Some questions for the animals



Chaser. Wikipedia photo

A few days ago, the New York Times carried an obituary for a dog. The dog was Chaser, a border collie who was taught to understand 1,022 nouns. Here’s a link to the story:

Border Collie Trained to Recognize 1,022 Nouns Dies

I often wonder if I should be ashamed of my own thoughts. My thoughts in this case were that, in many cases, it is perfectly reasonable to value the life of an animal as much as the life of a human being. And — let’s admit it — we value the lives of some animals more than the lives of some human beings. Not everyone gets an obituary in the New York Times, but this dog did.

You may remember back in 2015, when Cecil the lion, a much-loved resident of a national park in Zimbabwe, was murdered in cold blood by an American big-game hunter. As outrage and grief poured out in social media, the usual small-minded moral scolds went to work, berating people for being concerned about the life an animal when so many people … [fill in the blanks with their personal cause]. I was so irked that I posted here about that at the time, with the argument that it is perfectly possible to have more than one moral concern at the same time.

One of the most mysterious subjects in metaphysics and biology is consciousness. We don’t know what consciousness is or where it comes from. But, one hopes, we have laid to rest the idea that animals are different from human beings in any essential way. They are just as conscious. They have a full range of emotions, just as we do. They love just as deeply. They are greatly troubled by fear and worry. They love their lives. The differences between human DNA and animal DNA are trivial.

Ask your average witless Christian whether animals have souls, and the answer will be that of course animals don’t have souls, that only humans have souls. Witless Christians who are more theologically inclined may then say something about how God gave us humans the fruits of the earth, to “harvest” as we please. That’s dominionism, one of the ugliest theologies there is. They actually apply the word “harvest” to animals.

But if the question of souls, whatever souls may be, is inherent in the nature of living things, as opposed to some magical ontological theological notion about which ancient and ignorant religionists knew more than we do, then it seems safe to assume that animals are not different from us in any essential way. If we have souls (a question I think we cannot answer), then they do, too. Consciousness suffices. Simply to be a living, feeling being is to have rights and claims on fairness.

According to the New York Times story, not only did Chaser know 1,022 nouns, he also understood sentences containing a prepositional object, verb and direct object. Chaser was able to learn so much language because border collies are a very smart breed and because his owner spent many, many hours teaching Chaser language. But everyone with a dog or cat knows that every dog and every cat learns enough language to manage daily routines. The more you talk to your dog or cat, and the older your pet gets, the more language your pet will learn.

My cat, Lily, now eleven years old, used to be terrified of the abbey organ because the organ can be quite loud. But after a while she developed a new routine whenever the organ is played. She goes to a table facing the organ console and watches. I soon learned that, if I play quietly, she likes the music (a collie I once had used to come and lie under the piano any time I played). And then I learned that Lily has a favorite song. That song is “Danny Boy,” which I play quite softly with velvety stops and tremulant, adding in some soft reed stops as the song develops. A couple of months ago, after I had played “Danny Boy,” I got up from the organ, and Lily was crying. She came to me, bumping her head against me, very emotional, crying the same way she had cried after I returned home from two weeks in Scotland. She understands, I believe, what that song means. It is a song about loss and grief, with the hope of reunion in some unknown world. The song expresses a feeling — a condition of the soul, if you will — and I believe that Lily understands that feeling just as well as we humans do. Because music is a universal language, she knows what “Danny Boy” means.

In John Rawls’ A Theory of Justice, a book that I have mentioned here often, Rawls does not take up the issue of animal rights and fairness to animals. But he practically begs someone to do that work, which mostly remains undone. If you are familiar with Rawls, then you’re aware of his concept of “the original condition,” in which we arrange the world as though we can’t know before we come into this world what our circumstances will be — male, female, black, white, rich, poor, beautiful, ugly, smart, dumb. We would want the fairest possible world. It’s not at all difficult to add another condition to Rawls’ thought experiment. What if we didn’t know whether we would be born human or animal? Whether we were a wild animal, or a farm animal, or somebody’s pet, would make no difference.

Wouldn’t it be nice if we were the kind of society in which, in a presidential debate, we could talk about fairness for all living things, rather than the usual agenda based on increasingly mean and increasingly cruel right-wing talking points.

The Rawls thought experiment is incredibly easy to apply to animals. Talk to a chicken, a cow, a lion, a dog, a bird, a whale. Ask them what they want, and what they would consider fair. You know what they would say.

Clues to the future in how people talk


https://youtu.be/qUGT30gGtiI

This video has been dubbed so that Trump is speaking with a British accent. His words are the same. How many fans would Trump have if he actually talked like this?


We Americans believe that the British are excessively judgmental about how people talk (and they are). But not only are we Americans just as judgmental, some linguists say that Americans are even more judgmental than the British. Does how people talk affect our politics far more than we realize? Does it shed some light on who will prosper and who will not?

Our reactions to how people talk are largely unconscious. But, as we listen to someone talk, we are rapidly making judgments about how smart they are, how nice they are, how rich or poor they are, how educated they are, and whether they are, or are not, like us. If the way people talk marks them as a member of an out-group, then we apply the stereotypes that we associate with that out-group.

Let’s listen to the Trump supporters in the video below. I don’t think many Trump supporters read this blog. But if they did, they’d recognize the people in the video as members of their own in-group, just like everyone else at a Trump rally. Those of us who despise Trump, however, will have very different responses. We will realize — quite correctly — that the people in the video are not very smart, not very nice, not very rich, not very well educated, and not like us:

After you watch these two videos, it’s easy to see that Trump supporters like Trump because of how he talks to them. Trump comes across as just as stupid, just as mean, just as hardscrabble, and just as ignorant as they are. Thus they see Trump as one of them. Nothing else matters to them, because they don’t know and don’t care what it actually takes to manage and govern a world as complicated as the world we live in. Because they’re enraged and confused, cruelty toward out-groups seems to be their only domestic policy, their only foreign policy, and their only economic policy.

Unfortunately for Trump supporters, their ignorance makes them easy to deceive. Trump is not like them. Trump is a rich guy from New York City whose social set is the global oligarchy, an oligarchy all about money and power and that lives on the shady side of law and ethics. Trump is deceiving and exploiting his supporters for the benefit of people who are like Trump. Trump’s narcissism feeds on their adulation. In return, Trump flatters them with his attention. They believe that someone is finally speaking up for them. He assures them that they will be great again. But that is not going to happen. Trump is, if anything, expediting their obsolescence by convincing them that they don’t have to change, or learn, or be nice, or educate their children, and that it’s the rest of the world that is the problem.

After the catastrophic election of 2016, many liberals were quick to blame themselves. If only we had reached out to them! We must engage them and empathize with them! That is a delusion. Trump supporters are too far gone for liberal reaching-out, because liberals are a demonized out-group. As they see it, only one of them can save them. Trump is quite literally seen as the answer to their prayers.

But back to language. It’s a shame that linguists have had so little to say about the culture war now raging in America, because linguists have a long, long memory, for cultures as well as for languages. Most people who write about American politics invoke American history, and there they stop. But no matter how much one knows about American history, I suspect that American history is a shallow source for understanding this culture war. To my lights, the part of American history most relevant to today’s culture war is not Jefferson vs. Hamilton but the displacement of native Americans and the loss of native American culture.

Linguists have a lot to say about what occurs when one language (or culture) replaces another. It’s always complicated, but the factors tend to be similar, whether the cultural replacement occurred 5,000 years ago (as when the Indo-European languages and cultures became dominant in Europe and parts of Asia), or 2,000 years ago, as when Latin took over in western Europe. (We need to keep in mind that, though English is a Germanic language, about 60 percent of English words derive from Latin.) Among those factors are technology (going all the way back to the wheel), migration, and the kind of economic power that comes from trading, or from political or economic exploitation.

At the level of causes that can be keenly felt by every human individual, there are two factors that are pretty much always involved in cultural displacement: prestige, and its opposite, stigma.

In The Horse, the Wheel, and Language, a book about how Indo-European languages swept over Europe during the bronze and iron ages, David Anthony writes:

The pre-Indo-European languages of Europe were abandoned because they were linked to membership in social groups that became stigmatized. How that process of stigmatization happened is a fascinating question, and the possibilities are much more varied than just invasion and conquest…. Negative evaluations associated with the dying language lead to a descending series of reclassifications by succeeding generations, until no one wants to speak like Grandpa anymore. Language shift and the stigmatization of old identities go hand in hand. [p. 340, sentence order inverted for emphasis]

And:

Usually language shift flows in the direction of paramount prestige and power. [p. 341]

As the world relentlessly globalizes (whether for good or for ill), something remarkable is happening with language. It is very rapid, because it has happened in our lifetimes. English is becoming the global lingua franca. Millions of people are learning English. I did not realize until I was Googling for this post that more people today speak English as a second language (more than 1 billion) than speak English as their first language (less than 400 million). Whether as a first or second language, to speak English today (as long as your accent is not stigmatized) is a matter of great prestige.

