly recommend reading the comment thread, and I’ll likely eventually turn the comments into a follow-up post. (Though not until this bout of pain has stopped. 6/21/2019)
I was recently interviewed for a piece in the Times on why the philosophy of stoicism has become very popular in the Silicon Valley tech crowd. Only a sliver of my thoughts made it into the article, but the question from Nellie Bowles was very stimulating so I wanted to share more of my thoughts.
To begin with, like any ancient philosophy, stoicism has a physics and metaphysics–how it thinks the universe works–and separately an ethics–how it advises one to live, and judge good and bad action. The ethics is based on the physics and metaphysics, but can be divorced from it, and the ethics has long been far more popular than the metaphysics. This is a big part of why stoic texts surviving from antiquity focus on the ethics; people transcribing manuscripts cared more about these than about the others. And this is why thinkers from Cicero to Petrarch to today have celebrated stoicism’s moral and ethical advice while following utterly different cosmologies and metaphysicses. (For serious engagement with stoic ontology & metaphysics you want Spinoza.) The current fad for stoicism, like all past fads for stoicism (except Spinoza) focuses on the ethics.
Thinking Spots: Stoic Metaphysics and Ontology
Stoic ontology and metaphysics are sufficiently awesome that I must give it a couple paragraphs before I move to the ethics, though the ethics are the core of its popularity today. Stoics were monists; if dualists like Plato and Descartes believe there are fundamentally two things (matter and non-matter, for example), monists believe there is fundamentally one thing. Not just one category of thing (Epicurean atomists, for example, think there is only one kind of thing: atoms) but actually one single thing. The stoics posited that the universe is one enormous contiguous single object. Different parts of it manifest different qualities, but are the same. Just as polkadot fabric may manifest blueness here and whiteness there but remains the same object, so the part of the universe which is your hand manifests firmness and warmth and opacity, and the part which is the air manifests softness and transparency, but they are the same object. And when you seem to move your hand, in fact there is no motion, rather the part of the universe that was manifesting the transparency and softness of air before is manifesting the firmness and opacity of arm now and vice versa. Think of the pixels on a screen: what seem to be objects moving are in fact different parts of the screen changing color (i.e. changing quality) in sequence, creating the illusion of motion whereas in fact there is only variation in the surface of an object. (This is the stoic solution to Zeno’s paradoxes of motion discussed here). The stoic living universe is thus somewhat like the skin of a mimic octopus, able to seem to be become a myriad different things while it remains one. And in addition to blueness, and whiteness, and opacity, and warmth, other attributes the universe manifests more in some places than others include what we would call in modern terms sentience, self-awareness, and reason–thus the human being is a spot of sentience against a background of less sentient substance, like a white spot on blue. But, the stoics argue, any property which is possessed by the part is possessed by the whole, so while sentience and reason are concentrated in the spots which are living humans, the whole thing is a vast, intelligent, rational whole, and when we die we merge back into it. Thus there is no individual immortality, but we are all part of something greater which is eternal, wise, and infinite.
Stoicism was likely influenced by Buddhism through contact with India during the wars of Alexander the Great, and shares a lot with Buddhism: the whole universe is one vast, living, divine whole. Life is full of suffering, but that suffering is a path to understanding a larger good. And there is a universal justice on the large scale beyond what a human from our limited P.O.V. can understand. In Buddhism this is karma, while for the stoics it is Providence, the same concept of Providence that Christianity later borrowed, which argues that everything in the world which seems bad is actually good in a way we cannot fully understand because of our limited perspective. It is as if we are a fingertip; we cannot understand why we must suffer the evil of being repeatedly banged against a hard, unyielding surface, because we don’t have the means to understand that the larger organism is typing up a blog post about stoicism, but if we did have the means to understand we would recognize that it’s worth-it on the large scale. The stoic justification for claiming the universe is perfect is the patterns we see in nature: trees have roots to drink the water they need, woodpeckers that eat bugs have beaks the shape they need to be, woodland animals have woodland camouflage, desert animals have desert camouflage, everything fits together in a vast, functional whole which (without Darwin to offer an alternative) the Greeks agreed implied intelligence, either in a creator (Aristotle’s demiurge), a source (Plato’s Good), or, for the stoics, the universe itself.
