Review: Mozart’s Letters

Mozart’s Letters, Mozart’s Life by Wolfgang Amadeus Mozart

My rating: 5 of 5 stars

The best time of year for reading is, for me, the time between Christmas and New Year’s. The weather is cold, school is out, and I feel relaxed and fully able to focus. I find myself devouring books with great relish, and that is precisely the case with this wonderful collection of Mozart’s letters.

First, a note on the translation. Mozart’s writing is highly idiosyncratic—full of misspellings (at least when he was younger), multiple languages, puns and wordplay. Spaethling’s translation is thus a kind of virtuosic performance in itself, as he brings as much of this exuberance seamlessly into English. As an example, I will quote the first letter in this collection, written when Mozart was just thirteen:

My dearest mama,

My hear is filled with alott of joy because I feel so jolly on this trip, because it’s so cozy in our carriage, and because our coatchmann is such a fine fellow who drives as fast as he can when the road lets him.

Spaething’s careful rendering of Mozart’s peculiar style allows that composer to fully come to life in this book. The result is undoubtedly one of the most fascinating books in the history of music. Though the letters all have the feeling of being dashed off in a great hurry—much like some of his music—they brim with energy and intelligence, and create a remarkably revealing look at the composer. To get an idea for the Mozartian style, it is worth quoting one of his later letters. This one is to his father, merely describing a pleasant outing in a city park:

I just can’t make up my mind to go back to the city so early—the weather is just so beautiful—and it’s so pleasant to be in the Prater today.—We had a little something to eat in the park, and now we’ll stay until 8 or nine o’clock in the evening.—The only company I have is my pregnant little wife—and her only company—consists of her little husband, who isn’t pregnant but is fat and happy…

The man revealed by these letters is full of contradictions. On the one hand, Mozart is capable of being headstrong, defying his father and even the musical establishment, seeking out his own artistic path. And yet, he is also weak-willed—easily swayed by flattery, improvident with money, and short-sighted regarding his career. One gets the impression that his father had inadvertently been overprotective—shielding the child genius from practical concerns so that he could only focus on music—and when Wolfgang had to make his own way outside of the stern, practical, and worldly guidance of his father, he quickly sank into dysfunction.

This is illustrated most painfully in the last section of this volume, which is filled with repeated and increasingly desperate pleas to his friend for money. His letters to his father are also quite revealing of this dynamic, though perhaps inadvertently so. It is amazing to think that one of the greatest composers of history could have been, in many respects, a frustrating disappointment to his father, but this seems to have been the case. In his letters to his father, he seems always to be pleading for Leopold’s approval, even as the imprudent Wolfgang continually flouts his father’s advice.

And yet, revealing as they are, the best letters in this volume are not those to his father, but to his cousin “Bäsle” (Maria Anna). Mozart seems to have found a kind of ideal playmate for his brand of practical jokes and bathroom humor in his cousin, and his letters to her are full of the most extraordinary playfulness—not to mention, a kind of fixation on excrement which sometimes goes beyond the bounds of humor into obsession. Here is an excerpt of perhaps the best of these letters:

Dearest cozz buzz!

I have received your highly esteemed writing biting, and I have noted doted that my uncle garfuncle, my aunt slant, and you too, are all well mell. We, too, thank god, are in good fettle kettle. Today I got the letter setter from my Papa Haha safely into my paws claws. I hope you too have gotten rotten my note quote that I wrote you from Mannheim…

In these letters, perhaps most clearly, you can see the kind of childlike charm of Mozart. And this immaturity is arguably the source of both his particular genius and his constant financial troubles. Both Mozart’s letters and his music brim with a wonderful sense of play—as if his mind were constantly prancing from one idea to another—picking up one form, giving it a twirl, and setting it down into a new pattern.

Yet it would be wrong to accuse Mozart of superficiality. For underneath this childlike playfulness is a deadly serious commitment to his art. This is readily apparent in this volume, as the constant references to music in these letters belie a kind of workaholic productivity as well as a dedication to reaching the highest possible standards at all times. He was anything but an unconscious composer, as he often shows a keen awareness of how his music should affect his listeners.

It is interesting, I think, to compare these letters with those of another wonderful correspondent, Vincent Van Gogh. At first glance, the two artists could not be any more dissimilar: Van Gogh started late and never achieved fame during his lifetime, whereas Mozart was famous since his childhood. The painter was the furthest thing from a technical master, whereas Mozart dominated both instrumental and compositional technique in multiple domains.

And yet, these two men—both of whom died much too young—share one dominating characteristic: an overwhelming, uncompromising commitment to their art. Arguably, this monomaniacal devotion led both of them astray, as they both died isolated and penniless. But who can honestly wish that either man had been even a whit more “practical.” Indeed, I think the world would be a better place if we had more people to dedicate themselves with reckless abandon to the creation of beauty. And such a man is ultimately what these letters reveal.

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Review: Means of Ascent

Means of Ascent by Robert A. Caro

My rating: 5 of 5 stars

Robert Caro sets his own standard for political biographies, and if this volume was at all lacking for me it was only in comparison to the masterful first volume in this series. But even this is not exactly a fair comparison, as The Path to Power covered Johnson’s formative years—delving into his family history, his marriage, his schooling, his environment, his first working experience, and finally his rise to the House of Representatives. Its scope, in other words, is quite broad.

