Author: Bill Vallicella

Conservative or Counter-Revolutionary?

Christopher Rufo made an excellent contribution to Mark Levin's "Life, Liberty, and Levin" last night. I will put one of his points in my own way with my own additions and 'flourishes.'

One can conserve only what one has, not what one has lost. We conservatives have lost control of our institutions including the universities, the schools, the churches, and the Fourth Estate. The Left's "long march through the institutions" has been successful thanks to their energy and our inattention. Since there is little or nothing left to conserve, we must take back what has been stolen. While we may continue to call ourselves conservatives, we must think of ourselves as counter-revolutionaries.  Counter-revolutionaries, not reactionaries. 'Reactionary Right' is a phrase to avoid. He who reacts is defined by that against which he reacts. We need action, not reaction. 

As for the 'post-liberals,' it is not clear what they are about.  But to the extent that they support a 'throne and altar' response to the Left's depredations, in the form, say, of integralism, then they are but another impotent form of reaction.

You may look away . . .

. . . but it won't make the madness go away. Still, "Out of sight, out of mind" is a way to peace of mind. But is such peace worth wanting if its price is ignorance of imminent threats to your life, liberty, and well-being? Can you afford to ignore the sheer suicidal insanity of the Left? Examples are legion.

Here is a recent one: Illinois law requires landlords to sell or rent to illegal aliens.

The Republic is on its last legs when law is used both to undermine the rule of law, and to punish productive citizens who accept the risk of buying properties, refurbishing them, and then putting them up for rent or sale. 

The Underground Grammarian

If you think that I am a language Nazi, then pay a visit to the Underground Grammarian. His stern visage reminds me of a passage near the beginning of Franz Kafka's Vor dem Gesetz, "Before the Law." The protagonist seeks entry into the Law, but at the door stands a guard who warns:

Ich bin maechtig. Und ich bin nur der unterste Tuerhueter. Von Saal zu Saal stehn aber Tuerhueter, einer maechtiger als der andere. Schon den Anblick des dritten kann nicht einmal ich ertrage.

I am powerful. And I am but the least of the gatekeepers. From room to room there are gatekeepers each stronger than the next. Not even I can bear so much as the glance of the third. (tr. BV)

Related: Fellow Language Nazi William Sullivan reports on the case of Arizona Republican Eli Crane. Crane got into trouble with the 'woke' contingent when he inadvertently used 'colored people' instead  of 'people of color.'

A point Sullivan did not make, but I will, is that the two phrases, while synonymous in objective intension, are semantically distinct in subjective intension. They differ in connotation despite sameness in denotation.   

Requite Good with Evil?

Or with justice? And what is justice? 'Equity'?

Substack latest. The short piece ends thusly:

You absolutely must read old books to be in a position to assess justly the dreck and drivel pumped out by today's politically-correct quill drivers and so-called 'journalists' who wouldn't know a gerund from a participle if their colons depended on it.

Oriana Fallaci on Writing

From The Rage and the Pride (New York: Rizzoli, 2003), pp. 23-24, emphases added:

I must say that writing is a very serious matter for me: it is not an amusement or an outlet or a relief. It is not, because I never forget that written words can do a lot of good but also a lot of evil, they can heal as much as kill. Read History and you'll see that behind every event of Good or Evil there is a piece of writing. A book, an article, a manifesto, a poem, a song. . . . So I never write rapidly, I never cast away: I am a slow writer, a cautious writer. I'm also an unappeasable writer: I do not resemble those who are always satisfied with their product as if they urinated ambrosia. Moreover I have many manias. I care for the rhythm of the phrase, for the cadence of the page, for the sound of the words: the metrics. And woe betide the assonances, the rhymes, the unwanted repetitions. For the form is important as much as the substance, the content. It is the recipient inside which the substance rests like wine inside a glass, like flour inside a jar, and managing such symbiosis at times blocks my work.

This is from a book in which Oriana speaks her mind on the events of 9/11. The passion of her ambrosial prose, the charm of her Italianate solecisms, kept me up last night. Move over Camille Paglia!

It Passes All the Same

No matter how many times you remind yourself to seize the day, to enjoy the moment, to do what you are doing, to be here now, to live thoughtfully and deliberately, to appreciate what you have; no matter how assiduous the attempts to freeze the flow, fix the flux, stay the surge to dissolution, and contain the dissipation wrought by time's diaspora and the mind's incontinence — it passes all the same.

Morality and Legality: Three Principles

To Write Well, Read Well

The example of William James.  Excerpt:

But what makes James' writing good? It has a property I call muscular elegance. The elegance has to do in good measure with the cadence, which rests in part on punctuation and sentence structure. Note the use of the semi-colon and the dash. These punctuation marks are falling into disuse, but I say we should dig in our heels and resist this decadence especially since it is perpetrated by many of the very same politically correct or ‘woke’ ignoramuses who are mangling the language in other ways I won't bother to list. There is no necessity that linguistic degeneration continue. We make the culture what it is, and we get the culture or unculture we deserve.

As for the muscularity of James' muscular elegance, it comes though in his vivid examples and his use of words like 'pinch' and 'butchered.' His is a magisterial interweaving of the abstract and the concrete, the universal and the particular. Bare of flab, this is writing with pith and punch. And James is no slouch on content, either.