Re-Reading Roth

Philip Roth’s novels were very important to the early thinking that eventually led to the book I’m writing Civilization and Its Discontents, mostly because I disagreed with so much of what his works seemed to imply about the tension between sexual desire and family life. (In making that argument, Roth was, of course, carrying on in the long Augustinian tradition I criticize, particularly in it’s Freudian version, although Roth is in many ways a critic of Freud.) It occurred to me to re-read some of Roth’s books, as I near the end of this project and I’ve discovered two things. One is that there are many more voices in Roth’s work than I saw when I first read him. The second is something that I’ve always known, reading Roth is an immense pleasure–so many wonderful lines, carefully constructed and beautiful sentences and paragraphs, clever but not obtrusive plots, and a… Continue reading

Liquor Privatization and Progressive Politics

The liquor store privatization issue is really a good test of whether you know what you are talking about when it comes to progressive politics in our state. If you support privatization then you don’t understand that: 1. There is no progressive power in this country that isn’t based in a strong labor movement. A middle class highly educated person who tells you he is a progressive but doesn’t understand what UFCW has meant to the politics of this state needs a graduate degree from the school of real politics. 2. That there is no middle class that doesn’t require government action to increase the wages of working people and that well paid public sector workers benefits all workers. 3. That our unique system means that PA’s take from liquor and wine sales is at least double that of any other state in the country and that we can’t end… Continue reading

Pharaoh Sanders at 72

No one sounds like Pharaoh Sanders. And he hasn’t lost that big rough but tender sound. (He’s to the tenor what Howlin Wolf is to singers.) He played a bunch of his great tunes and some standards. Although he seemed pretty tired at the end (he’s doesn’t have Sonny Rollins’ super-human energy) he was on stage for over two hours and was consistently inventive and powerful. He has what looks like a very arthritic hip (like Sonny) but when he danced or led the audience in singing or clapping to the rhythmic pieces that ended the concert he seemed to shed 20 of his 72 years. There’s always been a strong spiritual element to his music—one that draws on many traditions—and the last 30 minutes of the concert were a kind of first church of jazz. It was thrilling! Continue reading