Means of Ascent is a very different book, covering only seven years (1941-48). It is significantly shorter (though still hefty enough), and most of these pages are dedicated to Johnson’s 1948 Senate race. This corresponds to what Winston Churchill called his “wilderness years,” in which Johnson was directionless and cut off from the main arteries of power. He spent some of this time in a non-combat role in the military (and spent the rest of his life shamelessly exaggerating his minimal exploits), some of this time using his connections to get rich through a radio station—and finally got back onto the path to power by stealing a Senate election.

As Caro says repeatedly, Johnson is a complex personality with a strange admixture of the despicable and the admirable—and this book contains precious little of the latter. As a result, whereas in the first volume one could sometimes feel sympathetic for the young man from Texas, here he is little more than a power-grasping villain. Caro himself obviously came to feel disgusted with Johnson’s personality, and his feelings seep through in his descriptions of Johnson’s ample transgressions: his blatant mistreatment—indeed, verbal abuse—of anyone he considers inferior (including receptionists, waiters, his own staff, and his poor wife), his absolute amorality regarding even basic ideals (such as democracy itself), and his willingness to stop at nothing to obtain power.

Caro contrasts Johnson’s personality with that of his opponent in the 1948 Senate election, Coke Stevenson—a man Caro portrays as honest and honorable. And here the esteemed biographer got into a little bit of trouble. While Stevenson may indeed have been upstanding in the sense that he was true to his word, did not bow to lobbyists, did not attack political opponents, and did not seek political office in order to satisfy a lust for power—while all this may have been true, Stevenson was also certainly a reactionary and a racist.

These rather unflattering qualities are given only a passing mention in the book, which may leave the reader with a skewed impression of Stevenson. Caro was roundly criticized for this, and in an article in the New York Times, published in 1991, he responded some of these criticisms. Yet his defense—that the subject of race played little role in the election—while valid as far as historical explanation goes, still does not quite excuse the glowing portrait he painted. Upon finishing the book, it is difficult to resist the impression that Caro himself came to admire Stevenson.

Even so, as abhorrent as I find Stevenson’s views to be, I would still prefer such a man to the Johnson of 1948, who seems to have had no political philosophy, no political aspirations beyond his desire to control people, and—worst of all—no respect for the institution of democracy. Throughout all of the legal battles and maneuvers which allowed him to keep his stolen election victory, Johnson never once betrayed the slightest hint that he might have had misgivings about betraying the will of the people. Indeed, as Caro makes clear, he seems to have been proud of it, virtually boasting of the “victory” in later years.

Now, at this point I will do something very brave—or cowardly, perhaps—and venture a slight criticism of Caro. After so many pages, his writing style is beginning to ware on me. This is because, I think, his primary rhetorical technique is that of superlatives. What I mean is that, for Caro, everything is as extreme as possible. Johnson is not just a sleazy politician, but unprecedentedly amoral; Stevenson is not just a popular governor, but a Texan hero; and so on, and so on. Caro relentlessly emphasizes how extreme every event and experience was—so much so that, by the end, you are begging for something totally ordinary and unremarkable to happen (and no, not superlatively ordinary).

That said, the book is eminently readable and highly enjoyable. Here Caro creates such a memorable portrait of an amoral, power-crazed politician that, had this book been written by anyone else, it would by itself be considered an enduring classic of American political writing. It is only when compared to his other books that this one may seem somewhat light.

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Review: Every Man for Himself and God Against All

Every Man for Himself and God Against All: A Memoir by Werner Herzog

My rating: 5 of 5 stars

I saw my first Werner Herzog film in my final year at college. I found out at the last minute that, to graduate on time, I needed to take some kind of history class. For some reason that I don’t remember (maybe cultural aspirations), I chose an introduction to Art History. It was taught by an unenthusiastic and disgruntled graduate student (by the end of that semester he would quit his program to become a chiropractor), yet it somehow left a deep impression on me. I had very limited knowledge of ancient and medieval art, and I can still vividly remember first seeing photos of the Book of Kells and the Boudreaux Tapestry.

But probably my most intense experience of art came early in the semester, when we were learning about prehistoric art. In the middle of class, the professor mentioned, offhand, that there was a recent documentary by Werner Herzog about the caves of Lascaux. I had never heard of Herzog, but I decided to look for the film anyway. It was not at all what I expected. Rather than a standard overview of what we know about cave paintings (which is not much, anyway), the film is an attempt to come to terms with the painters as artists. I felt cheated at first—thinking the film unscientific and wishy-washy—but, by the end, I was convinced that Herzog had indeed taken the right approach. For he does the most important thing, which is to try to recreate with his camera the actual experience of being in the caves.

Later on, I saw Aguirre, the Wrath of God and Fitzcarraldo—probably his two most famous films, both with the unstable actor Klaus Kinski—though I have to admit that neither of them left a particularly deep impression on me. It was only this past summer that I fell completely under Herzog’s spell, when my friends invited me to watch Grizzly Man. I was completely transfixed by it, and (as is typical with me, when I find something I really like) I found myself bringing it up in conversation months afterwards. And so I fell down the rabbit hole—or, to put it in more Herzogian terms, I plunged headfirst into the abyss.

One reason that I became so enamored of his films is because Herzog captures images on film that I’ve only dreamed about: What is it like to swim under the ice, or to get lost in the desert, or to walk inside a volcano, or indeed to be in a cave full of prehistoric paintings? The human experiences that Herzog likes to explore also attract my morbid imagination: living on death row, being attacked by a bear, surviving in the jungle after falling from the air (both Dieter Dengler and Julianes Sturz). And I find Herzog’s manner of approaching these images and experiences to be wonderfully human—perhaps, because he is such a pedestrian filmmaker. I mean that literally, in that his films always convey a kind of physical closeness, as if you are there walking beside him. His most characteristic touch as a filmmaker, I’d argue, are his shots in which the footsteps of the cameraman are palpable.