The stoics also argued (followed by some Christian thinkers) that there is no self-determination. We will all end up going where the Plan will have us go no matter what, but the one thing we do have power over is our own inner responses to the path fate gives us: do we curse, complain, fight, shake our fists at the heavens, or do we ascent, accept, relax, and gaze in happy awe on the vastness of which we are a part? A classic stoic image (and after this I’ll turn to ethics and the tech crowd) is that the human being is like a dog tied behind a cart. The cart is going somewhere, and there is absolutely nothing the dog can do to change the course the cart will take. The dog has freewill only in one thing: the dog can fight, snarl, tug at the collar, gnaw on the rope, dig its claws into the dirt until it bleeds, and exhaust itself with fighting, or it can trot along contentedly and trust the driver.
An Action Ethics
The majority of surviving stoic writings focus, not on the metaphysics, but on the actionable conclusion: given all this, how do we teach ourselves to assent? To become the contented dog who trusts in Providence enough to follow where our paths lead without being made miserable by anxiety, fear, and resistance? Stoics therefore teach self-mastery and detachment: you can’t keep terrible things from happening but you can control your own internal reaction to them and work on preventing yourself from being overwhelmed by them. You wake up to some terrible news in the morning: do you brood on it all day and lose your productivity and wellbeing? Or do you take control and carry on?
A lot of the surviving stoic writings are maxims, short pieces for contemplation designed to help you dwell less on bad things that are happening, sometimes more imagery than argument. Imagine–for example–that life is like being a guest at a banquet. Platters are being passed around and people are reaching out and taking what is offered them. Some platters come to you and you take of them–other platters never make it to you, or are empty when they do. But you are a guest, these things were not yours, they were offered as gifts, so you have no reason to be angry that you can only taste some of them–better to enjoy the platters that do reach you, and remember that the host who offered them is kind.
This is where stoicism serves very much like a self-help book, or more generally as philosophical therapy, which is what classical philosophies largely aimed to provide. Stoicism’s recommendations for how to resist pain are exquisite, as in this example from the Meditations. And the metaphysics crops up mainly as a way to justify the advice:
XXV. What a small portion of vast and infinite eternity it is, that is allowed unto every one of us, and how soon it vanisheth into the general age of the world: of the common substance, and of the common soul also what a small portion is allotted unto us: and in what a little clod of the whole earth (as it were) it is that thou doest crawl. After thou shalt rightly have considered these things with thyself; fancy not anything else in the world any more to be of any weight and moment but this, to do that only which thine own nature doth require; and to conform thyself to that which the common nature doth afford.
The ontology here serves the therapy. You lost the election? Got passed over for promotion? Got a bad review? These things are small and fleeting within the larger whole, all wealth will perish in infinity, all fame fade, nothing serious was really lost. You lost your arm to disease? It was not yours to begin with, it was leant to you be a kind universe which has a right to take it back again. You lost your best friend? Again, this was a brief good thing the universe leant you, don’t dwell on it, look instead to the other good things that still surround you. Goods are real, evils an illusion, and if you can believe that it becomes easier–the stoics promise–to let go. The approach works, sometimes. Scientific studies tell us that pain is more emotionally terrible when we know/believe it’s actually damaging us, i.e. that the same number of nerves firing off is more upsetting when than when we believe it’s permanently damaging a body part than when we know it’s hot wax or an electroshock and the effects won’t be lingering. So if you can actually convince yourself that nothing really important has been destroyed when something affects your fame, or fortune, it does hurt less. And millions of people over thousands of years have found stoicism a comfort on life’s tumultuous sea.
