ANTHEMS
2. Per Anthony Esolen, song in popular culture is not the product of professional entertainers, but of what people themselves sing (or play).
3. Some of the lyrics are de trop, but the tune is exceptional.
Another fellow who appears to see his function as agreeably adjusting to the will and designs of women around him is Dr. Joseph Knippenberg of Ashland University, the moderator of the blog No Left Turns. I have had occasion of late to offer an assessment of the manners and moral reasoning of his distaff blogger. Neither she nor her defenders mounted much of a response. Dr. Knippenberg's response was to ban me. Easy come, easy go.
Nevertheless, I shall offer several assertions:
1. It is often said that correllation does not establish causality. It is also true that spatial or temporal juxtapostion do not establish it either.
2. When a man has lost three fingers in an industrial accident, it is sickly bad form to appear in the emergency room and berate him for failing to shower and shave that morning.
3. A municipal government which refuses to inquire into (much less punish) wrongdoing by its officers cannot legitimately complain the aggrieved seek to have the truth laid bare in discovery proceedings.
4. People are educated in correct conduct incrementally in the course of their daily interactions; principles of correct conduct may be fairly stable and discernable through reflection; enforcement of correct conduct may be mitigated in degree but seldom will compreshensive dispensations be offered; an assessment of performance in the realm of correct conduct is properly undertaken with reference to the education the subject has had up to this point; the severity of sanctions are properly proportionate to performance; education in good conduct begins at the point of departure of what the student has learned thus far; education may incorporate rebukes, but it does not commence with them.
5. The essence of a person can be understood as a gemstone: its attributes are what emerges from the acts and dispositions undertaken or entertained throughout each moment of a person's life. Each facet is an act, and whether it be (for all time) transparent or opaque is indicative of the state of grace (or its absence). Because we live in time and those we observe live in time (and living in time means always changing), a person's essence is necessarily obscure. We seldom if ever need allude to it.
Discuss.
I have seen fragments of discussion of this film in recent weeks. I hadn't much interest but was offered up without my consent to take an elderly relation to a Sunday matinee. (Commercial transactions on Sunday are usually matters for the confessional).
The last movie I was compelled to watch (by a host whom I like quite a lot and whose hospitality is extended far beyond what I might merit) was a kid-flick called Night at the Museum, which left me checking my watch throughout. Not so Juno, which is at least engaging and not a waste of one's time. Much of the teen dialogue in the first third is grating, but this problem dissipates as the story advances. I gather the score and the fictional protagonist's disposition toward contemporary music are a cause of irritation to some, go figure. There has been much discussion of how it treats certain contemporary issues with a salutary ambiguity or fails to treat them in a manner which advances the critic's social thought (if that is what it can be called). Well, works of imaginative literature are not tracts. There is nothing wrong with tracts, but they are not art.
That having been said, for all that various characters could be affecting, I have to say I came away with a mild irritation about the degree to which the characterization is congruent with a certain sort of social imagination. The author creates three male characters (the father of the protagonist, the friend who inadvertantly sired the protagonist's unborn child, and the husband of the couple who aspire to adopt the child). All three in the first instance, and two of the three throughout, are manifestations of a feminist conception of the masculine vocation: their business is agreeably adjusting to the will and designs of the women around them. The protagonist's father earns half the household's living as an independent contractor installing HVAC systems, assures his daughter of his 'support', and cedes the guidance of his daugther and the governance of his home to his wife, who is a rude and argumentative sage to her stepdaughter but is not truly the girl's mistress. The youth who fathers the bastard child (while appealing) is ethereal and lost and nearly speechless throughout, emerging toward the close of the film to provide tender affection (more 'support'). The aspirant adoptive father supplements his wife's ample earnings (her occupation is evidently steady and lucrative but unstated) by composing commercial advertising jingles on his home computer. (He allows to the main character that the missus dislikes discovering that he has sat around all day not 'contributing'). He is along for the ride on his wife's quest for motherhood. Or rather, he is along until such time as he declares to his wife that he is leaving her and is unready for fatherhood. His dishonor, his puerile character, and his declaration of independence from his wife's will are all incorporated into one tapestry.
The main character is initially devastated by this last turn of events, but fortified with a pep talk from her father (more 'support') on the making of durable relationships, delivers the child on birth to the arms of the aspirant adoptive mother. The film concludes with the protagonist and the baby's father, once second-drawer friends and now lovers, seated on the steps of his family's home and with each singing, playing the guitar, and gazing into the eyes of the other. (The advent an growth of whatever it is between these two is never depicted). Flannery O'Connor said that literature trafficks in the possible, not the probable, and the possibilities most prominent in the screenwriter's mind are those in which mothers and step-mothers are interchangeable parts, husbands and fathers are ultimately dispensable, and heroes and patriarchs are nowhere to be seen. (Women are industrious and savvy without fail and have no need of such things in any case).
You have to wonder if our creative types can imagine any other world, or could bring themselves to put it to paper if they did so imagine.
