An interview with writer Chidike Okeem on black conservatism—its heroes, principles, and misrepresentations.
Playing Upon the Strings of Emptiness
Today marks the 100th anniversary of the birth of Aleksandr Solzhenitsyn. The Nobel laureate was one of the truly monumental figures of our time. Not simply a gifted writer, he stood as one of the most courageous critics of totalitarianism.
And as he showed in this January 1993 lecture, Solzhenitsyn was as keen a critic of the problems infecting the West. In accepting the National Arts Club’s Medal of Honor for Literature, he asks us to consider: What happens as more and more artists reject tradition for the “relentless cult of novelty”?
There is a long-accepted truth about art that “style is the man” (le style est l’homme). This means that every work of a skilled musician, artist, or writer is shaped by an absolutely unique combination of personality traits, creative abilities, and individual, as well as national, experience. And since such a combination can never be repeated, art (but I shall here speak primarily of literature) possesses infinite variety across the ages and among different peoples. The divine plan is such that there is no limit to the appearance of ever new and dazzling creative talents, none of whom, however, negate in any way the works of their outstanding predecessors, even though they may be five hundred or two thousand years removed. The unending quest for what is new and fresh is never closed to us, but this does not deprive our grateful memory of all that came before.
No new work of art comes into existence (whether consciously or unconsciously) without an organic link to what was created earlier. But it is equally true that a healthy conservatism must be flexible both in terms of creation and perception, remaining equally sensitive to the old and to the new, to venerable and worthy traditions, and to the freedom to explore, without which no future can ever be born. At the same time the artist must not forget that creative freedom can be dangerous, for the fewer artistic limitations he imposes on his own work, the less chance he has for artistic success. The loss of a responsible organizing force weakens or even ruins the structure, the meaning, and the ultimate value of a work of art.
Every age and every form of creative endeavor owes much to those outstanding artists whose untiring labors brought forth new meanings and new rhythms. But in the twentieth century the necessary equilibrium between tradition and the search for the new has been repeatedly upset by a falsely understood “avant-gardism”—a raucous, impatient “avant-gardism” at any cost. Dating from before World War I, this movement undertook to destroy all commonly accepted art—its forms, language, features, and properties—in its drive to build a kind of “superart,” which would then supposedly spawn the New Life itself. It was suggested that literature should start anew “on a blank sheet of paper.” (Indeed, some never went much beyond this stage.) Destruction, thus, became the apotheosis of this belligerent avant-gardism. It aimed to tear down the entire centuries-long cultural tradition, to break and disrupt the natural flow of artistic development by a sudden leap forward.
This goal was to be achieved through an empty pursuit of novel forms as an end in itself, all the while lowering the standards of craftsmanship for oneself to the point of slovenliness and artistic crudity, at times combined with a meaning so obscured as to shade into unintelligibility. . . .
However, some writers have emerged who appreciate the removal of censorship and the new, unlimited artistic freedom mostly in one sense: for allowing uninhibited “self-expression.” The point is to express one’s own perception of one’s surroundings, often with no sensitivity toward today’s ills and scars, and with a visible emptiness of heart; to express the personality of an author, whether it is significant or not; to express it with no sense of responsibility toward the morals of the public, and especially of the young; and at times thickly lacing the language with obscenities which for hundreds of years were considered unthinkable to put in print, but now seem to be almost in vogue.
The confusion of minds after seventy years of total oppression is more than understandable. The artistic perception of the younger generations finds itself in shock, humiliation, resentment, and amnesia. Unable to find in themselves the strength fully to withstand and refute Soviet dogma in the past, many young writers have now given in to the more accessible path of pessimistic relativism. Yes, they say, Communist doctrines were a great lie; but then again, absolute truths do not exist anyhow, and trying to find them is pointless. Nor is it worth the trouble to strive for some kind of higher meaning. And in one sweeping gesture of vexation, classical Russian literature—which never disdained reality and sought the truth—is dismissed as next to worthless. Denigrating the past is deemed to be the key to progress. . . .
Thus we witness, through history’s various thresholds, a recurrence of one and the same perilous anti-cultural phenomenon, with its rejection of and contempt for all foregoing tradition, and with its mandatory hostility toward whatever is universally accepted. Before, it burst in upon us with the fanfares and gaudy flags of “futurism”; today the term “post-modernism” is applied. (Whatever the meaning intended for this term, its lexical makeup involves an incongruity: the seeming claim that a person can think and experience after the period in which he is destined to live.) For a post-modernist, the world does not possess values that have reality.