An Ethics for the Rich and Powerful
At this point I want to remind the reader that I personally love stoicism. It’s gorgeous. It’s brilliant. Revisiting it I find it always challenges assumptions, pushes me to hold myself to high standards, gives me new ideas to chew on. Its major texts, Epictetus, Marcus Aurelius, Seneca, are ones I love to teach, love to revisit, love to grapple with again and again. I will continue to praise, and teach, and write about, and read, and make use of stoicism all the days of my life. But…
The new popularity of stoicism among the tech crowd, and also on Wall Street which is another place that’s been reading and naming things after stoics recently, is strikingly similar to stoicism’s popularity among the powerful elites of ancient Rome. In Hellenistic Greece, stoicism had been one of several different popular philosophical schools, along with Platnonism, skepticism, Pythagoreanism, cynicism, Aristotelianism, Hedonism etc. (Quick tip: names of philosophical systems are generally capitalized when named after people, not capitalized when named after other stuff, as in cynicism from cynos, dog; stoicism from stoa, porch, where the first stoics held their classes.) And like the rest of these ancient schools, stoicism focused on eudaimonia, i.e. happiness or the good life, the idea that the purpose of philosophical study was not primarily to understand everything, or to achieve power through knowledge, but to achieve personal happiness, usually through inner tranquility and armoring the soul against the slings and arrows of outrageous fortune (see my essay on eudaimonia for more.) Stoicism was one of a number of methods to attempt this, so like all ancient schools it fulfilled the roles of a self-help book and Science 101 textbook rolled into one.
But in Rome stoicism surged in popularity compared to all the other systems, because it was the one Greek ethics which worked well for the rich and powerful. Other schools like Platonism, cynicism, and Epicureanism warned followers that participation in politics and the pursuit of wealth, power, or honor would only lead to stress and risk, and were incompatible with happiness. Epicurus said the happy life was found by leaving the political urban world to sit in a secluded garden, eating a simple meal while conversing with good friends. Cynicism advocated the more extreme step of renouncing personal property and living like a stray dog scrounging beside the road, which has no fear of being robbed or losing its status because it has nothing to lose. The Pythagoreans and many other sects lived in isolated communities not unlike monastic orders, and used strict diets, ascetic dress codes, even vows of silence. Plato too specified that the philosopher kings of the republic are made unhappy by the stress of having to rule, and a number of ancient figures even used the stress of rule to argue that the gods can’t possibly hear and act on human prayers or else the gods would be perpetually harassed and unhappy.
Stoicism, on the other hand, stressed the idea that everyone is part of a large perfect whole and thus that it’s everyone’s duty to fulfill the role Fate allots. In the ordering of nature the woodpecker should peck, the deer should graze, the bee should pollinate, and the wolf should hunt and kill. We too as humans have a duty to fulfill our roles, be that as servant, merchant, slave, or king. Some stoic authors were slaves themselves, like Epictetus author of the beautiful stoic handbook Enchiridion, and many stoic writings focus on providing therapies for armoring one’s inner self against such evils as physical pain, illness, losing friends, disgrace, and exile. But other stoic philosophers were great leaders of states, including leading statesmen like Cicero and Seneca, and the Emperor Marcus Aurelius.
Stoicism caught on among Roman elites because it was the one form of philosophical guidance that didn’t urge them to renounce wealth or power. Politics is stressful, but rather than giving it up to live like a monk or a dog, stoicism says you should continue the hard work seek to attain an inner attitude in which you will not suffer misery when you do fail, when you do lose the election, face the criticism, suffer the setback, feel the blows of fortune. Stoicism alone recommended inner detachment, not walking away. For Roman patrician statesmen with long family traditions of political leadership, walking away from civic participation was a non-starter (especially since Roman ancestor worship meant that achieving a name in politics was also a religious duty which your very afterlife depended on!). Stoicism finally offered a philosophical ethics useful to the statesman, which is why Cicero–a skeptic who engaged with many sects of philosophy–favors it in his dialogs more consistently than any other sect (this may not sound like a strong endorsement but is a high a very high bar for Cicero. And Cicero is a very big deal).
Thus, turning to the questions that Nellie asked me for her article, when I see a fad for stoicism among today’s rising rich, I see a good side and a bad side. The good side is that stoicism, sharing a lot with Buddhism, teaches that the only real treasures are inner treasures–virtue, self-mastery, courage, charity–and that all things in existence are part of one good, divine, and sacred whole, a stance which can combat selfishness and intolerance by encouraging self-discipline and teaching us to love and value every stranger as much as we love our families and ourselves. But on the negative side, stoicism’s Providential claim that everything in the universe is already perfect and that things which seem bad or unjust are secretly good underneath (a claim Christianity borrowed from Stoicism) can be used to justify the idea that the rich and powerful are meant to be rich and powerful, that the poor and downtrodden are meant to be poor and downtrodden, and that even the worst actions are actually good in an ineffable and eternal way. Such claims can be used to justify complacency, social callousness, and even exploitative or destructive behavior.
