Playing With Technology

Yesterday I had started a blog post, which unfortunately for some reason WordPress decided to delete. It was about 700 words, telling you all about my new phone, and some of the apps that I have been playing with. Even though it was a decent blog post, it wasn’t anything particularly special.

Wherever that blog post draft has disappeared to in the Internet ether, it did make me realise after it was gone how much I miss writing on a regular basis – when it comes to things not related to work. Although I love my new job very much, I find myself so busy during the day that when it comes to writing a blog post for the following day, I often run out of time and energy before I run out of ideas on what to write.

So here I am, finding myself trying out something different in an effort to share my scribbles with you. To wit, I’m using speech-to-text on my fancy new phone, to see if this will help me to draft and then post something for you, gentle reader, in an easier fashion. So far, so good.

Of course, not every post needs to be a 1000 word essay on the merits of Matisse, but on the other hand I do feel a responsibility to all of my readers to make a sincere effort to write something, as often as I can. You do me the honor of subscribing to this blog or visiting this site on a regular basis. I assure you that this is not something which I take lightly.

So I thank you for your continued patience as I try to get back into the swing of blogging. Hopefully you will stick with me as you have over the last 2 months of transition. While the lengthy essays that you have come to expect over the years may be less frequent than before, I do hope that this creative outlet will continue to engage, entertain, and hopefully inspire, as we see what this new year brings.

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Review: An Engrossing “Battle Against Hitler”

Today is my turn on the blog tour for “My Battle Against Hitler”, a compilation of the writings of the great German philosopher and professor Dietrich von Hildebrand, translated, edited, and annotated by John Henry Crosby together with his father, John F. Crosby, himself a student of Hildebrand.  Those among my readers who are interested in philosophy, particularly Catholic philosophy, history, and political theory will thoroughly enjoy this volume.  Yet I also want to encourage those of you who do not typically read such subjects to take a look at this work, which kept me fascinated from beginning to end.  It taught me much about a great figure I knew little about, for it not only recounts von Hildebrand’s harrowing experiences using his voice and his pen against Hitler, it also gives an engaging picture of what life in the lead-up to World War II was really like for those who dared to defy Nazism from its inception.

I must confess I was a bit intimidated when I was asked to review this book.  Although I have studied history, political theory, and theology throughout my life, I certainly couldn’t attempt to hold my own in a philosophical debate on some of the deep questions of human nature and existence with authors like von Hildebrand explored in their writings. Yet I needn’t have worried, for while such underpinnings are important to understanding who von Hildebrand was and why he did what he did in the battle against Nazi totalitarianism, this engrossing volume is less of a philosophical textbook and more of an adventure story, chronicling not only the timeline of how von Hildebrand became a prime target of Hitler’s regime, but also the people and situations he encountered along the path to eventual exile to the United States at the outbreak of war.

Using a collection of materials, including von Hildebrand’s own journals and published writings between 1921 and 1938, Crosby not only gives the reader the opportunity to follow von Hildebrand from his rise to prominence as an outspoken critic of Nazism in Munich, to his “last stand” in Vienna before the Anschluss, he also provides many of the writings which encapsulated von Hildebrand’s ideas, and what got him into trouble with Hitler in the first place. As such, this is a hugely entertaining read, if one may use so seemingly flippant a categorization when reviewing such serious material. Even those who are wholly unfamiliar with von Hildebrand will be drawn in to understanding the man in a way that is not normally attempted in writing about historical figures.

For example, in the journal portion of this volume, von Hildebrand recounts his friendship and meetings with the great conductor Otto Klemperer, who had to flee Germany as a result of being Jewish, and eventually chose to head to the safety of the United States. During their time in Vienna the two men were able to meet often and share their love of Germanic culture, appreciating among other Germanic artists the dignity and elegance of the world evoked by the music of Mozart:

To experience such a distinctive and refined world, filled with the special air of Mozart, and embodied in such a concrete and individual manner, is something very rare. How unusual it is to find the beauty and nobility of this world realized in such perfection, concreteness, and fullness. And what a great and unusual gift it is to find oneself unexpectedly in this world, not for the sake of enjoyment but transported there by life circumstances, not as a spectator but as someone inhabiting it in an entirely natural way.

This idea of the crystalline perfection of Mozart which von Hildebrand expressed in his conversations with Klemperer and in his journals is similarly reflected in his published writings. In one of the selections for this book, “German Culture and National Socialism”, published in June 1934, von Hildebrand’s essay takes aim at the notion that German culture is the slogan-laden caricature presented by the Nazis, rather than the “expressions of the spirit” which come through in its greatest interpreters of art, poetry, and music. “[A]nyone whose heart has been moved by the angelic, sublime beauty of Mozart’s music,” he writes, “can feel nothing but deep revulsion at the sound of the Nazi ‘Horst Vessel Lied’, and must inevitably feel that here two irreconcilable worlds have confronted each other.”