But above all, I appreciate his films and documentaries because they are not about the interpersonal struggles that characterize so much of Hollywood—between children and parents, or between friends, or above all between couples. Granted, this means that his work generally has little value as social commentary, in the way that, say, a classic Victorian novel has. Yet it makes up for it by being about what is, for me, the ultimate theme: the doomed struggle between humanity and the universe. This is summed up in what is arguably the central image in his entire oeuvre, the challenge of Fitzcarraldo: lifting a boat over a mountain in the middle of the jungle. Indeed, the making of the film itself became such an impossible task that it is doubly metaphoric.

Well, I have gone on about Herzog’s work as a filmmaker, but this is a book review, after all. Yet it is apropos, my reaction to this book only makes sense if you know that I am in the midst of a Herzog obsession. And I would only recommend the book to people in a similar predicament. That is, it is difficult for me to imagine someone with only a casual interest in Herzog, or perhaps just wishing to read a good book of memoires, really enjoying the book. Yet if you are a fan, this is wonderful reading.

Or listening. It was an easy decision to experience the book in audio format, narrated in Herzog’s iconic voice. It is certainly good practice for my Herzog impersonation (though it’s still mediocre). Also, it was constantly amusing whenever Herzog pronounced any sort of foreign word—be it German, Spanish, or Nahuatl—as his voice became inundatingly phlegmy.

While Herzog is an extremely thoughtful person—indeed, he seems to be one of the last living examples of the twentieth-century European intellectual, full of strange opinions and oracular pronouncements—while that is true, as I was saying, he is not particularly introspective. To the contrary, he declares himself the enemy of psychoanalysis, and says that there are parts of the human psyche which should remain shrouded in darkness. It is this aversion to delving emotional depths, I think, which makes him spurn human relationships as the focus of his work—and, it seems, as the focus of his life, for he does not seem to be principally motivated by his family or friends.

What motivates him artistically and personally are, rather, what you might call miniature obsessions. The geneses of his films seem to take the following form: He hears a piece of music (such as the madrigals of Carlo Gesualdo) or a story (such as about the simultaneously-speaking twins, Freda and Greta Chaplin) or sees an image (such as man in a protective suit battling an oil fire) and then decides he must make a film about it.

This tendency to get completely lost in a temporary fixation is another quality I share with Herzog. But the big difference between him and sorry devils such as myself is that Herzog is not content to read a book or watch a movie about his latest mania. He actually travels to the ends of the earth to explore it himself.

His absolute determination to see his projects through, regardless of the hardships or the risks, is perhaps his most admirable (and frightening) quality, and the one I identify with the least. I am a soft person who likes comfort, while this book is full of hardship after hardship and injury after injury. It is sometimes difficult to escape the conclusion that the man is a masochist. But I think it is more accurate to say that he has a philosophic attitude to pain. It is woven into his worldview, as something he simply expects to receive from the universe.

Now, I do have to confess at the end of this review that, now and then, I do get a faint whiff of charlatanism. Herzog seems to like telling stories about himself, and he also seems to have a flexible attitude towards the truth (as explained in his theory of “ecstatic truth”). There are precious few flashes of, say, self-deprecating humor to puncture the popular caricature of himself. But even if Herzog the man does not quite live up to Herzog the character, the artistic persona is so compelling that I think we would have to invent him ourselves if he did not really exist.

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Review: Columbus (Laurence Bergreen)

Columbus: The Four Voyages by Laurence Bergreen

My rating: 4 of 5 stars

I remember learning about Columbus when I was in elementary school. The story was simple: he was a daring, visionary man who set out to prove that the earth was round, heroically defeating the nay-sayers who thought that he would sail right over the edge of the earth. To the mind of a child, it is a compelling tale. It is also, of course, complete fantasy (to use a polite word). Since those Edenic days of unproblematic national heroes, Columbus has become a much more divisive figure. So I decided I ought to get the real story, hopefully from somebody without an ideological axe to grind.

As I knew from his books on Marco Polo and Magellan, Bergreen is in the business of writing popular histories of famous explorers. This book is up to his usual standards, though the raw material he had to work with is naturally somewhat messier. Both Polo and Magellan were famous for one iconic voyage, while Columbus travelled to the “New World” on four separate occasions. Instead of one grand adventure, then, we get a series of expeditions, each one drearier than the last. By the fourth voyage, I was quite ready to be done with the Genoese explorer.

But I did learn. For example, Bergreen makes it clear that the competing narratives of Columbus have existed from almost the very beginning. There were rumors and accusations regarding his cruelty and incompetence during his lifetime (which resulted in his imprisonment); and not long after his death the great Spanish anti-colonialist, Bartolomé de las Casas, skewered Columbus for his role in the destruction of the native peoples. In short, he was never a universally beloved hero.

Furthermore, Columbus only became a cornerstone of patriotic ideology centuries later. He started to be celebrated in North America, for example, after the Revolutionary War, as the young nation searched for a founding myth that wasn’t so tied to England. In Spain, October 12th (when Columbus “discovered” the New World) did not become a holiday until 1892, as part of the conservative restoration of the Bourbon monarchy. In the United States, it was not made a holiday until 1937.