In the American culture war, what we have is not language displacement but culture displacement, driven by the usual factors — technology, economics, migration, and prestige vs. stigma. Trump’s supporters speak English, but many or most of them speak stigmatized dialects of English. When Trump speaks to his supporters, he speaks to them in a stigmatized dialect — a New York working-class dialect.

In a piece in the Washington Post, “Donald Trump’s accent, explained,” a linguist is quoted: “He wants to sound macho. As part of his whole tough-guy persona, he adopts almost a working-class style of speech.”

I lamented above that linguists haven’t had more to say about American politics and the American culture war. But I would mention two papers by linguists that are relevant:

Talking Donald Trump: A sociolinguistic study, by Jennifer Scalfani

Silencing nonstandard speakers: A content analysis of accent portrayals on American primetime television, by four linguists

What I’m arguing here is that what we are living through is not just a culture war but actually is the rage and death throes of a doomed culture — white, rural, Christian America. At the risk of making it sound facile, I’d have to say that their doom is obvious. They lack the skills, the knowledge, the intelligence, and even the will to adapt to a changing world. They are stigmatized. The world looks down on them, and they know it. Almost all of the social goods required for success and expansion in today’s world belong to the other side. As for the rage of rural white America, that is easy to understand, because, in their lifetimes, they have seen a reversal of prestige vs. stigma, aggravated by economic humiliation. In the glory days of white rural America, black people and gay people were stigmatized. White rural churchgoers had prestige. Now it is the other way around, which is why these changes seem like the end of the world and the work of the devil to them.

Given that Trump supporters do speak English, it would be possible for them to save themselves. They could, through education, better information, better politics, and improvement in their language skills, unload some of the stigma and work to adapt. Many of their children will do that. But the older ones won’t. As they slide into minority status, they could join a coalition, as other minorities do. But they won’t do that either. Part of what Trump and the Republican Party is teaching them is not to join a coalition of, say, working class minorities. White, rural, working-class America has everything in common with black (or Hispanic), rural, working-class America. But the Republican Party has cleverly assured that today’s older Republicans will never, even if it would make them less poor and get them medical care, join a coalition that isn’t all white and waving the Christian flag. The 2016 election, I believe, is the last national election that the Republican Party will ever be able to win, unless it completely re-invents itself. Republicans lost the popular vote. Only by lying, cheating, and relying on Russian help could they pull it off. That won’t happen again. We’re onto them.

I have another suspicion here about what may be going on in the longer scheme of things. The rotting away of white, rural, Christian America is probably just an ordinary, localized event, if you look at it from a global perspective with a timeline of 100 years or so. Theirs is not the only culture that is is dying or that has recently died. But from a 2,000-year perspective, this may also be the last stand of Christian true believers. If the test of true belief is the willingness to go to war with the infidels, then only white, rural, evangelical and fundamentalist Americans are still standing. Europe, and the Catholic church, passed that point long ago. In not too many more years, good-byes may be in order not only for white, rural, Christian Americans, but also for true-believing Christianity.

What do we owe Trump supporters? We owe them what everyone is owed: equal justice, equal rights, equal opportunity, and all the goods that go with a decent society, including public education, medical care, jobs, retirement, and self-respect. Those are the very things that they would deny to others.

I am not a linguist, nor a sociologist, nor a political scientist, nor a historian (though I can read). But I do know these people. Donald Trump, the Republican Party, and the church have brought out the very worst in them. Even if it had been otherwise, and if the authority they crave had brought out the best in them, I believe they still would remain in decline, because they are unfit for a changing world and cannot adapt, as a consequence of their own failings. There ought to be a word for it, because it’s something I’ve seen over and over in how dysfunctional people live their lives. They cling, as though for dear life, to the very thing that is pulling them down.

Please, somebody … just get us out of here



Jason Momoa in Apple’s “See”

The diagnosis, I feel sure, is chiefly Game of Thrones withdrawal. Whether you loved it or were disappointed, Game of Thrones ended, leaving us exposed and defenseless in the here and now.

Europe has been in an oven. The American heartland keeps flooding. Many farmers have been ruined. The water is waist deep in the Louisiana lowlands though hurricane season is just getting started. Wildfires have been raging in the arctic and in Hawaii. It’s summer in California, which means that California will soon have fires to go with its earthquakes. Monsoon flooding in India just killed 90 people and displaced more than a million. It’s too hot to go outside here unless you’re back indoors by 9:30 a.m. “Climate despair” is now a mental health diagnosis. Donald Trump’s approval rating rose a point or two as the scrutiny of his concentration camps intensified. The U.K. seems to want its own version of Donald Trump. The yield curve is inverted. Bees are dying faster than ever, though monster-size snakes and armadillos, like Trump’s base, feast and flourish in broad daylight.

Maintaining one’s sanity requires some escape. But where to? I spend more time surfing the streaming services looking for something fit to watch than I spend actually watching stuff. I have never been able to understand the appeal of stories set in the here and now. Where’s the escape in that? I’ve started a collection of the pathetic little blurbs that one finds in the streaming services while searching desperately for something to watch. Who writes these shows? Who watches them? Why do they bother to make them? For example:

• After a bad breakup, a struggling New York comedy writer tries to don a brave face and care for his dying mother in Sacramento.

• His wife wants out. His son’s a pothead. His rabbi can’t help him. Poor schlub. He could do worse, but not by much.

• What happens in Vegas stays in Vegas … when you can’t remember what the hell happened the night before.

If all stories were that useless, I would not have survived childhood, let alone have made it to my present considerable age.

Maybe Apple will help? Later this year, Apple’s streaming service will start. Lists of the shows that Apple has in production have started appearing, for example, this one. There is the now-obligatory dystopian thriller, “See,” but so far it looks like just another show in which half the budget is spent on body rugs and bad hair. At $15 million per episode, right up there with the last season of Game of Thrones, this series can afford a lot of bad hair. I’m intrigued, though, that Apple is taking on Isaac Asimov’s Foundation series.

Based on this list, I tried to do a rough count of how many of Apple’s new shows are not set in the here and now. I came up with 12, versus 25 shows that are set in the here and now.

Occasionally I do find something that is worth watching all the way to the end. “The Stone of Destiny” (2008) is particularly relevant now that talk of Scottish independence has been renewed because of Scottish exasperation with Brexit. “Crooked House” (2017) got mediocre reviews, but I thought it was a fine production of an Agatha Christie novel, and with a superb cast.

On the other hand, I watched only about two minutes of the Netflix revival of Armistead Maupin’s Tales of the City. I had assumed that it was a proper remake, but instead it appeared to be just a sentimental wallow and a heavy new dose of Olympia Dukakis and Laura Linney for those (such as Armistead Maupin) who can’t get enough. I follow Maupin on Facebook (mostly selfies), by the way. He has become a colossal boor with nothing new to say and who hasn’t done anything since Tales of the City other than pursue his climber social life.

If anyone would care to debate me, I would be willing to defend the proposition that decent human beings are now living through the most disturbing times since April 1945, when Hitler put a gun to his head. As evidence of this, you only have to look around and see who is gloating, and why. The worst among us believe themselves to be back on top again. They also believe that God sent Trump to save the world — not from climate disaster or thermonuclear destruction or another war, but from liberals like us.

Stories about Vegas and Sacramento just aren’t going to cut it for me.

The history you know without knowing you know it



The Oxford Introduction to Proto-Indo-European and the Proto-Indo-European World. J.P. Mallory and D.Q. Adams. Oxford University Press, 2006. 732 pages.


I have a standard riddle that I thought of years ago. I don’t think anyone has ever gotten the answer:

Name something that you use every day and that you couldn’t get by without. It has never cost you anything. It was made by humans. It is thousands of years old. What is it?

The answer, of course, is language. We totally take language for granted, like free air, free water, and free cats — all of which we’d be willing to pay huge sums for, if they were scarce. (People are already figuring out how to get us to pay for water. As for cats, mine was free, like all the best things in life. This time of year, you can probably get as many free cats as you want, if you’re in need of some.)