Seen in the best light, a wealthy person excited by stoicism is seeking a philosophy that helps the mind resist greed and the capitalist rat race and offers a wiser perspective and inner happiness; seen in the worst light it can be a tool for justifying keeping one’s wealth and power and not trying to help others. In that sense it reminds me of the profession of wealth therapists who help the uber-wealthy stop feeling guilty about spending $2,000 on bed sheets or millions on a megayacht. Wealth does come with real emotional challenges, but as society calls more and more for fundamental reform to close the wealth gap and reduce the power wielded by the 1%, cultivating a pro-status-quo attitude can also be a way to deflect pressure to try to address society’s ills.
Seneca, an author I absolutely love, wrote exquisite maxims about selflessness and virtue which have been backbones of moral and political education for two millenia. So powerful are his arguments that Petrarch, when comparing the strengths of the ancient Romans and ancient Greeks in different arts (Homer v. Virgil in poetry, Demosthenes v. Cicero in oratory, Thucydides v. Livy in history etc.) concluded that Seneca alone makes the Latins wholly superior to the Greeks in matters of ethics. Seneca also risked his life trying to curb the tyranny of Nero, and eventually died for it. But for all Seneca’s powerful advice about the big picture and the meaninglessness of wealth, he was also a slave-owner who, when alerted that his male slaves were sexually abusing his female slaves, set up a brothel in his estate so he could make his male slaves pay him for the privilege of abusing his female slaves–not quite the behavior we imagine when Seneca says money is meaningless and all living beings are sacred. But stoicism urges us to turn our critical eye inward and improve ourselves, not to turn it outward and improve our worlds. It gave Seneca the courage and resolve to face the danger of Nero’s deadly whims day by day in order to do his duty to the Roman political elite, but it didn’t encourage him to question his world order.
Stoicism is an intellectually rich and stimulating system, and wonderful therapy against grief, against dwelling on setbacks, and against getting caught up in the chase for fame and fortune and the blinders of the rat race. It reminds us to zoom out from a world of praise, and blame, and status, and cruel things people said on Twitter, and the competition to see made the most sales, or had the most hits, or got the largest raise, all things which can be genuinely emotionally devastating if we let ourselves get too caught up in them. In all those ways stoicism is a great match for Silicon Valley, for Wall Street, also for my world of academia and tenure and their stresses and injustices. It’s also a great match for congresspeople, authors, journalists, actors, entrepreneurs, everyone whose life contains stresses and setbacks and moments when we need help to let us to take a deep breath and let it go. But Cicero was not Voltaire, and did not look at the evils and injustices around him and conclude that he should wield his power to make a fundamentally better world–he focused only on coping with the world as it already was, and fulfilling his duties within it. Stoicism predates the concept of human-generated progress by more than a millennium. It doesn’t teach us how to change the terrible aspects of the world, it teaches us how to adapt ourselves to them, and to accept them, presuming that they fundamentally cannot be fixed. But we have two millenia more experience than Seneca. We know many of life’s evils can’t be fixed, but we also know, with human teamwork and the scientific method and a dose of Bacon and Voltaire, some of them can.
That’s why when I hear that rich, powerful people are into stoicism I think it’s great that people are excited by the idea that we should hold all life sacred and look for meaning beyond wealth and worldly power. I think it’s a great philosophy for anyone, and certainly for those who need help zooming out from a high-stress, high-competition world to think about the human and humane big picture, and to pay more attention to self-care, and loving others. But it also makes me a little wary. Because I think it’s important that we mingle some Voltaire in with our Seneca, and remember that stoicism’s invaluable advice for taking better care of ourselves inside can–if we fail to mix it with other ideas–come with a big blind spot regarding the world outside ourselves, and whether we should change it. An activist can be a stoic–activism absolutely needs some way to help cope with the pain when we pour our hearts and hours into trying to help someone, or pass new legislation, or resist, and fail. For such moments, stoicism is a precious remedy against despair and burn-out, but it doesn’t in itself offer us the impetus toward activism and resistance in the first place. That we need to get from somewhere else.
