The Death of Truth - Michiko Kakutani

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THE most harrowing accounts of just how quickly “the rule of raison”—faith in science, humanism, progress, and liberty—can give way to “its very opposite, terror and mass emotion,” was laid out by the Austrian writer Stefan Zweig in his 1942 memoir, The World of Yesterday. Zweig witnessed two globe-shaking calamities in his life—World War I, followed by a brief respite, and then the cataclysmic rise of Hitler and descent into World War II. His memoir is an act of bearing witness to how Europe tore itself apart suicidally twice within decades—the story of the terrible “defeat of reason” and “the wildest triumph of brutality,” and a lesson, he hoped, for future generations.

      Zweig wrote about growing up in a place and time when the miracles of science—the conquest of diseases, “the transmission of the human word in a second around the globe”—made progress seem inevitable, and even dire problems like poverty “no longer seemed insurmountable.” An optimism (which may remind some readers of the hopes that surged through the Western world after the fall of the Berlin Wall in 1989) informed his father’s generation, Zweig recalled: “They honestly believed that the divergencies and the boundaries between nations and sects would gradually melt away into a common humanity and that peace and security, the highest of treasures, would be shared by all mankind.”

      When he was young, Zweig and his friends spent hours hanging out at coffeehouses, talking about art and personal concerns: “We had a passion to be the first to discover the latest, the newest, the most extravagant, the unusual.” There was a sense of security in those years for the upper and middle classes: “One’s house was insured against fire and theft, one’s field against hail and storm, one’s person against accident and sickness.”

      People were slow to recognize the danger Hitler represented. “The few among writers who had taken the trouble to read Hitler’s book,” Zweig writes, “ridiculed the bombast of his stilted prose instead of occupying themselves with his program.” Newspapers reassured readers that the Nazi movement would “collapse in no time.” And many assumed that if “an anti-semitic agitator” actually did become chancellor, he “would as a matter of course throw off such vulgarities.”

      Ominous signs were piling up. Groups of menacing young men near the German border “preached their gospel to the accompaniment of threats that whoever did not join promptly, would have to pay for it later.” And “the underground cracks and crevices between the classes and races, which the age of conciliation had so laboriously patched up,” were breaking open again and soon “widened into abysses and chasms.”

      But the Nazis were careful, Zweig remembers, not to disclose the full extent of their aims right away. “They practiced their method carefully: only a small dose to begin with, then a brief pause. Only a single pill at a time and then a moment of waiting to observe the effect of its strength”—to see whether the public and the “world conscience would still digest this dose.”

      And because they were reluctant to abandon their accustomed lives, their daily routines and habits, Zweig wrote, people did not want to believe how rapidly their freedoms were being stolen. People asked what Germany’s new leader could possibly “put through by force in a State where law was securely anchored, where the majority in parliament was against him, and where every citizen believed his liberty and equal rights secured by the solemnly affirmed constitution”—this eruption of madness, they told themselves, “could not last in the twentieth century.”

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       THE NEW CULTURE WARS

       The death of objectivity “relieves me of the obligation to be right.” It “demands only that I be interesting.”

      —STANLEY FISH

      IN A PRESCIENT 2005 ARTICLE, DAVID FOSTER Wallace wrote that the proliferation of news outlets—in print, on TV, and online—had created “a kaleidoscope of information options.” Wallace observed that one of the ironies of this strange media landscape that had given birth to a proliferation of ideological news outlets (including so many on the right, like Fox News and The Rush Limbaugh Show) was that it created “precisely the kind of relativism that cultural conservatives decry, a kind of epistemic free-for-all in which ‘the truth’ is wholly a matter of perspective and agenda.”

      Those words were written more than a decade before the election of 2016, and they uncannily predict the post-Trump cultural landscape, where truth increasingly seems to be in the eye of the beholder, facts are fungible and socially constructed, and we often feel as if we’ve been transported to an upside-down world where assumptions and alignments in place for decades have suddenly been turned inside out.

      The Republican Party, once a bastion of Cold War warriors, and Trump, who ran on a law-and-order platform, shrug off the dangers of Russia’s meddling in American elections, and GOP members of Congress talk about secret cabals within the FBI and the Department of Justice. Like some members of the 1960s counterculture, many of these new Republicans reject rationality and science. During the first round of the culture wars, many on the new left rejected Enlightenment ideals as vestiges of old patriarchal and imperialist thinking. Today, such ideals of reason and progress are assailed on the right as part of a liberal plot to undercut traditional values or suspicious signs of egghead, eastern-corridor elitism. For that matter, paranoia about the government has increasingly migrated from the Left—which blamed the military-industrial complex for Vietnam—to the Right, with alt-right trolls and Republican members of Congress now blaming the so-called deep state for plotting against the president.

      The Trump campaign depicted itself as an insurgent, revolutionary force, battling on behalf of its marginalized constituency and disingenuously using language which strangely echoed that used by radicals in the 1960s. “We’re trying to disrupt the collusion between the wealthy donors, the large corporations, and the media executives,” Trump declared at one rally. And in another he called for replacing this “failed and corrupt political establishment.”

      More ironic still is the populist Right’s appropriation of postmodernist arguments and its embrace of the philosophical repudiation of objectivity—schools of thought affiliated for decades with the Left and with the very elite academic circles that Trump and company scorn. Why should we care about these often arcane-sounding arguments from academia? It’s safe to say that Trump has never plowed through the works of Derrida, Baudrillard, or Lyotard (if he’s even heard of them), and postmodernists are hardly to blame for all the free-floating nihilism abroad in the land. But some dumbed-down corollaries of their thinking have seeped into popular culture and been hijacked by the president’s defenders, who want to use its relativistic arguments to excuse his lies, and by right-wingers who want to question evolution or deny the reality of climate change or promote alternative facts. Even Mike Cernovich, the notorious alt-right troll and conspiracy theorist, invoked postmodernism in a 2016 interview with The New Yorker. “Look, I read postmodernist theory in college. If everything is a narrative, then we need alternatives to the dominant narrative,” he said, adding, “I don’t seem like a guy who reads Lacan, do I?”

      SINCE THE 1960s, there has been a snowballing loss of faith in institutions and official narratives. Some of this skepticism has been a necessary corrective—a rational response to the calamities of Vietnam and Iraq, to Watergate and the

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