Language is an incredible gift left to us by our ancestors. But even as we use that gift, we quickly forget our ancestors. In The Horse, the Wheel, and Language, David W. Anthony points out that many of us can’t even name all four of our great-grandmothers. That’s how fast we lose knowledge of the past, at least in most western cultures. As an elder, one of the things I’ve noticed about young people — for example my own great-nieces and great-nephews — is that they rarely express any curiosity about now-dead relatives that my generation remembers and could tell them about, if they cared to know. In only three generations, most of us will be forgotten. That’s our payback, I suppose, for forgetting those who came before us.

As I have gotten older, I have become increasingly curious about my ancestors, whose experience probably was very similar to that of your ancestors. My curiosity has been inflamed by the cultural destruction that has occurred during the Christian era, which has made it much more difficult to imagine how our ancestors lived. Those who have read this blog, or my novels, are aware of my rage at the cruelty, and ugliness, and completeness, of Christianization. Except for a very few traditions such as a midwinter pagan festival, which we now call Christmas, our memory of the pre-Christian past is gone, like the memory of our ancestors. One might accuse me of romanticizing the pre-Christian past. Not by any means do I suppose that the pre-Christian past was a utopia. But I do think it’s clear that Christianity systematically demonized and disenchanted the natural world, replacing the collective wisdom of our ancestors with theologies and texts from old cults that are shocking in their poverty and infantility. We are the way we are today because we’ve forgotten any other way to be. I strongly suspect that humanity’s survival depends on whether we can regain an awareness of our dependence on the natural world and find a way to re-enchant and preserve the natural world.

The trajectory of Christianization, unsurprisingly, included the extinction of languages. In the case of the Mayan hieroglyphs, much of the destruction was intentional and was the work of a single Catholic priest. The extinction of Gaulish probably was more a product of Romanization than of Christianization, but in the last years of the empire there was not much difference between Romanization and Christianization.

Still, even robust living languages and their words and grammars are largely fossils, with components that are extremely old. In the last 200 years, historical linguists have developed methods that are remarkably good at tracing a language backward toward its roots. This brings us to the now-extinct language that we call Proto-Indo-European. Though it is a dead language, more than half the people on the planet today speak a language that is descended from Proto-Indo-European. Modern descendants include most of the languages of Europe and some of the languages of Asia, such as Hindi. Classical languages including Greek, Latin, the Germanic languages, the Celtic languages, and Sanskrit are all descended from Proto-Indo-European. Strangely enough, Latin and Celtic are actually close cousins in the Indo-European family tree, because the Romans and the Celts were neighbors in Western Europe. It was not until the 18th Century, as Europeans started encroaching on India, that Europeans discovered that Sanskrit is a relative of Latin and Greek and of the entire Indo-European language family.

Consider the family tree of English. English is a Germanic language brought to Britain by the Saxon people, who came from what is now northern Germany and Denmark. After the Norman Conquest, as elites from what is now France gained power in old England, they brought with them a huge vocabulary of Latin words that were assimilated into English. Today, the 1,000 or so most commonly used words in English are Anglo-Saxon, but as word use expands beyond those 1,000 common words, Latin, French, and Greek start to predominate.

What makes The Oxford Introduction to Proto-Indo-European such a fascinating book is that it explains how linguists have actually reconstructed much of the grammar and vocabulary of the now-extinct Proto-Indo-European language. You’ll need to read the book to get a feel for how this is done, but obviously it involves patterns in how languages change, looking at similarities in all the surviving Indo-European languages. (Though classical Greek, Latin, and Sanskrit are considered dead languages, they are very well preserved and well understood through a large body of surviving literature.) The book actually contains lists of reconstructed words in Proto-Indo-European, with the equivalent English word. These lists run to 100 pages! Can linguists be absolutely sure that they’ve reconstructed these words? Of course not. But confidence is high. One linguist claims to have used the same techniques to reconstruct Latin by working backwards from the Romance languages, claiming to have reconstructed the Latin vocabulary with 95 percent confidence and Latin grammar with 80 percent confidence.

There are a great many reconstructed words from Proto-Indo-European that speakers of English will recognize, such as mūs for mouse, or werĝ for work. If you speak a modern Romance language, then you will recognize many more.

So, what do the fossils in our language tell us about our ancestors? We can learn a great deal, obviously, from what they did or did not have words for. We know that the people who spoke Proto-Indo-European, from about 4000 BC to about 2500 BC, had words for horses, for farming equipment such as plows, for oxen and sheep, for wool, for milk, for weapons, for barley, for beer and mead, and for wheels, axles, wagons, and for all sorts of wild plants and animals. Archeologists tell us that Europeans before 8000 or so BC were foragers. It is safe to assume that the Proto-Indo-European language spread across Europe and parts of Asia as farming and herding spread and as people stopped foraging for a living. Still, even as people settled down to farm, there was still a good deal of travel. There are Proto-Indo-European words for roads, wandering, going astray, and hospitality. As the people settled into agrarian lifestyles, and as cities developed along the rivers and coasts, the Proto-Indo-European language began to divide into Germanic, Greek, Latin, Celtic, and so on. The process must have been very similar to how Latin divided into the Romance languages after the fall of Rome.

Linguistics, then, can tell us much more about our ancestors than we might at first think. There are some questions, though, to which linguistics cannot provide a definite answer. One of those questions is where the Proto-Indo-European language originated and what the migration routes were. As far as I can tell, scholarship that combined linguistics and archeology to shed light on the lives of early Europeans was fairly late to develop. As of now, the best book I know of on this subject is from 2007: The Horse, the Wheel, and Language: How Bronze-Age Riders From the Eurasian Steppes Shaped the Modern World. I’ve just started reading this book and will plan to review it later. But I want to mention four books here that I have chosen to help me get a feel for how the English we speak today can be traced backwards to the lives that our European ancestors lived up to 8000 years ago, and the languages they spoke. The other three books are listed below.

J.R.R. Tolkien, you will recall, was an Oxford philologist. It is very easy to romanticize prehistoric Europe as being a lot like Tolkien’s Shire, with the land of Rohan and its horse lords being a lot like the plains (or steppes) of eastern Europe and western Asia.

Despite its length and the technicalities of linguistics, this book is surprisingly easy to read. The only thing that stumped me — the same way that the math in books on physics stumps me — is that I mostly cannot follow the marks that linguists use to indicate pronunciation, or all the terms that linguists use for different types of vocalizations, such as labials, dentals, palatals, velars, labiovelars, sibilants, laryngeals, nasals, semi-vowels, etc. You’ll be able to follow the gist of this easily enough, though. I recommend watching some YouTube lectures on Proto-Indo-European, in which the speakers are linguists who have an incredible ability to produce the sounds that occur in human languages.

⬆︎ The Horse, the Wheel, and Language: How Bronze-Age Riders From the Eurasian Steppes Shaped the Modern World. David W. Anthony. Princeton University Press, 2007. 554 pages.

I’ve just started reading this book and will have a report later.


⬆︎ The Blackwell History of the Latin Language. James Clackson and Geoffrey Horrocks. Wiley-Blackwell, 2007. 324 pages.

I will read this book after The Horse, the Wheel, and Language. I’m curious to know how Latin differs from Proto-Indo-European, and maybe why. We do know that Proto-Indo-European had a complex case system, like Latin. But what puzzles me is why speakers of languages such as Latin put up with such complexity. We know that the Romance languages (French, Spanish, Italian, etc.) started out as dumbed-down Latin. All, or least most, of the Romance languages trashed or greatly simplified Latin’s six cases of nouns — nominative, genitive, dative, accusative, ablative, and vocative. It makes me dizzy just to list them.


⬆︎ The French Language. Alfred Ewert. Faber and Faber, 1933. 440 pages.

I’ve had this book for a good many years. After I learned to read French, I became curious about how French had developed from Latin. For example, where did those weird nasal vowels in French come from? Ewert attributes such things to “the persistence of linguistic habits of the Celtic population,” which is hardly surprising. But you can see that I am trying to work backward on the English branch of the language tree: English -> French -> Latin -> Proto-Indo-European. I wish I could read German. Alas, I cannot.

Here’s a little puzzle for you if you’ve read this far. Do you know the meaning of the English word adumbrate? If you do, you can give yourself an “A” and skip the next paragraph. Otherwise, let’s puzzle out how you can figure out what adumbrate means without having to go look it up.

To figure it out, you don’t even need to know the meaning of the Latin infinitive adumbrare. Nor do you need to know that the Latin word adumbrate (it’s four syllables in Latin, ah-doom-brrah-tay, I think) is the masculine participle of the verb adumbrare in the vocative case. All that is good to know. But a language-lover will see the three parts of the English adumbrate without even slowing down in reading. There is the prefix ad-, the root umbra, and the suffix –ate. I bet you’re onto it already, because you know what an umbra is — that which an umbrella has underneath it. The Latinate prefix ad– means to go toward or to draw to. The root umbra means shadow. The suffix –ate turns the word into a verb. So, adumbrate means to throw something into shadow.