It’s spring 2019 and crises are coming thick and fast, but one of them which may have an extra deep, extra wide, extra lasting, and extra invisible impact is the new proposed EU Copyright Directive, whose Article 11 and Article 13 propose, among other things, to (A) radically and permanently change who owns news and has a right to circulate and report it, (B) demand filters to preemptively censor content that will be expensive, automated, easy for trolls to exploit, and difficult for people to appeal, and (C) put huge expensive requirements on creators of online content which will make it basically impossible for individuals or small groups to create and launch new web spaces, making it much harder for anyone but established media giants to create new content.
I wrote a short essay about the issue this morning, “How #Article13 is like the Inquisition: John Milton Against the EU #CopyrightDirective” looking at how this crisis resembles the print revolution, but it ended up being posted on BoingBoing, instead of here, so I hope you enjoy it. I’ll also add that, after a year looking at how information revolutions stimulate new kinds of censorship, my take-away is this: information revolutions democratize speech and thus make marginal voices louder. Whether today or 400 years ago, many of these are radical voices, voices which were marginalized and silenced in traditional fora and thus have an extra incentive to go to the effort to adopt new methods. these radical voices tend to be at all fringes of politics: radical religion, radical conservatism, radical progressivism, radical sexualities and identities, fire & brimstone preachers and civil rights advocates, Calvinist visionaries and GLBT groups, Voltaire and the KKK. This has a thousand consequences, but one is that it scares governments, and makes publics easy to rile up against frightening new voices. And that makes it easy for corporations and other profit-seeking actors to lobby for policies that they claim are to protect speech, or protect journalism, or protect the country, or protect children, etc. but are actually framed to maximize their own profits. Frightened governments and alarmed populaces are very vulnerable to this manipulation. It happened in the 1640s. It’s happening right now, and we in the digital revolution need to look very seriously at John Milton who fought against this (and failed) during the print revolution if we want to learn from earlier mistakes and protect the internet as the most powerful engine of public knowledge and empowerment ever created. So please, read up about the crisis, and, if you can, take action!
This year I was honored to present the 2018 John W. Campbell Award for Best New Writer at Worldcon’s Hugo Awards Ceremony, and several people have asked me to post my presentation speech, in which I used Japanese examples to talk about the invaluable impact of new authors expanding the breadth of what gets explored in genre fiction’s long conversation. Here is the speech, followed by some expanded comments:
First awarded in 1973, this award was named for John W. Campbell, the celebrated editor of Astounding and Analog who introduced many beloved new authors to the field. This is not a Hugo award, but is sponsored by Dell Magazines, and administered by Worldcon. Spring Schoenhuth of Springtime Studios created the Campbell pin, and the tiara made by Amanda Downum was added in 2005/2006. This award is unusual for considering short fiction and novels together, providing a cross-section of innovation in the field, and, often, offering a first personal welcome to new writers unfamiliar with the social world of fandom.
I’m currently curating an exhibit on the history of censorship around the world, and one section of the exhibit keeps coming to mind as I consider the Campbell Award. Immediately after World War II, in Japan authors and journalists were effectively forbidden to talk about the war, due to censorship exercised by both the reformed Japanese government and American occupation forces. This left a generation of kids desperate to understand the events which had shattered their world and families, but with no one willing to have that conversation, and no books to turn to. Enter Osamu Tezuka whose 1952 Astro Boy (Tetsuwan Atomu, 1952-68) bypassed censors who saw it as merely a kids’ science fiction story, while it depicted a civil rights movement for robot A.Is., including anti-robot hate-crimes, hate-motivated international wars, nuclear bombs, and the rise of the robot-hating dictator “Hitlini.”
