Paradigm shift

In 1928, when Lytton Strachey wrote Elizabeth and Essex, the English-speaking world agreed that torture was an atrocity. When, therefore, Strachey narrated the complicity of Robert Devereux, earl of Essex, in the judicial torture of Queen Elizabeth’s personal physician, Ruy Lopez, a Portuguese Jew, Strachey had some explaining to do. Essex was the hero of Strachey’s book, and so Strachey had to persuade his readers at least to understand Essex’s complicity, even if he could not hope to persuade them to forgive it. In Strachey’s telling, Essex is a man of feeling. “One can understand, perhaps, the intellectuals and the politicians,” Strachey wrote, “but Essex! Generous, strong, in the flush of manhood, is it possible that he failed to realise that what he was doing was, to say the least of it, unfair?”

Today, of course, a mind accustomed to the idea of torture no longer seems archaic. It’s instead the need to explain such a mind that has become historical. As a curiosity, then, here’s Strachey’s attempt to explain the Renaissance mind to readers whose sensibility had been shaped by the Enlightenment:

The true principles of criminal jurisprudence have only come to be recognised, with gradually increasing completeness, during the last two centuries. . . . No human creature can ever hope to be truly just; but there are degrees in mortal fallibility, and for countless ages the justice of mankind was the sport of fear, folly, and superstition. In the England of Elizabeth there was a particular influence at work which, in certain crucial cases, turned the administration of justice into a mockery. It was virtually impossible for anyone accused of High Treason—the gravest offence known to the law—to be acquitted. The reason for this was plain; but it was a reason not of justice but expediency. Upon the life of Elizabeth hung the whole structure of the State. . . . Her own personal fearlessness added to the peril. She refused, she said, to mistrust the love of her subjects; she was singularly free of access; and she appeared in public with a totally inadequate guard. In such a situation, only one course of action seemed to be possible: every other consideration must be subordinated to the supreme necessity of preserving the Queen’s life. . . . It was futile to talk of justice; for justice involves, by its very nature, uncertainty; and the Government could take no risks. The old saw was reversed; it was better that ten innocent men should suffer than that one guilty man should escape. To arouse suspicion became in itself a crime.

Having explained why torture seemed plausible to Elizabethans, Strachey then explained why it was nonetheless dysfunctional and corrupting.

It was in the collection of evidence that the mingled atrocity and absurdity of the system became most obvious. Not only was the fabric of a case often built up on the allegations of the hired creatures of the Government, but the existence of the rack gave a preposterous twist to the words of every witness. Torture was constantly used; but whether, in any particular instance, it was used or not, the consequences were identical. The threat of it, the hint of it, the mere knowledge in the mind of a witness that it might at any moment be applied to him—those were differences merely of degree; always, the fatal compulsion was there, inextricably confusing truth and falsehood. What shred of credibility could adhere to testimony obtained in such circumstances—from a man, in prison, alone, suddenly confronted by a group of hostile and skilful examiners, plied with leading questions, and terrified by the imminent possibility of extreme physical pain? Who could disentangle among his statements the parts of veracity and fear, the desire to placate his questioners, the instinct to incriminate others, the impulse to avoid, by some random affirmation, the dislocation of an arm or a leg? Only one thing was plain about such evidence: it would always be possible to give to it whatever interpretation the prosecutors might desire. The Government could prove anything.

Strachey’s final insight concerned torture’s effect on the political judgment of its users.

It was, of course, an essential feature of the system that those who worked it should not have realised its implications. Torture was regarded as an unpleasant necessity; evidence obtained under it might possibly, in certain cases, be considered of dubious value; but no one dreamt that the judicial procedure of which it formed a part was necessarily without any value at all. . . . Judges, as well as prisoners, were victims of the rack.

It would take a lot of explaining, in other words, before our great-grandparents would be able to recognize the America we live in.

Mule deaths of late

The Onion this week reprints its issue of 6 October 1783, including such articles as “Thousands More Teeth Lost,” “Rural Quaker Scandalized by Intricate Furniture Pattern,” “Citizens Now Free to Practise Any Form of Protestantism They Want,” and “Mule-Deaths of Late.” If, like me, you are the sort who laughs at such things as the Donald Barthelme story “An Hesitation on the Bank of the Delaware,” in which a soldier warns George Washington, “But, General, unless we launch the boats pretty shortly, the attack will lose the element of furprife,” you will probably appreciate the humor.