Things we lost when newspapers died



Rob Morse, former metro columnist at the San Francisco Examiner. Photo: Mill Valley Patch, 2011


I am the product of an almost-extinct culture: newspaper culture. I got my first newspaper job at the age of 17, as a part-time copy boy when I was still in high school. I retired as a newspaperman in 2008. Most newspapers are now zombies, but fortunately two have survived and have even kept their souls — the New York Times and the Washington Post.

There are still newspapers in other cities and towns, of course. But their business model is wrecked. Their staffs are tiny. And whatever culture now exists in newspapers other than the New York Times and the Washington Post, it’s not newspaper culture. It’s something else, something more akin to tech culture and web culture, people who use the word “content” and who probably have never even heard the old word, “copy.” The lesser newspapers have little use for old pros and the old culture. Instead they want young staffs with tech skills, tech educations, and with an unquestioned belief that the future is in social media. Blech.

It was globalization, really, that killed newspapers. Wherever globalization happens, something local is lost.

The golden era of newspapers was rooted in two monopolies or near-monopolies that were wiped out by technology.

The first monopoly was that communications bandwidth was very scarce and very expensive. In the days of the telegraph, it was only the newspapers that could support the costs of gathering news and sending it over the wires. When telephones came along, long distance calls were very expensive, but newspapers easily made enough money to bear the cost. Later, Teletype machines, operating over long-distance phone lines (and later, the early satellites), carried the “copy.” In a city of any size, the newspaper had a room full of Teletype machines. (My job as a copy boy included the care and feeding of a room full of Teletypes. What amazing machines they were!) That room full of Teletypes was pretty much the only channel into a city carrying news about events elsewhere in the world. This monopoly slowly evaporated as the Internet was born and millions of miles of fiber-optic cable was laid.

The second newspaper monopoly was local advertising. Stores and businesses bought the “display ads.” But anyone could afford a classified ad. The classified ads were where everyone went when looking for a job, or buying a house or a car. Almost overnight, craigslist killed newspapers’ monopoly on classified ads. Other sorts of advertising moved to the Internet more slowly. But even by the time I retired in 2008, newspapers’ advertising revenue had collapsed.

The cost of subscribing to a newspaper was roughly enough to pay for the paper it was printed on. All the profit was in advertising. Though there was some competition — many cities had more than one newspaper — the pie was plenty big enough to divide two or even three ways.

For a while, it was not clear whether even the New York Times would survive. It did. I was very surprised that the Washington Post has survived, because I thought we had lost it. But the Post has survived. Those are the last real newspapers standing in the U.S., and I believe it was the demand for professionally reported news that saved them.

Unless you’ve seen a budget for big-city newspaper, you might be shocked at how expensive it is to gather and print the news. Once upon a time, even the San Francisco Examiner and the San Francisco Chronicle, where I used to work, had foreign bureaus. Now, as far as I know, only the New York Times and the Washington Post do. I’m going to list those foreign bureaus, for both papers, just to help make the point that a real news operation is very expensive:

New York Times foreign bureaus: Baghdad, Beijing, Beirut, Berlin, Cairo, Caracas, Dakar, Istanbul, Kabul, Jerusalem, Johannesburg, London, Mexico City, Moscow, New Delhi, Ottawa, Paris, Rio de Janeiro, Rome, Shanghai, Sydney, Tehran, Tokyo, Toronto, and Warsaw. The Times also has domestic bureaus in Atlanta, Boston, Chicago, Denver, Houston, Kansas City, Los Angeles, Miami, New Orleans, Phoenix, San Francisco, Seattle, and Washington.

Washington Post foreign bureaus: Berlin, Brussels, Cairo, Dakar, Hong Kong, Islamabad, Istanbul, Jerusalem, London, Mexico City, Miami, Moscow, Nairobi, New Delhi, Paris, Rome, and Tokyo.

Yes, as the Internet grew, a new niche opened up for online publications such as Politico or the now-in-decline Salon. Other online publications are mostly link aggregators that produce little or no “content” on their own, such as Huffington Post on the left and the Drudge Report on the right. But there is no substitute for a real newspaper. That’s why I have paid subscriptions to both the New York Times and the Washington Post. There are many niche sites that are worth looking at, but no one considers them worth paying for. And I think I’ll lay off of Twitter, which I find completely useless, no matter how “well curated” one’s “feed” is. Even if there’s a needle on Twitter, it’s lost in a globalized haystack.

My larger point here is that as globalization and globalized technologies killed newspapers, things that are local were lost. It’s easier now to find out about a fire at Notre Dame than a fire in your own county. Yes, local news weeklies are still around. But they’re lucky if they can afford even one reporter, and most of them fill their columns with stuff they can get for free, such as “neighborhood news” sent in by the elderly, or rubbishy little business features that they get from “partnering” with self-serving entities such as chambers of commerce. There is a frightening scarcity of coverage of local news anymore, particularly local government. Even state government flies under the news radar most of the time in most places. I live in a news desert where local news is concerned, and the odds are that you do, too. When I look at the web site of my last employer, the San Francisco Chronicle (www.sfgate.com), I am disgusted by what I see: fluff, food, technology, and traffic. It’s not a newspaper anymore. Even Politico now covers California politics better than the Chronicle does (not least because an old colleague from the Examiner and Chronicle, Carla Marinucci, now works for Politico).

But as I write this, I’m more in a sentimental mood than a grouchy mood. And that brings me at last to Rob Morse.

It wasn’t just local news that newspapers used to bring us. Most newspapers also had a local columnist. Some newspapers had a very good local columnist. (In larger cities, they were called metro columnists.) Local columnists helped to give a newspaper its personality. When collective grouching needed to be done, the columnist would lead the grouching. When local celebrating needed to be done, they’d lead the celebrating. In times of collective grief and trauma, they would provide collective therapy. I remember morning rush-hour buses in San Francisco creeping down Market Street, and virtually everyone who didn’t have to stand and hold a strap would be holding a Chronicle, reading Herb Caen. When Herb Caen died (in 1997 at age 80), all the church bells of San Francisco rang for his funeral. The Examiner’s metro columnist, Rob Morse, wrote, “We’re on our own now.” Indeed we were, and just look what has happened to San Francisco since 1997. Herb Caen had once written, “One day if I do go to heaven…I’ll look around and say, ‘It ain’t bad, but it ain’t San Francisco.'” These days, I think Caen might prefer heaven.

Caen was a relentless extravert. He was always out and about, relishing the social status that his job gave him. Over at the Examiner, Rob Morse was an introvert. His columns were very much grounded in San Francisco life, but Morse was a ruminant, not a butterfly.

Morse and I were friends. He would often come and sit in my office, where he could escape the din of the newsroom, and talk with a fellow ruminant. Often his thoughts would be about whatever was in his next column. He was a touch awkward and tentative in conversation, frankly. But in writing he never was. Morse was among the very last of the great metro columnists.

I’m not the only person who wondered what happened to Morse after he took a buyout and vanished. In 2011, more than three years after I left San Francisco, the Mill Valley Patch, a little online publication, carried a piece with the title, “Rob Morse, Please Come Home.” I sometimes ask former colleagues if they ever hear from Morse, but no one ever does. He lives a very private life now, I think.

I live a pretty private life, too, and in a much remoter place than Mill Valley, California. Until my trip to the U.K. last year, I had not even done any traveling after I left San Francisco. One of the things I found shocking, whether in airports or on the street, was that these days everyone has their face in a phone almost all the time (and never a newspaper). There must be some kind of local life in those phones, but I don’t think it’s a community life. I don’t think there’s anyone in all those phones who leads the local grouching, or the local celebrating, or who provides group therapy for a group as large as a city. I don’t think there is anyone in those phones for whom all the church bells of San Francisco, or any city, will ring someday.

As Rob Morse said, we’re on our own now. Are our phones really that compelling? Or are they a poor but addictive substitute for something that has gone extinct?

Sometimes I ask myself, as a thought experiment, what I would do if I had a magic button that, if I pushed it, would take us back to the days of Teletypes. I think I would. We’d still know what was happening in Moscow. We’d still know that Notre Dame is on fire. But a now-lost local world might magically reappear.

The church sees rot everywhere but in itself



“Tintern Abbey and Elegant Figures,” by Samuel Colman, 1780-1845

Conservative minds are obsessed with institutional decay. They can’t stop writing books about it. To the conservative mind, change is an existential threat, as though the Dark Ages were a utopia that we must return to.