Tezuka’s science fiction became the tool a generation used to understand the roots of World War II and how to work toward a more peaceful and cooperative future, but what makes this relevant to the Campbell Award is the next step. Many autobiographies of those who were kids in Japan in the 1950s describe reading and re-reading Tezuka’s early science fiction until the cheap paperbacks fell apart, but by the later 1960s these same young readers became young authors, like Yoshihiro Tatsumi, Keiji Nakazawa, and their peers. They in turn led a movement to push the envelope of what could be depicted in popular genre fiction in Japan, writing grittier more adult works, battling censorship and backlash, and ultimately opening a space for more serious genre fiction. These new voices didn’t just contribute their works, they changed speculative fiction to let Tezuka and other authors they had long looked up to write new works too, finally depicting the war directly, and producing some of the best works of their careers, including Tezuka’s Buddhist science fiction masterpiece Phoenix.
These authors I’m discussing are all manga authors, comic book authors, but the difference between prose and comics doesn’t matter here, their world like ours was and is a self-conscious community of speculative fiction readers and writers dedicated to imagining different presents, pasts, and futures, and thereby advancing a conversation which injects imagination, hope, and caution into our real world efforts to and build the best future possible. It is in that spirit that the John W. Campbell award welcomes to our field not only today’s new voices but the ways that these voices will change the field, stimulating new responses from everybody, from those like John Varley and George R. R. Martin who were Campbell finalists more than forty years ago, to next year’s finalists. This year’s finalists are Katherine Arden, Sarah Kuhn, Jeannette Ng, Vina Jie-Min Prasad, Rebecca Roanhorse, and Rivers Solomon.
The examples I discussed in this speech come from my exhibit’s case on the censorship of comic books and graphic novels, which are targeted by censorship more often than text fiction because of their visual format (which makes obscenity charges easier to advance), their association with children, and the power of political cartoons.
Tezuka’s manga I discuss in the exhibit with the chilling title “Childhood Without Books” since during World War II a generation of Japanese kids grow up in a broken school system which had all but shut down or been transformed into a military pre-training program, while censored presses produced only war propaganda, and Japan even had a ban on “frivolous literature” which generally meant anything that wasn’t for the war. In effect, a generation of kids grew up with no access to literature, and plunged straight from that to the new era of post-war censorship. Numerous autobiographies by members of this generation vividly recount the arrival of the first bright, colorful books by “God of Manga” Osamu Tezuka, such as New Treasure Island, Lost World, Nextworld, and above all Astro Boy whose depictions of anti-robot voter suppression tactics are very powerful today, while its repeated engagement nuclear bombs and other weapons of mass destruction were, for adults and kids alike, often the first and only available literary discussion of nuclear warfare. Tezuka also made a point of discussing racism as a global issue, and Astro Boy depicts lynch mobs in America, the Cambodian genocide, and post-colonial exploitation in Africa.
Thus, while being perceived as “for kids” often brings comics under extra fire, in the case of Astro Boy, censors ignored a mere science fiction comic, which let Tezuka kick start the conversation about the mistakes of the past and the possibilities of a better future.
Making Room for Adults: One young reader who read and reread Tezuka’s early manga until they fell apart was Yoshihiro Tatsumi, whose autobiography A Drifting Life begins with Tezuka’s impact on him in his early post-war years. As Tatsumi himself began to publish manga in the 1950s-70s, Japan experienced its own wave of public and parental outrage about comics harming children similar to that which had affected the English-speaking world slightly earlier. Since the Japanese word for comic books, manga, literally means “whimsical pictures” critics argued that manga must by definition be light and funny. Tatsumi coined the alternate term gekiga(“dramatic pictures”) adopted by a wave of serious and provocative authors who set out to depict serious dramatic topics, such as crime stories, suicide, sexuality, prostitution, the debt crisis, alienation, the psychology of evil, and the dark and uncomfortable social issues and tensions affecting Japanese society.