So, should Columbus Day be celebrated? Insofar as celebrating Columbus is merely a way of celebrating European colonization of the Americas (which certainly seems to be the case), then I think the answer must be a clear no. I don’t think it is possible to learn about the cataclysm that engulfed the native peoples of the Americas—which resulted in millions dead and the disappearance of so many cultures and languages—and think that worth celebrating. Granted, there is a kind of paradox for European Americans in this, since if there had not been a Columbus we would not exist; and it is difficult to wish oneself out of existence. Even so, celebrating the enslavement and elimination of whole peoples does not seem quite right.

Yet what about celebrating Columbus himself? Well, he does not exactly make a good impression in these pages. Certainly he was a bold and determined man, willing to risk his life for an idea (as well as for gold and glory). And his talent as a navigator is impressive. But these positive qualities seem rather pale when compared with his narrow-mindedness, his incompetence as an administrator, his cruelty to others, and his messiah complex. In the course of these voyages he combats several mutinies (with varying degrees of success), strands his own men (to be used as a bargaining chip), and has untold numbers of people enslaved. And even if you focus exclusively on his role as a “discoverer,” it is difficult to celebrate a man who steadfastly refused to acknowledge the truth of what he, in fact, had stumbled upon.

The truth is that Columbus, contrary to what the legend says, did not have a more accurate notion of the earth than the experts of the time. Precisely the reverse: Columbus’s voyage was based on a profound underestimate of the size of the earth. Indeed, it was pure luck that there was an unsuspected continent in the middle of the ocean. If America did not exist, and there were nothing but open sea between Europe and Asia—as he thought—Columbus would almost certainly have died in the enormous expanse of water. And he never even had the good grace to admit his mistake, insisting to the end that he had found a route to Asia, despite the very clear evidence to the contrary.

Of course, the fact remains that Columbus thought to do something that nobody (to his knowledge) had ever done before, and in the process inaugurated a new period of history. Indeed, given the tremendous importance of his voyage, we ought to do our best to understand both the man and the colonial undertaking he stands for. And I don’t think that is accomplished with myths and unreflecting celebration.

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Review: The Path to Power

The Path to Power by Robert A. Caro

My rating: 5 of 5 stars

Last winter, I went to the Film Forum in Manhattan with some friends to see the new documentary about Robert Caro and his famous editor, Robert Gottlieb. It was a wonderful experience on many levels. The documentary was fascinating and inspiring—the story of two people who, in quite different ways, have lived fully dedicated to literature—and it was the perfect place to see it, in the heart of Caro’s and Gottlieb’s city, surrounded by other New Yorkers.

Gottlieb comes across as a lovable and brilliant person (he has, sadly, since passed away at the age of 92), but Caro comes across as something superhuman, an embodied intellectual force. The name of the documentary, Turn Every Page, aptly summarizes what makes Caro so special: the meticulous, obsessive, even demented attention to detail—the determination to get to the heart of every aspect of every story, to never be satisfied with half-truths or empty explanations. And then, once he has gathered together his facts, this relentless attention is focused on the writing. For Caro is not satisfied with merely presenting us with his (always impressive) research. He is determined—again, maniacally so—to make us understand on a deep emotional level what each of these facts mean.

All of these qualities are fully on display in this, the first book of Caro’s monumental biography of the 36th president of the United States. As a political biography—a record of the accumulation and use of power—the book is peerless. Caro traces how Johnson, by sheer force of his personality, went from a rural boy with little education and less money to a member of Congress in just a few years. His chapters on Johnson’s elections alone—his campaign strategies, his fundraising, his advertising—are a goldmine for any political historian, and eye-opening for even the most cynical of readers.

Yet everybody knows that Caro is a master of political biography. What surprised me most was how brilliant this book was in other respects. His descriptions of the Texas Hill Country, for example—its climate, its soil, its weather—often rise to such a level of poetry that I was reminded of John Steinbeck. And his chapter on life in the Hill Country before electrification—the difficulty of even simple chores like washing and ironing—is so empathetic that it brings this experience to life as powerfully as even the most gifted novelist could manage.

Aside from this wonderful scene-setting, and aside from the incisive history, this book is of course the study of a personality. And it is a peculiar one. Indeed, underneath all of the historical detail, I think there is a very basic moral conundrum at the heart of this book. It is, in short, that Johnson is successful and effective—indeed, often a force for good—while being personally unlikeable and morally vacuous.

Caro goes to great lengths to illustrate the uglier sides of Johnson’s character. His urge for power is so great that it trumps every other consideration in his life: love, loyalty, ideals, friendship, ethics. When he is stealing elections, betraying friends and allies, and cheating on his wife, not once does he give evidence that he even possesses a conscience. And yet, in his quest for power, he educates children, helps the unemployed find jobs, secures money for veterans, and electrifies his district, among much else.

This paradox is illustrated in Johnson’s treatment of his secretaries. While he worked as a congressional assistant, Johnson went to great lengths to help the constituents of his district—far more than any ordinary assistant could or would. But this unusual effectiveness was achieved by working his own secretaries to such a degree that they could not have any life outside of work, and one had a nervous breakdown and fell into alcoholism. This is a consistent pattern: the specific people close to Johnson are used as tools for his own advancement, while the abstract people out in the world benefit from his obsessive work ethic.

