In the last 36 hours or so we've seen two extraordinary talks at MIT: on Wednesday, journalist Ross Gelbspan spoke in 10-250 about climate change, and last night David Milch came to Bartos Theatre to talk about his show Deadwood and related matters.
Gelbspan
As Jonah Goldberg's latest imbecilic piece of punditry demonstrates, a large percentage of the U.S.'s population remains unwilling to believe in the dangers of climate change. Not surprising, really: long-term shifts in weather systems would be indistinguishable to human eyes from short-term anomalies, or in any case we think they would, because laypeople know no better. Ross Gelbspan's talk on Wednesday was a tour de force piece of rhetoric, in which he took a whirlwind tour through increasing signs of dangerous climate change (Goldberg talks about a 'one- or two-degree per century' average temperature change being a little good, a little bad; someone should mention that an Ice Age involves a global average temperature drop of about ten degrees) before outlining an ambitious economic plan geared toward slowing negative climate trends and encouraging sustainable energy use. Gelbspan read from a stack of paper for his speech, but when questions came around he spoke with remarkable fluency and vigour. His plan is more or less this: eliminate Federal oil and coal subsidies and instigate a national (and international) Marshall Plan for renewable energy development, calling on the private sector - even the old-guard energy companies themselves - to compete for dominance in what will surely be a cash cow of an industry. Tax international currency transactions - a tiny tax - and use the money to stimulate renewable energy development in the Third World. And enforce (however) a drop in emissions of 5% yearly for the next decade plus.
He spoke of democratizing and distributing energy production, avoiding nuclear (centralized) power in favour of local, site-specific energy - for various safety, command-and-control, and climate-friendly reasons. And his talk wrapped up with a surprising, moving discourse on long-term ethical shifts that might be brought about by a shared focus on sustainable development - an angle both more pragmatic and more poetic than I'd heard on the subject of earth's environment.
The upshot of the talk was straightforward: manmade climate change is real and practically irreversible, there's near scholarly consensus on the matter, and in order to address growing climatological problems an economic angle must be found to encourage involvement by all nations and peoples; Gelbspan's talk was a lucid, terrifying, optimistic exhortation to action (and he admitted, when pressed, that he's very pessimistic about people's willingness/ability to even care about such matters...but that simply not to think about these problems would be unacceptable and unforgivable).
I don't think about the built or natural environments much (though I do think the distinction is an artificial one, but whatever); I've long tended to see talk of global warming as fetishism and alarmism. I no longer do. Gelbspan's talk helped a number of realizations to sink in, not the least frightening of which is: the ecological comportment of the human race is much, much, much worse than we Americans are trained from birth to believe. Because ecological/economic sustainability is widely misunderstood (again I refer you to Goldberg's idiotic posturing) it is literally unbelievable, but that doesn't change its brute facts. The 'debate', like the 'debate' about the correctness of the (first-order) theory of evolution and natural selection, is illusory. Gelbspan sees the nature of this mass-media 'debate' as a huge failing on the news media's part, an abdication of journalistic responsibility, and because of the astonishing speed at which the earth and its atmosphere are said to be changing, the situation is one that must be fixed by a discontinuity - because a growing chorus of scientists argues that the window of opportunity for systemic change in energy use is shrinking quickly.
Writing these words I feel like the alarmists I've long caricatured and for whom I've long had juvenile, knee-jerk disdain. But the talk was extraordinary, and eye-opening. I haven't done its contents justice, but then I don't have to, no one should have to. Most of his claims were self-evident, merely factual. If you get a chance, if Gelbspan comes by your area, go see him. He's a pragmatist of an admirable, even heroic kind - imagine what an environmentalist Noam Chomsky would be like if he had a soul.
Milch
David Milch is, as I've written here on a number of occasions, one of my heroes. David Thorburn, my old mentor at MIT and one of two or three teachers who've had the greatest impact on me, held a public conversation with Milch at MIT's Bartos Theatre last night. They watched clips of Milch's work and discussed his creative process, talked about Milch's extraordinary, harrowing autobiography (and the way his relationship with his father directly informs the creation of his characters). They talked about the West and Westerns, and Milch gave his remarkable theory of the classical Western hero's origin: he's talked elsewhere about the language and myth-system of the Western as an outgrowth of the Hays production code, but he spoke last night concretely about the stoicism of the John Wayne cowboy type not as an expression of essential American toughness, but as a tool for avoiding the historical importance of obscenity and violence in the formation of the West as historical fact and myth. (The New Yorker piece on Milch covers that topic somewhat.)