.It appears all the participants on the thread are agreed that the moderator's question about the electoral implications of hispanic immigration are not worth discussing and the value of that immigration is.
Apart from these, you have folk for whom mass immigration may have certain psychological benefits, either in the aesthetic realm (think of people who speak of 'gorgeous mosaics') or in allowing them to think well of themselves (most particularly if the segmentation of labor markets and urban settlements makes of it that others pay any bills which may come due).
I may be in error, but I cannot shake the impression that common norms and common celebrations are frequently done away with or diluted with the excuse that "In our increasingly diverse society, we can no longer insist that....", etc.; that our immigrant populations are being used as an excuse or as infantry in a domestic kulturkampf in which they themselves have no true stake; and that many in our word-merchant sector, if carefully questioned, would reveal that as far as they are concerned the problem in this country is the vernacular culture and social attitudes of the large mass of Americans of the working class and the common-and-garden bourgeoisie who have no strong ethnic consciousness. The problem, baby, is you.
For my own part, I wish to live and die in a country that is content simply to be, composed of those born here and those who settle here to be with us as we are a people with whom they feel an affinity; not an ideological construct ("first universal nation"), nor a toy theatre for the fulfillment of someone's social fantasies, but a country, content simply to be.
I couldn't help thinking -- naively, I admit -- that the lack of physical imperfection suggested that life inside those clean, neat houses was smooth-edged, too, that husbands who inhabited those spaces didn't cheat on their wives, that children didn't get suspended from school, that four vodka martinis weren't being desperately downed with the evening meal by couples who had nothing to talk about anymore. That's the problem with all this old-timey, feel-good architecture: It offers an illusion, and how can a person feel rooted in or connected to an illusion?
From 17 years of city living, I can assure Mr. Bose that the peeling paint on the facades of the buildings and the cracks on the sidewalks grant one few insights into the marital problems of the residents therein. Mr. Bose offers he would prefer that Kentlands had grown organically like Carbondale, Illinois or Ithaca, New York. Sad to say, the interaction of market forces and local politics has not been generating communities with that sort of morphology. (With our without the tincture of crime and vagrancy that Mr. Bose finds in Ithaca and thinks optimal). The New Urbanism is a practical attempt by planners and developers to give people an alternative to the usual suburban mess. In any case, the paint in the Kentlands will have ample time to peel and the sidewalks ample time to crack in the coming years.
Making the good the enemy of the satisfactory may strike one as contrived (especially when Mr. Bose adds to the bill of particulars a complaint that the developers were unable to dictate to the D.C. transit authority a bus schedule agreeable to him). Toward what end? Well...I am more convinced, as I prepare to move out of the Kentlands, that the perfect, happy, small American town might never have been, but for our nostalgia and imagination.
Somehow I suspect that the phrase "our nostalgia and imagination" does not, in his mind, truly encompass him or that friend whom he takes around town and who sneers at the place 'cynically'. (Can we call his use the possessive 'inauthentic'?) It refers to his neighbors (who happily live in an 'illusion') or to nameless others in times present or past who lack the sophistication to find the Kentlands distasteful. Nothing is adduced in his article to indicate that his neighbors or the broad strata of the population past and present think or have thought that the consequences of original sin were in abeyance in small towns in New Jersey circa 1925. It is something he chooses to impute to them.
Whatever Mr. Moe or Mr. Bose fancy they're up to, they are doing a dandy job of persuading the more dyspeptic among the Trust's contributors that the mission of same will with their ministrations come to conform to that of educational and cultural institutions generally: a hustle in the service of self-congratulation, complete with the misapplication of seven-figure sums of money.
First things first: kick to the to the curb your high school luvuh. [The village government's automated street sweepers take care of the litter.] Do it now, before you find yourself in the inevitable process of mentally redefining what constitutes cheating.... Even if you and your sig-other stay loyal, you're both cheating yourself out of new people and new opportunities....Here, you'll hook up sooner (like, this weekend), fall in love [?] faster, and definitely have more kinky sex than you did at seventeen. [You owe it to yourself. Act now. Call 1-800-BLOWJOB.]
College also provides tremendous opportunities for sexual exploration. [See the brochures at our visitors' center.] For some people this means making out with their roommate at a frat party, but for others, its a chance to... take advantage of the LGBTQ support groups on campus. [Some...others...which suggests that the college's housing apparat has billeted your daughter in the same room with...] Or, for some, its a first chance for physical and emotional intimacy. [Do you suppose princess might be unclear on the concept, Mr. Benson?]
...[you] should keep condoms on hand if you're sexually active, regardless of your gender. (If you're sexually adventurous, stockpile a variety of colors/flavors/textures). [As would any informed consumer.]
...people who say Colgate students don't have relationships are only bitter because they've been unattached, and probably drunk, for most of their time here...Colgate is whatever kind of place you want it to be, sexually and otherwise. Take advantage of it. [Your 40K @ work, Mr. Benson.]