To put the matter another way, Johnson seems to violate every ethical precept I know regarding the treatment of others, and lives in total contradiction of every piece of advice I know regarding wise and good living. Johnson comes across as a miserable person destined to share his misery with the world. But it becomes clear that Johnson’s personality type is perfectly suited for politics, and he achieves almost instant success when he enters that field. Indeed, one gets the impression that everyone else in Washington D.C. is just a toned-down version of Johnson—equally as power-hungry, but not as effective.

Somehow, we seem to have a system designed to elevate people whom most of us would find repulsive. Maybe this is inevitable, as the people who most desire power are the ones most likely to get hold of it. Perhaps the best thing to do, then, is to hope that the institutions are set up in such a way that, as in the case of Johnson, these driven individuals end up having beneficent effect on society. And yet, this does seem like an awfully risky strategy.

In any case, as I hope you can see, this is a superlative book, excellent on many levels. It is, in fact, among the select class of books that can forever change your outlook.

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Review: Miles, the Autobiography

On a hot day a few summers ago, I took a trip to Woodlawn Cemetery, in the Bronx, with my dad. It is an enormous place, so even with the official map it took some time to find who we were looking for. Eventually we stopped the car and got out to front a large black slab, inscribed with two bars of music, so shiny that we could see our own reflections in it. This was the tomb of “Sir” Miles Davis (he was a member of the Knights of Malta), the man who had helped inspire my dad to devote himself to jazz bass.

Through my dad’s influence, I have been listening to jazz all my life (though not always intentionally), and I have come to know and love most of the great names. Some of them were right there in the cemetery: Duke Ellington, Max Roach, Coleman Hawkins. It was with this background that I approached Miles Davis’s autobiography, and I loved every minute of it.

The magic of this book is the skill with which Quincy Troupe has captured Miles’s voice. He is completely there, in all his profane glory (much to the chagrin of some readers). This, combined with an uncanny impersonation by Dion Graham in the audiobook, makes you feel like you are right in the room with him. But of course the person who ultimately deserves the credit is Miles himself, for agreeing to the project, and for being just so uncompromisingly blunt. His raw honesty is what makes this into a great autobiography.

And if you are in any way a jazz fan, this is a real feast. Miles knew close to everybody. From the very beginning of his career, he was thrown in with Charlie Parker and Dizzy Gillespie, right at the center of the Bebop world. His stories of Charlie Parker alone—who seems to prefigure Miles in many ways—are worth the price of the book. After his early years, Miles becomes a bandleader, and helps to launch the careers of many other musical giants: Cannonball Adderley, Bill Evans, John Coltrane, Herbie Hancock… In short, for decades Miles’s career was at the very center of jazz history. And more often than not, he was at the vanguard.

But this book is not just namedropping and a few memorable anecdotes. As I said, Miles the man really comes alive in these pages, and that means, most of all, his love for the music. Near the end of the book, he describes himself as having “musical demons,” and I think that is an apt description of the way that music ruled his life. It really seemed to open up the finest part of his nature: not only in pure musical expression, but also in his treatment of other musicians. Despite his mean reputation, he is generosity itself when discussing the accomplishments of his fellows, and does not stint on praise. This is what, I think, made him such an effective bandleader—he could really appreciate different sorts of musical gifts.

The dark side to an overwhelming obsession like this is that it leaves little in your life for other things. This is apparent in his often abysmal—indeed, abusive—treatment of the women in his life. This is perhaps even more apparent in his behavior as a father—or lack thereof, as his four children are barely mentioned at all in the book (he takes time to criticize two of his sons, though admits he had not been much of a father). Another major theme is drug abuse—an occupational hazard of touring musicians, I suppose—which ebbs and flows throughout his life. Indeed, his substance abuse and mistreatment of women often go hand in hand, as he depends on women either to enable his habit or to help him get clean. Suffice to say that this isn’t the autobiography of a saint.

The final impression is of a deeply restless man. He was never fully satisfied, and never content to sit on his laurels. This is what enabled him to stay musically innovative for so long, this constant searching. It is only near the end of his life that he seems to achieve a modicum of peace, and he accomplished this by turning to painting—another creative outlet that would make the musical demons quiet down. (I quite like his paintings, actually.)

As far as political opinions go, there really is only one Miles expresses, but he does so over and over: That white Americans are stealing black culture—copying styles of music and making millions off of them. Now, to me, this seems to be an obvious fact, as it has repeatedly happened throughout the course of history, most notoriously with Elvis Presley. So I cannot fault him for being resentful. I also think Miles is onto something when he says that black music is America’s one great contribution to world culture.

I picked up this book feeling curious, and put it down nearly obsessed with Miles. It is worth reading because he was one of the major musical forces of the last century, but also because it is simply a great autobiography by any standard. Miles was a complex, and contradictory person, and the book seems to capture his every vice and virtue, and even his living voice. I wish it were longer.

Review: The Babur Nama

The Babur Nama by Zahirud-din Muhammad Babur

My rating: 4 of 5 stars

In this History I have held firmly to it that the truth should be reached in every matter, and that every act should be recorded precisely as it occurred.

I do not think I ever would have read this book, had it not been gifted to me last Christmas. It is quite a beautiful volume—hefty but compact, the pages thin but not fragile, the font and layout quite attractive—and yet, I still felt daunted by the prospect of reading an autobiography from a time and place that I knew so little about. It was a kind of miniature adventure.

By any standard, the Baburnama is an extraordinary book. The memoirs of Babur, founder of the mighty Mughal Empire, the book covers his life (with notable lacunae) from his early years to a short time before his death. It was written in Chaghatai, an extinct Turkic language that was Babur’s mother tongue. This edition, by the way, was translated by Annette Beveridge, who was something of an extraordinary figure herself, having completed this translation at her English home for linguistic amusement. It was no easy task, as the mountains of footnotes—almost all comments on a particular Chaghatai word or phrase—attest.