By the 1970s, the efforts of Tatsumi and his peers to make space for mature manga helped to expand the range of what artists dared to depict, contributing to the loosening of censorship and social pressure, which in turn let thethe authors Tatsumi and others had looked up to as children to finally treat the war directly. Thus Tatsumi’s efforts moving forward from his childhood model Osamu Tezuka in turn paved the way for Tezuka to finally own including Message to Adolfwhich depicts how racism gradually poisons individuals and society, Ayako which depicts the degeneration of traditional Japanese society during the post-war occupation, MW which depicts government corruption and the human impact of weapons of mass destruction, sections of his beloved medical drama Black Jackwhich treat war and exploitation, Ode to Kirihitowhich treats medical dehumanization and apartheid in South Africa, Alabasterwhich treats ideas of race and beauty in the USA, and his epic Phoenix, considered one of the great masterpieces of the manga world.
Another of Tezuka’s avid early readers was Hiroshima survivor Keiji Nakazawa, who found in art and manga hope for a universal medium which could let his pleas for peace and nuclear disarmament cross language barriers. Many of the grotesque images of gory melting faces in Nakazawa’s harrowing autobiography Barefoot Gen are indistinguishable from the imagery in violent horror comics advocates of comics censorship so often denounce as harmful to children.
Our impulse to place political works like Barefoot Gen in a separate category from graphic horror or pornography despite their identical visual content is reflected in many governments’ obscenity laws, which ban vaguely-defined “obscene” or “indecent” content and often demand that works accused obscenity prove they have “artistic merit” to refute the charge, a rare situation where even legal systems with “innocent until proven guilty” standards put the burden of proof on the defendant. Some modern democracies which have state censorship, such as New Zealand, have worked to improve this by creating legislation which defines very clearly what can be censored (for example depictions of sexual exploitation of minors, or of extreme torture) rather than banning “indecent” content in the abstract. (I strongly recommend the New Zealand Chief Censors’ endlessly fascinating censorship ratings office blog which offers a vivid portrait of the trends in modern censorship, and what censorship would probably look like in the USA without the First Amendment).
If you’re interested in looking at some of these works, beyond Astro Boy, my top recommendations are Tezuka’s Message to Adolf and the work of another giant of the early post-war, Shigeru Mizuki, best known for his earlier Kitaro series which collects Japanese oral tradition yokai ghost stories. After the efforts of Tatsumi and others broadened the scope of what manga was allowed to depict, Mizuki published his magnificent Showa: a History of Japan, recently published in English by Drawn & Quarterly.
The first volume depicts the lead up to WWII in the 1920s-30s, and is fascinating to compare to the current political world, since it shows how Japanese society was became gradually more militarized and toxic due to tiny incremental short-term political and social decisions which feel very much like many one sees today, but paralleled by severe restrictions on speech and suppression of active resistance different from what one sees today. Ferociously critical of Japan’s government and warmongers, Mizuki’s history is also autobiography, depicting himself as a child, and how the day to day games kids played on the street became more violent and military, playing soldier instead of house, as the society drifted toward fascism.
It’s an extraordinarily powerful read, and particularly captures how, parallel to political events, moments of celebrity controversy and sensational news reflect and propel cultural shifts – think of how 100 years from now someone writing a history of the rise of America’s alt right movement would not include Milo Yiannopoulos, who had no demonstrable direct political role, yet for those living on the ground in this era he was clearly a factor/ indicator/ ingredient in the tensions of the times. Mizuki includes incidents and figures like that which parallel the political events and his family’s experiences, recreating the on-the-ground experience in a way unlike any other history I’ve read. I can’t recommend it enough to anyone interested in what fascism’s rise can teach us about today, and about how cultures change.
The idea: Revolutions in information technology always trigger innovations in censorship and information control, so we’re bringing together 25 experts on information revolutions past and present to create a filmed series of discussions (which we will post online for all to enjoy!) which we hope will help people understand the new forms of censorship and information control that are developing as a result of the digital revolution. And we’ve put together a museum exhibit on the history of censorship, a printed catalog with 200+ pages of full color images of banned and censored books, which you can get as a Kickstarter thank-you. More publications will follow.
For those who’ve wondered why there haven’t been many Ex Urbe posts recently, the work for this project has been a big part of it, though other real reasons include my chronic pain, and the tenure scramble (victory!), and racing to finish Terra Ignota book 4, and female faculty being put on way too many committees (12! seriously?!). But now that the preparatory work of the project is done, I should be able to share more here over the coming weeks and months.