He even has an expression for this: “the world as text,” as something secondary, as the text of an author’s work, wherein the primary object of interest is the author himself in his relationship to the work, his own introspection.
Culture, in this view, ought to be directed inward at itself (which is why these works are so full of reminiscences, to the point of tastelessness); it alone is valuable and real. For this reason the concept of play acquires a heightened importance—not the Mozartian playfulness of a Universe overflowing with joy—but a forced playing upon the strings of emptiness, where an author need have no responsibility to anyone. A denial of any and all ideals is considered courageous. And in this voluntary self-delusion, “postmodernism” sees itself as the crowning achievement of all previous culture, the final link in its chain. (A rash hope, for already there is talk of the birth of “conceptualism,” a term that has yet to be convincingly defined in terms of its relationship to art, though no doubt this too will duly be attempted. And then there is already “post-avant-gardism”; and it would be no surprise if we were to witness the appearance of a “post-post-modernism,” or of a “postfuturism.”) We could have sympathy for this constant searching, but only as we have sympathy for the suffering of a sick man. The search is doomed by its theoretical premises to forever remaining a secondary or ternary exercise, devoid of life or of a future.
But let us shift our attention to the more complex flow of this process.
Even though the twentieth century has seen the more bitter and disheartening lot fall to the peoples under Communist domination, our whole world is living through a century of spiritual illness, which could not but give rise to a similar ubiquitous illness in art. Although for other reasons, a similar “postmodernist” sense of confusion about the world has also arisen in the West.
Alas, at a time of an unprecedented rise in the material benefits of civilization and ever-improving standards of living, the West, too, has been undergoing an erosion and obscuring of high moral and ethical ideals. The spiritual axis of life has grown dim, and to some lost artists the world has now appeared in seeming senselessness, as an absurd conglomeration of debris.
Yes, world culture today is of course in crisis, a crisis of great severity.
The newest directions in art seek to outpace this crisis on the wooden horse of clever stratagems—on the assumption that if one invents deft, resourceful new methods, it will be as though the crisis never was. Vain hopes. Nothing worthy can be built on a neglect of higher meanings and on a relativistic view of concepts and culture as a whole. Indeed, something greater than a phenomenon confined to art can be discerned shimmering here beneath the surface—shimmering not with light but with an ominous crimson glow.
Looking intently, we can see that behind these ubiquitous and seemingly innocent experiments of rejecting “antiquated” tradition there lies a deep-seated hostility toward any spirituality. This relentless cult of novelty, with its assertion that art need not be good or pure, just so long as it is new, newer, and newer still, conceals an unyielding and long-sustained attempt to undermine, ridicule and uproot all moral precepts. There is no God, there is no truth, the universe is chaotic, all is relative, “the world as text,” a text any post-modernist is willing to compose. How clamorous it all is, but also—how helpless.
For several decades now, world literature, music, painting, and sculpture have exhibited a stubborn tendency to grow not higher, but to the side, not toward the highest achievements of craftsmanship and of the human spirit, but toward their disintegration into a frantic and insidious “novelty.” To decorate public spaces we put up sculptures that aestheticize pure ugliness—but we no longer register surprise. And if visitors from outer space were to pick up our music over the airwaves, how could they ever guess that earthlings once had a Bach, a Beethoven, and a Schubert, now abandoned as out of date and obsolete?
If we, the creators of art, will obediently submit to this downward slide, if we cease to hold dear the great cultural tradition of the foregoing centuries together with the spiritual foundations from which it grew—we will be contributing to a highly dangerous fall of the human spirit on earth, to a degeneration of mankind into some kind of lower state, closer to the animal world.
And yet, it is hard to believe that we will allow this to occur. Even in Russia, so terribly ill right now—we wait and hope that after the coma and a period of silence, we shall feel the breath of a reawakening Russian literature, and that we shall witness the arrival of the fresh new forces of our younger brothers.
The Russian writer and Nobel laureate Aleksandr Solzhenitsyn spent years in the Soviet gulag pursuing the life of an underground writer. He is best known for his novel One Day in the Life of Ivan Denisovich. A collection of his writings, The Solzhenitsyn Reader, is available at the ISI bookstore.
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