Milch fielded questions from the audience for an hour or so, which ranged from a brief fannish question to moral inquiries, including the best question of the night, which (I know this is dorky but I can't help this stirring of pride) my girlfriend asked, and which was roughly: 'You're known and acclaimed for portraying monstrous characters in full, sympathetic humanity. But does empathy with some monsters reduce or endanger us in any way? Are (aren't) some people unforgivable?' Milch responded unequivocally: 'No.' And then launched into an astonishing disquisition about the Iraq War, and the need to stage a melodrama of retributive violence in a place sufficiently distant that its reality ('War is a terrible, terrible thing' - but people forget) could be ignored. He referred to it as the 'Iraq miniseries', a three-week production that has lost popular support because (a) its main character, its 'hero' George Bush, is a failed protagonist (we can posit disconnection from events and poverty of required nobility or learning as explanations for this failure, I think), and (b) once the immediate point had been made, the national trauma of 9/11 partially assuaged, the mere brutality and moral flimsiness of the war was all that remained - and viewers couldn't stomach anymore talk of roadside bombs. He said something that resonated with Gelbspan's talk the previous day: that supporting this narrative was a failure on the part of the national media to respond to factual imperatives even at the expense of inward, emotional continuity.
The politics of his answer seem in retrospect questionable - his spiritual belief in the interconnectedness of all consciousnesses, the status of humans as organs in a larger godly organism, has (I think) led him to discount the brutish pragmatism and selfish expedient greed (for money, for power) of small cabals of people. But the moral continuity of it, the emphasis on narrative satisfaction and the nature of readerly fantasies, appeals to me. His answer, several minutes long (as they all were), was stunning.
I felt like a goddamn schmuck asking the next and final question - in which I criticized his portrayals of women in comparison to his other work and wondered if, in 'going out to the consciousness of a character' and denying the ego in service of total empathy, he felt any kind of ineluctable distance between women's experiences and his own. He translated: 'Where are the women?' His answer didn't satisfy me exactly, but it satisfied me: he feels he has created a few complex women characters, but he tends to write about periods and milieus in which women's agency and totality of social consciousness are circumscribed, whether by bald subjugation or a protectiveness/worship that amounts to subjugation (to worship-object rather than governed-subject). I wanted to ask: what draws you to these milieus? What's your experience of writing these characters? But those are fannish questions too, and in any case we were out of time.
I loved every minute of it - I suppose that goes without saying.
Afterward I got to meet Milch and we talked for a little while about television and writing. It was terrifying; I'm a good speaker, articulate and confident off-the-cuff in most circumstances, but Milch has the rhetorical skills of an Oxbridge debater or porch-swing storyteller (delivering lines, however, with a weisenheimer style that instantly reminds you of Andy Sipowicz), a real scholarly pedigree, and a biography that reads like an intellectual version of a William S. Burroughs story crossed perhaps with the fanciful parts of A Million Little Pieces. I stammered and fawned too much, but I'm sure others have acquitted themselves even less admirably in conversation with people they idolize. I gave him a letter of thanks (with a not-terribly-sneaky request for an apprenticeship worked in there).
Equally importantly (for my mental wellbeing, perhaps moreso), I spoke at length to Thorburn, Jenkins, and Uricchio - three professors at MIT with whom I've not had contact in years. Checking in (hopefully for the first of many times) reminded me sharply of how little my life has changed since leaving grad school, but how much my personality has changed in that time; it also drove home how foolish I've been not to stay in touch. That'll change - it changed last night. As I walked out of Henry's apartment at Senior Haus I shook like a dead leaf in afternoon wind - and that close to breaking off and simply floating away, or crumbling into dust. Afterward Agi and I went for Tibetan dinner: lovely! I should never have resisted the suggestion, and know better for next time.
It was a good night. A good 36 hours in the main, the intervening filing-and-editing-and-typing that made up my bullshit workday notwithstanding. I wish I could tell you more what Milch said in his talk, or communicate in finger grain why Gelbspan's vision of sustainable ethics was so compelling. But chalk it up to the early hour (been up since before 6am, like some kind of fool!) and the difficulty of assessing a cathartic experience objectively.
Time to shower. The bath mat's clean and soft.