Babur’s life was nothing if not eventful. The story begins in Central Asia where, at the tender age of 11, Babur first becomes a ruler. From this moment he is thrown into the thick of politics and war, conquering and losing territories, fleeing for his life, gathering forces again, and repeating the process. Eventually his changing fortunes force him southward, to India (or Hindustan, as he calls it), where he conquers vast territories in a series of massive battles, thus setting the groundwork for the Mughal Empire that would dominate for centuries to come.

And yet this thumbnail sketch does not really capture the experience of reading this book. For one, it reads a lot more like a diary than a polished autobiography, full of short entries of quite quotidian details. One senses that Babur wrote this either for himself or for a small circle, as he does not take many pains to explain who people are. In any case, there must be well over 200 individuals mentioned in this book, which can make for a pretty frustrating reading experience—especially when you are also unfamiliar with the geography of the region. (I do wish Beveridge’s footnotes added historical context rather than expanding upon linguistic puzzles.)

In most professional reviews I have read of this book, the writer dwells upon Babur’s virtues. There is, indeed, much to admire in the man. His prose is plain and unadorned, cutting straight to the point with no unnecessary flourish. Even more important, Babur is frank to quite a surprising extent. He admits, for example, that his first feelings of love were for a boy (even if he did not go after men, women did not seem to excite him all that much). He can be disarmingly sensitive; at one point he cries after a melon reminds him of his lost homeland. And he is consistently honest and fair-minded, neither magnifying his victories nor minimizing his defeats.

Babur also boasts many intellectual virtues. He was clearly quite cultured and literate. This book is scattered with poems, many his own. Clearly, he cared deeply for the written word; near the end, he even takes the time to chastise his adult son for sending him a badly-written letter. And in the section on the flora and fauna of Hindustan, Babur reveals a penetrating eye for nature. He divines, for example, that the closest living relative of the rhinoceros is the horse—a brilliant deduction, considering how superficially different the two animals appear. He consistently dwells on his love for beautiful natural spots and well-made gardens.

So much can be said for Babur. But not enough is said—either in those reviews, or the introduction to this edition—of the river of violence that courses through these pages. True, Babur does not dwell on this violence; he usually mentions it as a passing detail to a more interesting story. But it is never far off, and I always found it disturbing. Babur speaks quite casually about executing prisoners and, indeed, putting whole cities to the sword. Probably I should not be shocked by this. After all, Babur was one of history’s great conquerors; and it is obvious from his own narrative that he lived his entire life under threat of violence.

Even so, I could not bring myself to admire the amateur naturalist knowing that he had, some time before, been strolling through the streets of a conquered city, stepping over the bodies of hundreds of massacred civilians. And I think that this considerably diminished my enjoyment of the book, as I found it far more difficult to savor the quieter, more human moments of the text. This, along with the preponderance of names and the diary-like brevity, made the book a bit of a slog at times. However, if you have any historical interest at all in this time or place, then the Baburnama is obligatory. It is full of so much valuable detail that a historian could easily spend a decade on this book alone, parsing out all of the references, piecing together the wider story. And even if you are a complete amateur, like myself, this book is still quite an educational experience.

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Review: The Autobiography of Malcolm X

The Autobiography of Malcolm X by Malcolm X

My rating: 5 of 5 stars

By some fateful coincidence, I find myself writing this review on the 55th anniversary of Malcolm X’s murder. The coincidence feels significant, if only because this is probably one of the most crucial books in my reading life. I originally encountered the little paperback in university—borrowed from a roommate who had to read it for a class. Though I had only the vaguest idea of who Malcolm X was, the book transfixed me, even dominated me. Every page felt like a gut punch. My love of reading was substantially deepened by the experience. One decade later, The Autobiography of Malcolm X has lost none of its power.

This book has so many things going for it that it is a challenge to focus on a few. For one, Haley has beautifully captured Malcolm X’s voice. You can really hear him speak through the page—with humor, with wit, with passion, and most of all with righteous anger. (This time around, I listened to Lawrence Fishburne’s excellent audio version, which brought an extra dimension of realism to Malcolm’s voice.) What is more, the story that he tells is simply a good story on any terms, even if it were all made up. His childhood poverty, his gradual introduction into the ‘hustling life’ (as he called it), his incarceration, his conversion, his betrayal, his journey to Mecca—a novelist would have difficulty coming up with anything better.

But what is most valuable book is, as Malcolm X himself says, its sociological import. The first time I read this, I thought of it mainly as a historical document. Yet the sad truth is that Malcolm X’s story is still very much possible—indeed, a reality—in the United States. All of the essential ingredients are still there: segregation (de facto if not de jure), limited job opportunities, and mass incarceration. Indeed, while some things have gotten better, and much has remained the same, in some ways things have gotten worse. For example, the US certainly imprisons more people nowadays (disproportionately POC) than in Malcolm X’s day. There is still a direct pipeline from the failing public school in the black neighborhood to the prison cell.