The project was born out of Cory Doctorow and me sitting down at conventions from time to time and chatting about our work, and over and over something he was seeing current corporations or governments try out with digital regulation would be jarringly similar to something I saw guilds or city-states try during the print revolution. One big issue in both eras, for example, was/is the difference between systems that try to regulate content before it is released, i.e. requiring books to have licenses before they could be printed, or content to be vetted before it is published (think the Inquisition, the Comics Code Authority, or movie ratings in places like New Zealand where it’s illegal to screen unrated films), vs. systems that allow things to be released without oversight but create apparatus for policing/ removing/ prosecuting them after release if they’re found objectionable (like England in the 16th century, or online systems that have users flag content). Past information revolutions–from the printing press, to radio and talkies–give us test cases that show us what effects different policies had, so by looking, for example, at where the book trade fared better, Paris or Amsterdam, we can also look at what effects different regulations are likely to have on current information economies, and artistic output. We’ve got people who work on the Inquisition, digital music, the birth of copyright, ditto machines, Google, banned plays, burnings of Jewish books, comic book censorship, an amazing list!
There will more to share over the next months as the videos go online, but today I want to share one of the fun little pieces I wrote for exhibit on Book Burning. Writing for exhibits is always an extra challenge, since only so much can fit on a museum wall or item label, so, 2+ millenia of of book burning… can I do it justice in 550 words?
We can divide book burnings into three kinds: eradication burnings which seek to destroy a text, collection burnings which target a library or archive, and symbolic burnings which primarily aim to send a message.
The earliest known book burnings are one mentioned in the Hebrew Bible (Jeremiah 36), then the burning of Confucian works (and execution of Confucian scholars) in Qin Dynasty China, 213-210 BC. Christian book burning began after the Council of Nicaea, when Emperor Constantine ordered the burning of works of Arian (non-Trinitarian) Christianity. In the manuscript era eradication burnings could destroy all copies of a text—as in 1073 when Pope Gregory VII ordered the burning of Sappho—but after 1450 the movable type printing press made eradication burnings of published material effectively impossible unless one seized the whole print run before copies were dispersed. This was difficult for even the Inquisition, but it still practiced frequent symbolic book burning, especially in the Enlightenment, when a condemnation from Rome required Paris to publicly burn one or a few copies of a book, while all knew many more remained. When the beloved Encyclopédie was condemned, the French authorities tasked to burn it burned Jansenist theological writings in its place, a symbolic act two steps removed from harming the original.
Since print’s advent eradication burnings have diminished, though collection burnings continue, often targeting communities such as Protestant or Jewish communities, language groups such as indigenous texts in Portuguese-held Goa (India), universities whose organized collections are unique even if individual items are not, or state or institutional archives which contain unique content even in an age of print. Regime changes and political unrest have long been triggers for archive burnings, such as the burning of the National Archives of Bosnia and Herzegovina in 2014. Some book burnings result from smaller scale conflicts, as in 1852 when Armand Dufau, in charge of the school for the blind in Paris, ordered the burning of all books in the newly-invented braille system, of which he disapproved. Nazi burnings of Jewish and “un-German” material employed eradication rhetoric but were mainly collection burnings, as when youth groups burned 25,000 books from university libraries in 1933, or symbolic burnings, performing destruction to spread fear among foes and excitement among supporters while many party members retained or sold valuable books stolen from Jewish collections rather than destroying them.
Today, archived documents and historic manuscript collections remain most vulnerable to eradication burning, such as those burned in Iraq’s national Library in 2003, in two libraries in Tumbuktu in 2013, and others recently burned by ISIS. Large-scale book burnings in America have included the activities of the New York Society for the Suppression of Vice (founded 1873) which boasted of burning 15 tons of books and nearly 4 million “lewd” pictures, burnings of comic books in 1948, and burning of communist material during the Second Red Scare of the 1950s. Since then, most book burnings in America have been small-scale symbolic burnings of works such as Harry Potter, books objected to in schools or college classrooms, or of Bibles or Qur’ans. In a rare 2010 case of an attempted eradication burning, the Pentagon bought and burned nearly the whole print run of Antony Shaffer’s Operation Dark Heart, which—authorities said—contained classified information.