Hannah and Me: Understanding Politics in Dark Times

Contrary to the suggestion of my informal title, I did not study with Hannah Arendt, nor were we ever colleagues, although I missed both experiences only by a bit. I was a graduate student in the early 1970s in one of the universities where she last taught, the University of Chicago, and my first and only long term position, at the New School for Social Research, was her primary American academic home. But when I was a Ph.D. candidate, she was feuding with her department Chair in the Committee on Social Thought, Saul Bellow, (or at least so it was said through the student grapevine), and she was, thus, not around. And I arrived at the New School, one year after she died. Nonetheless, she was with me as an acquaintance at the U. of C., and soon after I arrived at the New School, we in a sense became intimates.

A personal story

At the University of Chicago, I wrote my dissertation on a marginal theater movement on the other side of the iron curtain. I was studying alternative theaters in a polity, The Polish People’s Republic, which officially understood itself to be revolutionary, and that was analyzed by some critics, both internal and external, as being totalitarian. Thus, I read both On Revolution and The Origins of Totalitarianism. From the point of view of Arendt scholarship, the effects of these readings were minimal. From On Revolution, I came to understand her point about the difference between the French and the American revolutionary traditions, giving me insights into the Soviet tradition, but this barely effected my thinking back then. From The Origins, along with other works, I came to an understanding of the totalitarian model of Soviet society, a model that I rejected. My dissertation was formed as an empirical refutation of the model.

But then I went to the New School, and in the spring of 1981, I came to appreciate Arendt in a much more serious way. A student kept on asking odd questions in my course on political sociology. I would use key concepts, and he repeatedly challenged my usage. “Society,” “ideology,” “power,” “politics,” “authority,” “freedom:” I would use the terms in more or less conventional . . .

Read more: Hannah and Me: Understanding Politics in Dark Times

Reviewing Hannah Arendt, the Movie; Thinking about the Boston Marathon Bombing, Ary Zolberg and Ed Gruson

Official US poster for the 2012 film "Hannah Arendt" directed by Margarethe von Trotta and distributed by Zeitgeist Films. © Zeitgeist Films | Zeitgeist Films

It’s been a tough week: the Boston Marathon Bombing on the public stage, and closer to home, the death of a friend, colleague and great scholar, Aristide Zolberg (I will be publishing tributes, including my own, later this week), and a memorial service for my wife’s uncle Ed Gruson.

“Uncle Eddie” was an extraordinary man, sophisticated and warm, a bit of a rascal, but also a man of high moral principle in his private and public affairs (dating back to his marching in Selma, Alabama as a young man). My special relationship with Ed: he was the ideal reader, with a deep commitment to understanding the world, a trained biologist and urban planner, author of the birding book Words for Birds, who read broadly and seriously, with a sense of responsibility. Anticipating the end about a year ago, he gave me his complete collection of the works of Isaiah Berlin. Making sense of the chaos, while thinking about meaningful lives, is a challenge. Ed knew that thinkers like Berlin and Hannah Arendt, thinkers in dark times, to paraphrase Arendt’s most beautiful book, are important guides.

And as it happens, I did have a related treat planned for myself at the end of the grim dark tunnel of a week: off to see a movie, the Arendt biopic. It is a good movie, though it’s far from perfect. It powerfully and accurately depicts passionate thought. That is a real accomplishment, pushing the film form: “filmed thinking.”

As I prepare this post, I read two very good positive reviews, one in the distinguished Der Spiegel, the other in the more bohemian, Bitch Media. They highlight the film’s accomplishments, recognizing the great direction of Margarethe von Trotta and the superb performance of Barbara Sukowa, and they applaud how the film tells the story of the great controversy surrounding Arendt’s writing, her account of the trial of Adolf Eichmann and her invention of . . .

Read more: Reviewing Hannah Arendt, the Movie; Thinking about the Boston Marathon Bombing, Ary Zolberg and Ed Gruson