Malcolm X is often contrasted with Martin Luther King, Jr., for presenting a “violent” alternative to King’s non-violence. But the perspective that Malcolm X consistently articulates cannot be simply boiled down to violence. His essential point is that, if any group of people in the world had been treated like black people in America have been—enslaved, lynched, legally disenfranchised, economically shut out, thrown into jails—then they would be well within their rights to fight back, “by any means necessary.” One can hardly imagine a group of, say, German immigrants, after undergoing such an ordeal, marching “peacefully” for their rights. Few ethical or legal codes prohibit self-defense. And it is the height of moral hypocrisy to hold the oppressed to a higher ethical standard than the oppressors.

The best response to this I know is from James Baldwin, who, while conceding the premises, wrote: “Whoever debases others is debasing himself.” In other words, if blacks did unto whites what whites did unto blacks, they would do spiritual damage to themselves. Now, not being of any religious bent myself, I at first treated this as a vaguely mystical sentiment. But I have to admit that, during the presidency of Donald Trump, I gradually came to see the real, practical truth in this statement. Racism is really a kind of psychic rot—not localized simply to our attitudes about race, but spreading in all directions, poisoning our sense of justice, spoiling our intelligence, stultifying our emotions. Though Malcolm X never gave up his insistence on the right to self-defense, he agreed with Baldwin in treating racism, not simply as a matter of prejudice to overcome, but a gnawing cancer at the heart of the country, capable of destroying it. And, for my part, I am no longer inclined to view such statements as merely rhetorical.

So in addition to being a thrilling story, wonderfully told, The Autobiography of Malcolm X presents us with a challenging indictment of America—still as true and valid as when he spoke it, fifty five years ago. I think any citizen will be improved by wrestling with Malcolm’s story and his conclusions. But let us not forget the personality of Malcolm, the man—someone who radiates genuine charisma. For my part, what I find most appealing and inspiring in Malcolm X is his intellectual side. Deprived of a formal education, he largely educated himself in prison by reading voraciously. And this curiosity stayed with him all his life. He recounts the thrill of debating college students—white and black—during his speaking tours, and speaks wistfully of going back to school to get a degree, and filling up his days studying all sorts of arcane subjects. In a saner society, Malcolm X would certainly have become a respected member of the intelligentsia, pushing the bounds of knowledge. It is up to us to create such a society.

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Review: A Promised Land

A Promised Land by Barack Obama

My rating: 4 of 5 stars

Barack Obama rose to national prominence after giving the speech of his life at the 2004 Democratic Convention. I remember it. I was 13 at the time, on a camping trip in Cape Cod, listening to the speech in a tent on a battery-powered radio. Though I was as ignorant as it is possible for a human to be, I was completely electrified by this unknown, strangely-named man. “That should be the guy running for president!” I said, my hair standing on end. Four years later, I watched Obama’s inauguration in my high school auditorium, cheering along with the rest of the students, and felt that same exhilaration.

I am telling you this because I want to explain where I am coming from. Obama was the politician who introduced me to politics, so I cannot help but feel a special affection for him. You can even say that Obama was foundational to my political sensibilities, as he was president during my most sensitive years. This makes it difficult for me to view him ‘objectively.’

In this book Obama displays that quality which, despite him having almost nothing in common with me, made it so easy for me to identify with him during his presidency: his bookishness. He is clearly a man delighted by the written word. And Obama is able to hold his own as a writer. While I do think his prose is, at times, marred by his having read too many speeches—his sentences crowded with wholesome lists of good old fashioned American folks, like soccer moms, firefighters, and little-league coaches—the writing is consistently vivid and engaging, pivoting from narrative to analysis to characterization quite effortlessly. If Obama is guilty of one cardinal literary sin, it is verbosity. This book—700 pages, and only the first of two volumes—could have used a bit of chopping.

Obama is notorious for his caution, his conservative temperament, his insistence on seeing issues from as many perspectives as possible. But what struck me most of all in this book was his confidence. Aiming to justify himself to posterity, I suppose, Obama spends the bulk of this book explaining why he made the right decision in this or that situation. Indeed, Obama attributes even his few admitted missteps to noble intentions gone awry.

As Obama goes through the first term of his presidency, explaining how he tackled the financial crisis, healthcare, global warming, or the wars in Iraq and Afghanistan, the central tension of his presidency becomes apparent: the conflict between idealism and realism. Obama the speaker is, as I said, electrifying—soaring to rhetorical heights equaled by very few politicians. And yet Obama the president does not soar, but plods his way forward, examining the earth for any pitfalls five steps in advance. Indeed, I think Obama’s philosophy of governance could by fairly described as technocratic, preoccupied with effectiveness rather than liberty or justice.

This, I would say, is the central flaw in Obama’s governing philosophy. Obama ran for office with a simple message: the promise that we Americans could put aside party loyalty and work together towards a common goal. But this both underestimates and overestimates the forces that pull us into competing factions. In other words, this is both naïve and slightly cynical. Naïve, by failing to understand that politics is about power, and that there was more power to be gained through division than unity. But cynical, by considering our differing political ideologies to be superficial and ultimately unimportant.

Obama seemed to believe that the goals were obvious—that we all basically agreed on the sort of country we wanted to live in—and that the only thing needed was somebody competent enough to actually get the job done. Admittedly, this is quite a compelling idea, even an inspiring one in its way; and Obama is a very convincing proponent. But the limits of this thinking are on display all throughout this book. Obama is constantly making pre-emptive concessions to the Republicans, thinking that a market-friendly healthcare plan, or a strong commitment to killing terrorists, or a more modest stimulus bill will win them over, or at least mute their dissent. The consequence is that, in his policy—such as the deportations or the drone strikes (hardly mentioned here)—he is sometimes unfaithful to the principles he so eloquently expounds at the podium.

