Archive for 2017

Public Selves

Monday, August 21st, 2017

A young man has decided not to attend Boston University this fall after being outed as a Charlottesville marcher. He’s received death threats which he considers “a liability to [his] brand” and his “academic success.” He’s troubled that the threats come from people he’s “never met…never had a conversation with.”

Conversations with people you disagree with are, of course, to be encouraged (though you might struggle to find common ground with someone for whom “Sieg heil!” is an appropriate public utterance). But the suggestion that people who’ve never met this young man don’t know him bears further examination. It’s a little Trumpian. One of Trump’s responses to Khizr Khan was that Khan had “never met [him].” During the campaign, he frequently complained that people who criticized him didn’t know him, as if his public self weren’t amply on display.

It’s often said by those who know Trump that he’s more reasonable in private; he’s kind to his family; genial to his friends; promotes talented women in his businesses. Only the last has real public implications, and it exists in the context of a long public record of misogyny. Some of Trump’s supporters seem genuinely confused by the differences between his public self and his private one. When during the campaign Chris Christie declared that Trump had dropped the birther stuff a long time ago, he may have been lying; or he may have been thrown by a disconnect between his friend’s private statements and his public ones.

This blurring of the line between public and private has always been a hazard of those with access to wealth and power. It’s too easy to assume that your friends and acquaintances, not to mention your Dad, could never be forces for evil in the world. It’s too easy to forget that the qualities that make someone a good dinner companion or golf partner don’t necessarily translate into goodness in the public sphere.

But the complaint that “they’ve never met me” seems to reject the idea of a public self altogether. We’re not to be judged by our public actions or rhetoric but by who we are inside or in our living rooms. Trump may be right that there were some “very fine people” in the march at Charlottesville—generous to their friends, devoted to their families, supportive of churches and charities. But their public selves were horrendous. And, at the moment, their public selves were what mattered.

On some level, our would-be student understands this. He’s worried about his “brand.” Here, too, he echoes Trump, whose career can best be understood as the development and marketing of a brand. But a brand is not a self. It elides the responsibility of a public self, which is profoundly still a self, perhaps even the most important self. And that might go a long way to explaining the trouble we’re in.

Letter to Delta

Tuesday, June 13th, 2017

Below is my letter to the CEO of Delta Air Lines regarding the Julius Caesar controversy:

June 12, 2017

Edward H. Bastian

Delta Air Lines, Inc.
P.O. Box 20706
Atlanta, Georgia 30320-6001

Dear Mr. Bastian,

I recently flew back from Rome on Delta and remembered again how much I enjoy your airline’s calm, efficient service. I will have difficulty flying Delta again, however, unless it reinstates its sponsorship of New York’s Public Theater.

I understand you’re in a difficult position. People like me won’t fly Delta because you withdrew support. Others won’t if you continue your support. But the stakes here are much higher than which set of customers you lose.

Support of the arts entails grave responsibility. When you bow to loud voices and withdraw funding from an arts organization, you give those voices a power to silence that goes beyond one production of Julius Caesar. You send a message to arts organizations around the country that if they take on controversial material they risk losing funding. You’re not required to fund the arts, but if you do, you need to think carefully about the consequences of your decisions. Here you’re allowing one very vocal group to dictate how the arts are allowed to speak.

I applaud your past support of the Public Theater, one of New York’s most important arts institutions. I understand that the current controversy has tested that support, but it seems to me that it requires a response not just more courageous, but more nuanced: a ringing endorsement of freedom of expression tempered with an understanding of art’s complexity. As many others have pointed out, Julius Caesar is a play in which assassination and political faction plunge a nation into chaos. Of the assassins, the one with the most “noble” motives ends up physically and morally destroyed. Forcing us to engage with that kind of complexity is one of the most important things that art does. Those railing against the Public’s production seek to reduce that complexity, which should worry us whatever side of the political spectrum it’s coming from.

As I say, it’s a difficult position for an airline to be in, but I believe you should come down firmly on the side of complexity.

Sincerely,

David Foley