Do you remember William F. Buckley Jr.’s famous quote? “A conservative is someone who stands athwart history, yelling Stop.”

Consider Niall Ferguson’s The Great Degeneration: How Institutions Decay and Economies Die. Or consider another book that is regarded as a classic among conservatives, Jacques Barzun’s From Dawn to Decadence: 1500 to the Present: 500 Years of Western Cultural Life. I have not read these books (nor am I going to).

The church knows that people are leaving it, particularly young people. The American church knows that, in Europe, secularization is decades ahead of secularization in America. Church people see where it’s going. Though there are those in the church who can reconcile religion with social change, most church people cannot. Those with conservative minds cannot conceive of the possibility that the church itself might be a two-thousand-year-old problem that society is finally beginning to solve — by ditching the church. Instead, the Manichean mind (which can only see the church as good), believes that the decline of the church reflects (and is actually caused by) a surge in the wickedness of the world. They believe that they are in a culture war, and that they are losing. Their panic and their desperation is leading to debate among the faithful about the church giving its blessing to ugly tactics to try to stop the losses. The tactics aren’t new, but the blessing would be.

It is shocking to observe that it isn’t just Trump voters in flyover country who are in on this. It’s also theologians and Christian intellectuals.

The Atlantic is alerting us to what’s going on with a piece published this week, What a Clash Between Conservatives Reveals. Alan Jacobs, the author of the Atlantic piece, is drawing our attention to an article published last month in First Things, “America’s most influential journal of religion and public life.” The article is by Sohrab Ahmari, a converted Catholic of Iranian descent. Ahmari writes:

Civility and decency are secondary values. They regulate compliance with an established order and orthodoxy. We should seek to use these values to enforce our order and our orthodoxy, not pretend that they could ever be neutral. To recognize that enmity is real is its own kind of moral duty.

I believe this translates to: Christians should make use of incivility and indecency if that’s what it takes to “enforce our order and our orthodoxy.” If I’m reading it correctly, then isn’t that the evangelical rationale for seeing Donald Trump as having been sent by God?

As Jacobs makes clear in the Atlantic, not all conservative Christians agree with Ahmari. Still, it seems to be taken for granted by all conservative Christians that we of the “secular left” are not “playing fair in the culture wars.” This unfairness from the secular left is never explained.

In any case, a mind that believes that it has not just the right, but a duty, to enforce its notions of order and orthodoxy on the rest of us — whether with or without civility and decency — is a mind that is too primitive for a discussion about fairness. A mind like Sohrab Ahmari’s can believe that he’s defending the church. But what he’s really doing is driving the better people away, hastening the rot.

Tone, irony, snark, and smarm



H.L. Mencken. Portrait by Carl Van Vecten, 1932, Library of Congress

To see similarities between snark and gun violence is wrong of me, I admit. Both are epidemic. But one is deadly, and the other merely wounds. But I had been thinking about two different posts that I might write here, one on snark, and the other on shooting guns (forthcoming, later). In that state of mind, I came across a long piece in this morning’s New York Times by Gregory Gibson. The piece is A Gun Killed My Son. So Why Do I Want to Own One?

The piece is beautifully written. It reflects the soul-searching and self-awareness that the author has gained in his years-long quest (it definitely was a quest) to come to terms with the senseless, wasteful death of his son, a college student. But, if you read this piece, don’t expect a clear conclusion wrapped in vellum and tied with string. It’s a lot of questions with few, if any, answers.

So it is with irony, snark, and smarm. A lot of culture pieces have been written on these three things in the past twenty years. You can take sides if you want, just as you can take sides on the heated subject of gun control. Or, like the author of the gun piece in this morning’s New York Times, you might see that, the closer you look at the subject, the more complicated it becomes.

The cultural warfare over irony, snark, and smarm started around 1999 with a young man named Jedediah Purdy. We first heard about Purdy in a New York Times article, “Against Irony,” that was published on Sept. 5, 1999. Not long after that, when Purdy was only 24, his first book was published, For Common Things: Irony, Trust and Commitment in America Today. Almost overnight — among the literati, anyway — the subject of irony became a battleground, like gun control. There were those who wanted to (and did) rip the liberal and kind-hearted Purdy to shreds with snark and irony. And there were those (like me) who have followed Purdy’s career ever since.

It was more than ten years later when Purdy took a direct hit from a nuke dropped on him by Tom Scocca. The piece was “On Smarm,” published at Gawker in December 2013. It’s a long piece, and Scocca expends quite a few paragraphs to take Purdy apart with snark. I’ll quote only the first and last paragraphs here:

First paragraph:

A Fable From the Age of Smarm: Once upon a time, in the high hills of West Virginia, there lived a young man named Jedediah Purdy. Jedediah was fond of animals and of taking long walks through the woods; he liked to eat fruit that was not entirely ripe. His parents had gone into the hills to get away from electricity and the corruptions of civilization, to raise their children apart from “the hollowness of mainstream living,” as the New York Times Magazine put it. They built their own home and slaughtered their own pigs.

Last paragraph:

Jedediah Purdy is now a professor at Duke Law [later Columbia] and has been a visiting professor at Yale Law, the school at which he got his own J.D., after he graduated from Harvard, after he graduated from Exeter. For this, pigs were butchered. Such are the fruits of renouncing the mainstream.

Personally, I find Scocca as irksome as Scocca finds Purdy. But I must agree with Scocca that irony — and even its weaponized version, snark — can serve (like guns) a noble and defensive purpose if in the right hands. However, no background check and permit are required to employ the weapon of snark against people. Anyone can do it.

Scocca reminds us of the enduring power that snark and irony can have when discharged by those who are morally sane and gifted as writers:

One curious fact about this long view is that it’s quite untrue. I can’t recall ever, unless compelled by duty, rereading a Malcolm Gladwell article. What I have reread is Mencken on the Scopes Trial, Hunter Thompson on Richard Nixon, and Dorothy Parker on most things—to say nothing of Orwell on poverty and Du Bois on racism, or David Foster Wallace on the existential horror of a leisure cruise. This belief that oblivion awaits the naysayers and the snarkers shouldn’t survive a glance at the bookshelf.

If it’s true that there is no defense against an idiot with a gun other than a non-idiot with a better gun, then it’s also true that there is no defense against an idiot with snark other than a non-idiot with better snark. Though I have done my best to stay away from places (and people) in social media where the snark flies like bullets, not infrequently I still find myself caught in the crossfire, or hit with a stray round of snark. What do I do? I fire back almost as a reflex. I’m a sharpshooter when it comes to snark.

But I do wish to draw a line. Just as we (we Americans, anyway) live in a gun culture, we also live in a snark culture. But, for the sake of our mental health (and our relationships), we’d better have some safe space. We all need people in our lives who not only will never use irony and snark against us, but who also will come to our defense.

I have spent a great deal of time over the years editing not only what I have written myself, but also what others have written. Post-Purdy, I have developed an editing mode that I call “snark detecting.” Most of the time (and here I find myself agreeing with those whom Scocca berates as smarmy) I find that snark and irony greatly weaken a piece of writing. I often quote a friend who is a very fine writer as saying that there is no sin for a writer worse than insincerity. Except for those emergency occasions when some snarky idiot needs to be lit up, outsnarked, and taken out of action with superior snark, I think we’d all do well to employ our snark detectors and edit out the snark.

Writers and editors often talk about tone. But we are all writers now, because we all use email. Tone can be difficult to control. When writing anything that could be touchy, I try to take the time to reread what I’ve written just for tone. For example, consider this line, which is taken from an actual business email sent to me relating to a publishing project:

Do we need to talk, again, about division of labor?

Note how the two commas around the word “again” change the tone from reasonably neutral to remonstrative and slightly snarky. Yes, I took offense (though I did not respond with snark).

I have a not-exactly-tacit agreement with one of my friends to never use irony with each other, let alone snark. In fact, several years ago, when in a casual remark he employed a touch of irony (not against me, though) I didn’t understand him and had to ask him what he meant. Irony-free zones, I would argue, are necessary for our mental health.

If I have a conclusion, it’s about where I draw the line. I detest irony and snark. These days, irony is as inescapable in our popular culture as snark is in our political culture. (In popular culture, think of “The Big Bang Theory” — all snark all the time, and anti-intellectual snark at that. It was almost violent in its snarkiness. I didn’t find it the least bit funny.) Occasionally I hear couples snark at each other in public, as though we as a society are normalizing the Big Bang theory of relationships. I think to myself, there goes a relationship that is in its last season. Intimacy and supportiveness cannot survive against snark, though society can. And regardless of what it says about me as a person, anyone who snarks at me on Facebook (or at an auto parts store) can expect a blast of snark in return, aimed right between the eyes, because civility is no defense against snark (no matter what they say in smarm school).