I am being somewhat critical of Obama, which is difficult for me. He was subjected so much silly and unfair criticism during his presidency that it can feel mean to add to this chorus of contumely. And I do not wish to take away from his very real accomplishments. Compared to either the administrations that came before or after his, Obama’s presidency was an oasis of calm, sensible governance. Though the fundamental change promised by his campaign failed to materialize, by any conventional standard Obama’s policies were successful—helping to heal the economy, expand healthcare, and slowly disentangle us from foreign wars.

It is also difficult to criticize Obama because it is clear that so much opposition to him was fueled by racial resentment. Obama was continuously subjected to a double-standard, constrained in the things he could do or say. No story better illustrates this than the Henry Louis Gates arrest controversy. After Obama rightly called the decision to arrest a black Harvard professor on his own property ‘stupid,’ the political backlash was so fierce that he had to recant and subject himself to an insipid ‘beer summit.’ And, of course, the moronic birther controversy speaks for itself. In short, it is difficult to imagine the opposition to Obama’s policies being so fierce and so persistent had he been a white man.

I listened to a part of this book on January 6th, the day of the Capitol Riot. After watching the events unfold on the television all day, I decided I could not take anymore, and went out for a walk. As I strolled along the Hudson River, I played this audiobook, listening to Obama narrate his presidential campaign. The contrast between that time and this was astonishing. I could not help but feel nostalgia for those days of relative innocence, when Obama’s “You’re likable enough, Hillary” qualified as a scandal. But I also could not help wondering to what extent, if any, Obama was responsible for what was becoming of my country. If he had embraced bolder initiatives, rather than striving to be as respectable as possible, could he have staved off this backlash of white rage? It is impossible to say, I suppose.

In the end, if I came away somewhat disappointed from this book, it is only because the Obama I found did not measure up to the messianic figure I embraced as an adolescent. But that is an unfair standard. Judged as a mere mortal, Obama is as about as impressive as any person can be—a man of prodigious talents and keen intelligence, whose presidency provided a relief from the onslaught of Republican incompetence. For that we can say, thanks, Obama.

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Review: The House of Morgan

The House of Morgan: An American Banking Dynasty and the Rise of Modern Finance by Ron Chernow

My rating: 4 of 5 stars

When I picked up this book, I assumed it was a biography of the two famous John Pierpont Morgans. But this is far more; indeed it is a true history of the Morgan bank, though admittedly with heavy emphasis on the biographies of the key figures. Given that this history spans over a century and includes a huge number of players, politics, and policies, the fact that Chernow could put out such a polished book in two and a half years is a testament to his skill as a writer and researcher.

The book is most colorful in its beginning and slowly fades into the dullness of contemporary reality. The Bank of Morgan began with the 19th century financier George Peabody, a sort of Dickensian miser turned philanthropist. Lacking a son, Peabody passed on his business to Junius Spencer Morgan, another personality of a bygone age, who managed to combined pious moralizing with strict business. His son, Pierpont, is by far the most colorful character in this panorama. A rabid art collector, an amateur archeologist, and an inveterate womanizer with a swollen nose and an enormous yacht, Pierpont was a central figure in the American economy of his age.

His son, “Jack,” though resembling Pierpont physically, was a far more mild-mannered sort of banker. His life is mostly lacking in racy and romantic stories (except for the time he was shot by a would-be assassin). The Morgan line mostly fizzles off after Jack; but there are many other Morgan bankers to take note of. The most important was undoubtedly Thomas Lamont. Chernow tracks Lamont’s strange journey from the cosmopolitan advocate of the League of Nations to an apologist for Italian fascism and Japanese aggression. It appears wide culture and smooth manners do not immunize one from ugly politics.

The wider historical arc of Chernow’s book gave me a bit of nostalgia. We begin with bankers in top hats and stiff collars, guzzling port wine and sucking on cigars. (Pierpont was a heavy drinker and smoker, and believed that exercise was unhealthy.) These bankers relied on charisma and relationships as much as they did on any technical understanding. The early House of Morgan was paternalistic towards its employees and stressed an esprit de corps—the importance of banking tradition over personal egos. This sleepy world of respectable bankers gives way, in the late twentieth century, to the high-octane world of trading, where highly trained employees work twelve-hour days trying to beat one another in an enormous casino.

The activities of the bankers also change markedly in this history. While nobody would argue that Pierpont was saintly or altruistic, his main activities consisted of reorganizing industrial companies to make them more productive and effective. This is a great contrast with the bankers of the 1980s, who are mainly concentrated on speculative activities and hostile takeovers which seem to have very little to do with work of real value.

Of course, my impressions of this history are colored by the fact that I know relatively little about finance and thus at times had trouble following the business side of things. Chernow, for his part, is typically vague when it comes to any technical details; his preferred style is to focus on individuals and their foibles. This was a bit frustrating, since I felt that I could have learned more had Chernow simply included more in the way of explanation.

But, as it stands, this is an extremely readable and compelling history of one of America’s most important banks. Things have changed since the publication of this book. Morgan Stanley is still going strong, though J.P. Morgan mainly serves as a brand used by Chase bank, and Morgan, Grenfell & Co. does not even exist as a name anymore. Even 23 Wall Street, the iconic home to this iconic bank, now sits empty and unused, apparently owned by a shadowy billionaire who is reportedly sitting in a Chinese jail. Such is the fate of all great empires.

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Lotz in Translation

Saving the world—one long, pretentious blog post at a time.

Category: Biography