The pairing of von Hildebrand’s private thoughts and experiences with selections from his published writings give us a well-selected overview of the life and work of one of the most important thinkers of the 20th century, in a way that those who know little or nothing of the study of philosophy can appreciate as much as those who are experts in the field. Anyone who can read the chapter entitled “Escape from Vienna” and not be on the edge of their seat, wondering whether the von Hildebrands will be able to get out in time as rumors of the German Anschluss begin, has no taste for adventure. From false alarms to cars that mysteriously break down, angry crowds trying to block taxis to the Gestapo at the door, this chapter alone reads like a film script – except we have to remember that it was real. These are not simply intellectuals with important ideas sitting around waiting for things to happen, but real people, with real relationships, feelings, and concerns, anchored by von Hildebrand himself, who are trying to fight against the greatest evil that had befallen Western Europe since the Plague, and at the same time preserve their own lives and those of their loved ones.

There is so much material to explore in this single collection, that to attempt to do it justice in a single blog post would be an *in*justice.  From von Hildebrand’s outreach to and speaking out on behalf of German Jews, to his quarrels with fellow conservatives who realized too late that Hitler and Nazism could not be contained or controlled, to stories of heroism and courage contrasted with cowardice and betrayal, it will be difficult for the reader to put this book down.  In fact, I myself intend to go back and read it more closely, lingering over the details and some of the debates which von Hildebrand raises in these pages, something which I confess I rarely do after having read a book.  Perhaps that then, is the best review recommendation I can give you, gentle reader, as to why you, too, should add this outstanding work to your library.

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“The Cosmopolitans”: Whit’s Still the Man

This weekend I had the chance to check out the pilot episode of “The Cosmopolitans”, the new series by writer and director Whit Stillman released on Amazon Prime.  If you’re a regular visitor to these pages, then you know that I’m an unabashed fan of his work.  Yet after the somewhat anti-climactic “Damsels in Distress”, it was great to see him return to seriously good form in this, a new series about young Americans living and loving in Paris.

Like much of Stillman’s work, “The Cosmopolitans” isn’t so much about a story moving toward resolution, but rather a series of stories that intertwine, punctuated by significant events.  He’s been described as the conservative, bourgeois version of Woody Allen, and there’s some truth to that observation.  For more often than not, the reason why someone either enjoys or does not enjoy Stillman’s work comes down to the question of whether the conversations taking place among his characters remind the viewer of conversations which they themselves have had.  If you can’t relate to Woody Allen – and I certainly can’t – then you probably find him irritating and perverse.  Stillman, on the other hand, is “The Man”, in a sense, because he is writing largely about the experiences of educated, cultured Americans from good schools and respectable backgrounds, exploring the world around them and always dressing stylishly as they do so.

It’s also interesting to see how effortlessly Stillman has transitioned to the small screen.  Like Amy Sherman-Palladino back in the first few seasons of “Gilmore Girls”, when it was one of the best-written things on television, Stillman has an ear for the witty comeback, the snarky cultural reference, and the perfect put-down worthy of the Ancien Régime. Yet because of the nature of the films which he has made so far, Stillman’s work usually has a drawing-room quality to it, like sitting at a party at the house of someone you don’t know – also a favorite plot device of his – and overhearing other people’s interesting conversations. These make the small screen just as good a venue for his observations as the big screen.

Stillman has also presented us with a combination of characters that we will try to figure out better as the series continues.  For example, writing Chloe Sevigny’s character as a kind of proto-Miranda Priestly seemed a surprise at first, seeing as how her outing in Stillman’s “Last Days of Disco” was as something of an ingenue. Yet watching her take a throwaway comment about how long it takes to become a Parisian and turn it into a recurrent thematic weapon is absolutely hilarious, and makes the viewer want to hear more of what she has to say.

The phenomenon of seeing prominent actors and directors like these creating on-demand streaming internet series is an interesting phenomenon in and of itself.  The American version of “House of Cards” is, understandably enough, extremely popular and heavily advertised here in DC.  This is due not only to the fact that the series is set here, but also because a significant percentage of the population here is tech-savvy enough to feel perfectly comfortable with the idea of watching a show streamed via the internet.  As more investment in digital infrastructure takes place in the coming years, it seems reasonable to assume that more and more of these “online tv” series will be made.

Of course the best sign that any series, online or not, has completely sucked you in is when you are watching a scene, the music swells, the screen goes black, and you audibly shout, “Awwww NO!” You’ve been so caught up in the story that you weren’t keeping an eye on the clock.  That’s happened to me a few times, during some really engrossing series: the British series “MI-5″ for example (as “Spooks” is known in the U.S.) These moments are the sign of a good writer, good director, and good actors all coming together. And that same, telltale outcry of disappointment that the episode was already over arose from me and my group of friends watching the pilot for “The Cosmopolitans”.

As the central characters began to make their way home across Paris from a party they had stayed at too long, the credits began to roll, and we were all disappointed to see that the episode was already over. I was reminded at that point of the conclusion of Stillman’s first film, “Metropolitan”.  In that story, his characters had to make their way back to Manhattan with no reasonable means of transportation at their disposal, leaving them to hitchhike along the highway as the picture faded into text.  Unlike in “Metropolitan” however, it appears that we are going to have the great pleasure of seeing what happens next to this new group of characters.  I can’t wait to eavesdrop on their conversations.

It's Whit Stillman. Of course there is a dance sequence.

It’s Whit Stillman. Of course there is a dance sequence.