If snark was fatal, as guns can be, then I would be pretty dangerous. But I would like to think that I also know when not to use it. I carry snark as a concealed weapon. Outside our safe spaces, where snark flies like the bullets of angry and unstable white men, you never know when you might need it.


An aside: In searching the Internet for photos of one of America’s greatest curmudgeons, H.L. Mencken, I was surprised to find the one above. He is sitting at a piano (who knew?), with an open book of music. A little Googling shows that Mencken was a pianist, and that he played regularly with a group of musicians who called themselves “The Saturday Night Club.” They got together to drink and play music. What is that piece of music on the piano in front of Mencken? No matter how much I zoom in, I can’t read the title. But it looks like German to me. The arrangement is clearly for voice with piano accompaniment. My guess is that it’s a book of Schubert lieder. Knowing that Mencken was a musician helps, I think, to understand why Mencken’s snark and irony were so beautiful and so effective as cultural and political commentary. He was an artist at it.


Season 8, episode 2 (updated)



Ken Ilgunas and David Dalton are reviewing each episode of the final season of Game of Thrones. Check the “Game of Thrones” category to list all of these posts.


David:

Mornin’, Ken …

Well, was I ever wrong last week. I expected treachery at at Winterfell. But I didn’t realize that we were right on the edge of battle. So instead of treachery we got a series of very tender goodbyes, as well as the long-awaited scene between Jon and Daenerys. I’m afraid that, next week, we’re going to be writing a bunch of obituaries. It’s Brienne whom I’m most worried about.

You predicted last week that Jaime will die in the arms of Brienne. I wonder if it mightn’t be the other way around — that Brienne will die in the arms of Jaime. Foreshadowing in Game of Thrones often doesn’t mean what we think it means, but it seems to me that Brienne’s death is all too clearly foreshadowed. Jaime makes her a Knight of the Seven Kingdoms, providing her with a deep sense of gratification for all her selfless sacrifice and sublimated love. Podrick, revealing a very fine voice, sings a sad song, “And she never wanted to leave.” A different voice picks up the same song as the titles roll. The song is a dirge. It was heartbreaking.

I rarely make predictions about Game of Thrones, but if the day is saved in the coming battle, then I think that Brienne will do it.

As a matter of drama, I can imagine a better job of giving viewers a stronger sense of hopelessness and impending doom. Still, we are clearly to understand that the characters all believe that they may be living their last hours. The series’ long investment in rich, complex, lovable characters is now paying dividends in the kind of scenes we got in this episode. Some of what happened was obviously going to happen — for example, Arya and Gendry. But there also were a great many subtle touches where the love between the characters is loftier than the ripping off of costumes, such as the looks that Brienne and Podrick were giving each other just before Jaime knighted Brienne. Clearly they know each other very well, and they have told each other many things. It’s hard for me to imagine Brienne without Podrick, or Podrick without Brienne. Next week’s episode is not going to be easy to watch.

It was Bran who had the plan, with Bran himself as bait. Let’s hope that Bran’s plan will work.

Where was Varys? How could he have been overlooked? Is he away and up to something?

I had assumed that the great battle with the dead would be postponed until the last or next-to-last episode. If the great battle comes in the third episode, then that will leave three more episodes for struggles among the remaining characters, plus some denouement. A long epic deserves a long denouement. It should be the sweetest part of a good story, as long as the writers follow the rules of classic storytelling — and I greatly hope they do.


Ken:

Morning David. My god, that was a good episode. I’d go so far to say that it was among the best episodes. Almost all the actors nailed their little scenes, as short as they were. [Jamie and Brienne on the training grounds; the three Crows; Sam and Jorah; Arya and Gendry all glistening with sweat by the forge (their sex scene, not so much); Dany and Sansa; Dany and Jon; and one of the briefest was among the bestest: Sansa greeting Theon, and later them lovingly looking upon one another over a bowl of soup–that’s a perfect example of how so much can be done with so little.]

And of course the fireside scene! This sort of scene is what GoT was missing last season. Last season, the dialogue on the expedition north of the wall seemed too chummy and forced. The dialogue at the all-star conference in Kings Landing seemed so stilted and dry and humorless and full of tiresome exposition. It could have been a grand scene, but it was lifeless. Here, by the fire, we heard good stories, saw a lot of character, and felt the atmosphere with the characters: enjoying with them a bit of wine and warmth before the storm to come. And we were reminded of what they’re all trying to save: the best of their civilization, as all of these characters exemplify honor, loyalty, justice, forbearance, and compromise.

It was only natural that it ended with a moving knighting ceremony and a song. It was the little moments that won the scene, like the mischievous and warm smile Tyrion gave to Pod upon handing him an overflowing cup of wine. (Side note: There were a few other great smiles in the episode, including Gendry’s titillated grin upon watching Arya skillfully fling daggers.) (Extra side note: Verys’s presence at the fireside might have been inappropriate because, although he is a virtuous character, his career in espionage might have subtracted from the purity of the gathering.)

At this point, the show is moving confidently toward the end, with far more poise than I anticipated, and I’m glad to admit that I may have been wrong to have doubted the writers two blog entries ago…

Some stray thoughts…

– A friend once pointed out to me that GoT battle scenes are almost always creative. This is certainly true: think of the tightening circle in the Battle of the Bastards, where everyone was getting trampled to death, or the cool ways the Night’s Watch fended off the attack against the wildlings at the Wall. We’re bound to see some really interesting battle scenes. But I’m struggling to imagine how all the moving parts will interact. We have the forces at Winterfell vs. The Dead vs. Cersei’s mercenaries. What will the battle sequence be?

– I’m also interested in what they’re going to do with the remaining four episodes. (This season has six.) The first two episodes were set-up episodes. I’m guessing the next two will be epic war episodes, with whom and versus whom, I don’t know. And then maybe we get two more as an epilogue, or as denouement, as you say? Doesn’t this all seem a bit rushed to you? If this is one of the biggest battles in this world’s history, shouldn’t it take up more than 1-2 episodes? I wouldn’t mind three. I wouldn’t even mind a whole season set aside for military maneuvers, though it’s easy for me to suggest such a thing when I have no responsibility for the CGI budget. I fail to see how, in a few epilogue episodes, we figure out who’s the real ruler, how to deal with Cersei, and then send off the surviving cast members with a few goodbyes. There’s a lot to fix in Westeros other than the zombie invasion, right? I would have written for 10 episodes.

– You can’t go wrong with a summarizing lullaby scene, in which we get quick vignette scenes of characters set to the tune of pretty music. I love that shit. It works every time. Braveheart did it well. So did The Wire. They could end the series this way.

– Where is winter, exactly? They’ve been saying winter is coming for 8 seasons now, and there’s pretty much the same amount of snow on the ground.

– I feel the plan to lure the Night King toward Bran is a bit too convenient. The Night King should know that the Living People know that killing one of the White Walkers kills all their followers. I feel like the show is making it a bit too easy for itself to resolve a difficult plot conundrum (a million zombies versus a small castle).

Death prediction possibilities for the next two episodes: Theon, Jaime, Brienne, Jorah, Hound.

Another friend’s prediction/question: Could the dead in the crypt come to life?

More unaccounted for characters: Edmure Tully, Arya’s wolf Nymaria, Meera Reed, the fire witch from Mereen, Robin Arryn.

Unanswered questions: When does the Hound get to take on the Mountain? Will that scorpion dragon-killing contraption make its way north? Is Bronn being commissioned to kill the Lannister brothers the lamest and most predictable story this season? What’s with the Night King’s fascination with his spiral body flesh designs? Who is Azor Ahai?


Updates:

David:

Was it Josh who thought of the dead in the crypt being revived? It’s a brilliant insight. And the more I’ve thought about it, the more I think that’s what’s going to happen. The setup is just too perfect. And how like Martin to set up, at the very beginning, something that doesn’t figure back in until many books (and episodes) later.

Still, everything happens with a twist. What could the twist be? Maybe the Winterfell ancestors knew of this possibility, and maybe there is something — maybe something magic — that protects the Winterfell crypts or otherwise alters the outcome? Why does Winterfell have crypts in the first place? Isn’t it the only castle that buries its dead that way?

I am terrified of the next episode…


Ken:

I wish the insight was mine, but yes, it was Josh’s. I am positive something nasty will happen in the crypts. There were at least three occasions when someone said something like, “It’ll be safer in the crypts.” Which means it’s definitely not safe in the crypts. You’ll remember that Tyrion is one of the few high profile characters assigned to stay in the crypts, so there’ll be some heroics for him to carry out.

And I think you’re correct to think there’s something else about the crypts that we don’t know. Didn’t the youngest Stark have a strange, ghoulish draw to the crypts? Didn’t the three-eyed raven in young Bran’s dreams lead him down there? There could be some magic power or long-dead ancestor that might hold special significance. I believe it was “Bran the Builder” who built Winterfell in a different epoch.

What are some of the wildest theories we could propose? Could it somehow explain the origins of the Night King? Might the dead be seeking nothing short of a resting place (or the ability to rest)? Could the Night King be a Stark? (The Night King does have a strange relationship with Bran, and he has a tendency to stare with wonder at Jon Snow). Some people have proposed that Bran’s ability to travel back in time and change events might play into these last episodes (the way he influenced a young Hodor, who’d eventually “hold the door”). Some have even proposed that the Night King is Bran and the only way to kill the Night King will be to kill Bran. (I picked a few of these insights up from The Ringer’s GoT podcast, Binge Mode, specifically their episode titled, “Our Seven Biggest Questions Ahead of Season 8.” It was so good, and they were so geeky, I actually had to stop listening because they may have been taking away some of the fun of coming up with my own predictions, or the joy of simply being startled by missing something obvious, such as the coming crypt twist. From now on, I’ll probably stick with our own flawed analyses.

Binge Mode: Our Seven Biggest Questions Ahead of Season 8


Game of Thrones: Season 8, episode 1



Ken Ilgunas and David Dalton are reviewing each episode of the final season of Game of Thrones. Check the “Game of Thrones” category to list all of these posts.


David:

Mornin’, Ken…

I greatly enjoyed this episode, and what struck me is how the moral middle ground of former seasons is gone. Now the forces of good and evil are lining up as the surviving characters choose sides — good people at Winterfell, wicked people at King’s Landing. It put me in mind of a hymn:

Once to ev’ry soul and nation
Comes the moment to decide,
In the strife of truth and falsehood,
For the good or evil side;
Some great cause, some great decision,
Off’ring each the bloom or blight,
And the choice goes by forever
‘Twixt that darkness and that light.

(The words were written in 1845, by James Russell Lowell, as a protest against both war and slavery. The hymn is sung to the hymn tune Ebenezer, which is very much in a minor key.)

Consider poor, poor Theon, who was tortured by living in a moral vacuum as much as he was tortured by Ramsay Snow. Now Theon, having rescued his sister and feeling a bit better about himself, will go to Winterfell to fight with the forces of good. Even Jaime had to choose sides and joins the good people at Winterfell — though the first person he sees is Bran. (I’m hoping than Bran will forgive Jaime for knocking Bran off the tower because Bran foresees that Jaime has a part to play. And would Bran be the Three-Eyed Raven if he had not fallen?)

There is a huge imbalance, though. In the wicked south, we have only Cersei, Euron, and a new sellsword. And how much longer can Euron survive until Cersei orders him snuffed? Unless Cersei cooks up something new, the ingredients of drama (including characters) are now scarce in King’s Landing. Will Cersei have to rotate uselessly in dramatic circles for a while, the way Daenerys once circled in the desertlands waiting for her next cue? If not, how will Cersei stay in the thick of things? Who is there to even engage her in dialogue, since we’re all as tired of Euron as Cersei is?

Whereas at Winterfell we have a great surplus of characters all cramped up in inadequate accommodations. Thus we can expect treachery at Winterfell. But who will betray whom? Daenerys is now the character in the most awkward position. Jon Snow is suddenly the biggest obstacle to what she regards as her right and her destiny — the throne. Daenerys is faced with the choice of either great sacrifice or great cruelty. It is Sansa who is most critical and who expresses the most discontent with the present situation. Arya is an enigma and a wild card.

Though many reunions were had and much exposition was exposed in this episode, we still have many things to wonder about. Any character who is still alive can be assumed to have a critical part to play before the end. Where is Melisandre? Why was Gendry brought back after a long absence? What work do two of my favorite characters — Brienne and Podrick — still have to do? How will Tyrion and Varys get back into the thick of things? Is Sam superfluous now? Is it meaningful that Yara chose to go back to the Iron Islands?

One character, though, has risen to the top of the dramatic heap — Bran. Bran now supplies much of the plot’s remaining mystery. Isaac Hempstead Wright has grown up in this role. I believe he was 12 years old when the series started. Now he is 20 and is as perfectly cast as any character in the series. All the wise old maesters are dead, but Bran is now wise. The transformation of Bran is one of the most beautiful surprises of the entire series. I would not be surprised if Bran upstages Jon Snow hereafter.

I’m not going to make any guesses about where it’s all going. I remain convinced that George RRRRRR Martin and the HBO writers still have many shocks and surprises up their sleeves and that they’ll pull this thing off in the end. I’d say they’re off to a great start with the season opener.

One piece of foreshadowing continues to needle me: When the dragon gave Jon Snow that funny look, what did it mean?

An aside: The New York Times has a piece this morning about how GoT tourists in silly costumes are flooding Northern Ireland, oblivious to the area’s real history. Jeekers, people. Get a life.


Ken:

Hi David. I thought this was a rock solid beginning to the final season. We are primed for small personal dramas. (Will Arya and the Hound fully reconcile? Will Arya and Gendry have the show’s final romance?) And we are primed for the big picture political dramas. (Who will be the ultimate king or queen of the seven kingdoms?) Some stray thoughts and questions….

• Euron Greyjoy has tested our patience long enough. I sense that Cersei will double-cross him soon and keep his ships. You’re right: Once that’s settled, there’s not much else for her to do, apart from move her military machine. Might we get a good Martin-esque twist if Cersei uses her political talents and maliciousness for good? Her collapsing under her own treachery and deceit seems too simple, but sometimes that’s how things play out, too.

• Yara Greyjoy is going to take back the Iron Islands so Team Dany will have a safe haven should things go wrong with the zombie war. Does this mean that such a course of events is inevitable?

• There are countless things foreshadowing the demise of the Dany-Jon love affair. Verys says “Nothing lasts” as he looks down on them. The dragon gives Jon an odd look when Jon and Dany are making out. (I think the dragon’s saying to Jon, “You better think about what you’re doing.”) And Dany seems like she’s properly smitten (you have some special word for this, I remember, which sounds like “luminescence,” right?) [Note from David: Limerance!] whereas Jon is more hesitant. (Romantic unreciprocation spells disaster!) As for who takes power… Jon has never cared for titles, just what’s right and just. It seems most appropriate for him to allow his allegiance to Dany to persist (even if he’s convinced of his superior claim), but the show seems to be moving in the direction of Jon taking over eventually, and it would be too weird for them to do that as one half of another incestuous couple. The most reasonable solution to this is Dany dying in a moment of sacrifice, and Jon taking power only when he’s called to. The person in the middle of all of this is Tyrion, who is firmly on Team Dany, but who has lost favor and who has a soft spot for Jon. It’ll be interesting to see how he navigates the situation.

• Acting award of the week goes to Sam Tarly. So many relatives die on this show. So many people are reunited after years apart. When the main characters learn of deaths or are reunited, their reactions are sometimes weak, and the acting job is uninspired and half-assed. (Think of those YouTube videos of military fathers returning home to their teary, jubilant children—that’s how real people react.) The actor playing Sam gave everything he had, and I think he found a nice balance between grief and indignation. On the other hand, Arya’s emotional reunion with Jon seemed forced and forgettable.

• I do think the show is still missing some of its old Martin magic, and we see this most clearly with the absence of good humor. Martin is a very funny and clever writer. Think of all the Verys/Tyrion/Little Finger dialogue from the early seasons. A lot of that snappy, funny dialogue came straight from the books. Now we have just a few poorly crafted testicle (or lack of testicle) jokes. They have squandered poetic opportunities, too. Think of when Jon asks Dany how to ride a dragon. “Nobody does,” she says, “until they ride a dragon.” She could have quoted a fabled line from a dragon-riding ancestor, or shared a metaphor about riding the wind, or something of the sort. (PS: Why don’t they make some sort of dragon seat for the riders? It looks impossible and dangerous to hold onto those wobbly dragon spinal spikes.)

• House Glover has it coming to them. Count on them getting sacrificially obliterated next episode.

• Great dragon ride! That’s an amazing use of scenery (as you pointed out last week), and it’s a great character-building scene, as Jon begins to embrace his Targaryen side.

• Random thought of the week: It’s way too late, but I wish the show had incorporated a character or two representing the lowest classes (i.e., the ordinary people). Sure, there are lots of characters who have risen to be warriors and advisors with merit, but I’d like a few characters who are firmly stuck at the bottom, and who look at the people of the great houses from afar and from their hovels, because that’s what it would have been like for 99% of the people in such a time.

Main characters that are unaccounted for: The Red Woman, Brienne and Pod, Daario Naharis (please no), Jaqen H’ghar.

Next big character to unexpectedly die: Onion Knight

Unanswered questions:

Are we going to have a sit-down convo with the Night King, or is he just an evil force of nature without soul and complicated motivations? I feel like we need a little more explaining about his motivations…

What will be the form of government in the end? Still a straight up monarchy?

Are there no caribou or moose for the dragons to hunt? Just barnyard animals?

Will there or will there not be elephants?

Predictions: Jaime will die in the arms of Brienne.


David:

Speaking of humor, some of it went right over my head. This morning’s review in the New York Times mentions these lines:

Tyrion: “The last time we spoke was at Joffrey’s wedding, a miserable affair.”

Sansa: “It had its moments.”


Game of Thrones countdown


Since its beginning in 2011, Ken Ilgunas and I have made a tradition and a sport of watching and subsequently deconstructing each new episode of Game of Thrones. If Ken was here, we watched it in the evening and started our “Thrones talk” at breakfast. If he wasn’t here, we did it in email. As literary confederates, there are many things about which we are in complete accord. But that’s not always the case.

To prepare for the final season (which starts at 9 p.m. Sunday, April 14, on HBO), we each re-watched the previous season, Season 7. Our discussion of the re-watching follows, lifted from email. Hereafter we will “co-blog” each episode of the final season, hopefully by the Monday after each episode.


Ken:

Morning David. You’ve told me you just binged Season 7. As you know, I had some issues with the last season (which I’m sure I’ll get to), but I’m curious: What were your impressions, and what do you think we can expect from Season 8, the final season?


David:

Yep. I binged, and I was transfixed. Two years was enough to make it fresh again, though of course I remembered most of what happens. Somehow the flaws that we’ve discussed mostly melted away. What stood out in re-watching were the incredible quality of the dialogue, the perfect casting and brilliant acting and directing, the settings, the photography, and the detail. Brilliant dialogue, of course, requires more than just the dialogue. It can occur only with strong characters inside a good story. The sibling spats are brilliant — Jaime and Cersei, Sansa and Arya. (There is something particularly vicious about sibling spats.) Another remarkable thing about the dialogue is that it’s just as good whether it’s dialogue about war and affairs of state, conducted by the powerful; or taunting and ribbing by the lowly, as in some of the dialogue while the zombie-retrieval crew were laboring north. I believe I have only one strong complaint. That’s the zombie thing, which I continue to see as an un-original selling-out to a fad, and the tail-end (I hope) of the fad at that. It’s a shame to mar something so original with more zombieness.

Anyway, as for the flaws, I’m a pushover when it comes to suspension of disbelief, as long as the story is not in the here and now. I rarely binge. But re-watching Season 7 put me into a trance.

The New York Times had a piece about how Northern Ireland is now overridden with GoT tourists. Having hiked the Scottish Islands with you since we first watched Season 7, it all looked familiar (and even more beautiful). I’m just glad that all that tourist traffic isn’t descending on Scotland, because those coastal vistas work best when they’re clear of everything but sheep. I paid much more attention to the settings while re-watching Season 7. The settings are incredibly powerful. You’ve heard me say many times that certain kinds of stories can be told only in certain kinds of settings. The example I always use is that the moment a writer chooses to set a story in the American South, it’s a given that somebody is going to be repressed, oppressed, and miserable, and that the story will revolve around social and family conflict and whether key characters can or cannot be true to themselves. It would be much harder to tell a story like that in San Francisco, or Paris. Part of the genius of HBO’s GoT is that the producers understood the importance of epic settings, and they had the budget for it. Now we’ve got those places on film forever, though I hope those places never change. When the producers of Star Wars took us to Skellig Michael, I suspect that it was because Star Wars had to hit the new standard for settings set by Game of Thrones. What a good way to use a big budget! My TV no longer seems big enough. To top Skellig Michael as an epic setting, you’d have to get out among the stars — another setting in which epic stories can be told. Some settings enlarge us; some settings knowingly cramp us and suffocate us. Compare “Angela’s Ashes,” a very different Ireland from Skellig Michael or the seascapes of Ulster. My larger point is that, in HBO’s GoT, story and setting are brilliantly matched. It may be easier to appreciate those settings in a second watching, when the characters and dialogue don’t demand our full attention.

Now I just hope that the final season doesn’t let us down and that we end up happy and satisfied, with another epic for a lifetime, like Star Wars. If that happens, then it will be your curse to watch John Snow (a few years younger than you) and the other characters grow old, as my generation had to watch Luke Skywalker (a few years younger than me) and Leia grow old. These are stories that provide a mythic framework for our lives.

The New York Times also had an article about how GoT is a new economic model for television, with a budget that would have been unimaginable not long ago. Let’s hope that that model continues … as long as somebody can come up with stories worth that kind of telling.


Ken:

Your cheery take is heartening to read because I hope you’re right and I’m wrong. I’ve re-watched Season 7, and my second watching confirmed my original impressions: It is by far the worst GoT season. I say this for three reasons:

1. The fast pace of the season is out of step with the slow pace of the rest of the series. One can now travel across Westeros instantaneously (whether by horse, dragon, or boat) when, in a previous season, it would have taken a whole season for a character to move from A to B. They are practically teleporting. This isn’t me just quibbling about suspension of disbelief issues. The “slow storytelling” of GoT was one of the things that set GoT apart from all other shows. These were great opportunities for character development, and they made long-awaited path-crossings cathartic or dramatic (like the Hound vs. Brienne). The Jon-Dany introduction could have been a bit more exciting if they took an extra episode or two to cover Jon’s sea voyage.

2. The plot became bonkers. I know this is fantasy, and I’m prepared to generously suspend my disbelief with dragons and fire magic, but the expedition north to capture a zombie to bring it back to King’s Landing doesn’t work on many levels.

3. The dialogue was substandard. In previous seasons, we had interesting pairings of characters. Now, they just shove a bunch in the same room, where they jest and prod and deliver quippy one-liners. The scene with Jon and Dany in the cave was appallingly neat, and corny. The dramatic Jaime “death” and rescue scene, after the battle with the Dothraki, was beneath the writers’ standards. There was little character development. About 85% of the dialogue was exposition, reminding us of everyone’s past, their relationships with one another, and their plans for the future. What happened to stories about their lives or the relaxed and clever banter, such as the Verys/Tyrion banter, which was so good? This all exposes the writers’ need for good George RRRR Martin dialogue, which they no longer have access to.

I say all of this with deep respect for the writers, producers, and actors, and of course Martin. GoT, as a TV series, belongs in a tier of its own, and GoT episodes, during quiet parts of my last eight years (as sad as this sounds), have been some of my intensest emotional events. I fear the show has lost its Martin magic, and I truly fail to see how they’re going to wrap up all storylines, win the war against the White Walkers, and provide satisfying epilogues for the surviving characters—all in a shortened final season. I worry that the season will only be the movement of chess pieces, followed by gory CGI fests. There are only a handful of relationships to be mended; there aren’t many more secrets to be learned; there aren’t many dramatic character reunions to be staged; there are no new love affairs to be consummated.

I think GoT is going to live out the fate of 2007 New England Patriots, who had a perfect 16 win, 0 loss season, but who flubbed it in the Super Bowl against the Giants. I worry a dissatisfying finale will make the preceding seven seasons irrelevant and un-rewatchable. No one wants to be more wrong than me.


Updates

David:

Here is a critic in The Atlantic who agrees with you. Whereas I am in denial:

The Old Thrills of Game of Thrones Might Be Gone for Good


Ken:

I agree with everything he says, 100%. In ways, we wrote the same column, but his was far better. Indeed, I felt the same thing about the Littlefinger plot. The Stark sisters plotting against one another was ridiculous. We saw Littlefinger’s death a mile away…. I envy your denial!


David:

Your case is strong, and I will concede and throw in the towel and wail and gnash my teeth if it comes to that. But I also have to hope that the HBO writers and producers are smart, are aware of these dangers and past mistakes, and that they also have access to George RRRRR Martin, who I think would not hesitate to tell them what he thinks, even if his contract binds him to public silence. I do think that stories are safest in the hands of a single inspired writer whose only product is words rather than zillion-dollar productions.

May the force be with us.

Would you like for me to append a link to this piece as an update to our post?


Ken:

Sure, that’s a good piece.



The Old Thrills of Game of Thrones Might Be Gone for Good