The overhead projector strikes back

The Adler Planetarium's Zeiss Mark VI projector, first installed in 1970, as featured in the planetarium's 2006 Report to Donors

Last night, during the second presidential debate, John McCain accused Barack Obama of voting for a $3 million earmark for an “overhead projector” for a planetarium in Chicago. “My friends,” said McCain, “do we need to spend that kind of money?”

Today the planetarium has defended itself. In a statement on its website, the Adler Planetarium explains that the equipment they wanted to replace is a Zeiss Mark VI projector, not an overhead projector, and the planetarium didn’t receive a new one, because the funding effort failed. The existing projector is forty years old, “is only the Adler’s second in seventy-eight years of operation,” and the manfacturer no longer makes parts for it. Moreover, “the Adler has never received an earmark as a result of Senator Obama’s efforts,” though they have received some federal support thanks to others, and they aren’t bashful about it, because they think science education is a worthwhile cause.

Catching up

  • On her new blog, Laura Miller notes that Pauline Baynes, illustrator of C. S. Lewis’s Narnia books, died this summer: “Lewis, it must be said, had no real eye for art, and he used to gripe about Baynes behind her back, complaining (in a letter to Dorothy Sayers) of her poor grasp of animal anatomy. He doesn’t seem to have recognized how well she captured Narnia’s distinctly Medieval flavor.” (A side note: I had the good fortune to be able to read in galleys Laura’s new book on Lewis, The Magician’s Book: A Skeptic’s Adventures in Narnia, and I can’t recommend it highly enough, especially to anyone who was as besotted as I was by the books as a child.)

  • My boyfriend, Peter Terzian, recently interviewed the graphic novelist David Heatley for Time Out New York: “I was getting fan mail from a couple twentysomething boys, saying, ‘Oh, your strip gave me a boner,’ and I thought, This isn’t what I had in mind.”

  • Peter has also reviewed Jed Perl’s Antoine’s Alphabet: Watteau and His World for the Abu Dhabi National: “Perl’s tour de force is an analysis of Gersaint’s Shopsign, a panorama of a shop interior. . . . The mirrors, clocks and toiletries that the customers peruse and assess ‘raise certain questions: Who are we? What can we make of ourselves? What will we become?’ “

  • Insanely prolific, Peter has also reviewed Julian Barnes’s Nothing to be Frightened Of for Bookforum:

    We survive in the genes we pass along and in memory, Barnes reasons, but for how long? Here’s where he really scares the bejesus out of you. In a couple of generations, everyone who ever knew you will be dead, and your grave will go unvisited. This may hold true for all of the bodies in the cemetery, and, in any case, it will eventually be paved over to make room for suburban housing. A writer like Barnes, who is childless, at least leaves behind his collected prose. But just as there will be that last person who remembers you and visits your grave, there will be, at some point, the last reader of a Julian Barnes book.

  • On the n+1 blog, A. S. Hamrah tries to discover what movies mean to northern California:

    At the town’s unmanned used bookstore there’s chart next to a lock box with a slot in it for money. The chart tells book lovers to leave whatever they think a book is worth in the box—$10 for great books down to a dollar for ones that are just okay. You pick out a book, shove in a dollar or two, then turn around to confront a sign reading something like “This store is under constant video surveillance.” “California Über Alles,” I thought, as I left with a volume of S. J. Perelman’s letters.

  • Matthew Price reviews Wojciech Tochman’s Like Eating a Stone: Surviving the Past in Bosnia for the New York Times Book Review: Tochman “describes the efforts of Ewa Klonowski, a Polish forensic anthropologist con­nected to the Bosniak Commission on Missing Persons, as she works at a mass grave: ‘Now the first white body bags are coming up. The workmen lay them out on the grass. The relatives of the missing people stand around as Dr. Klonowski examines the bones, identifying their age and sex.’ “

  • In the same issue of NYTBR, Craig Seligman reviews Marcella Hazan’s Amarcord: “Maybe a strong editor could have given it more shape, but the Hazans are not what you would call putty in an editor’s hands. I know this partly from having done a stint at Food & Wine during a period when they had a column in the magazine. I never dealt with them directly, but I don’t remember anyone who did getting off a call from them with a sunny smile.”

  • In Paper Monument, Keith Gessen explains the corruptions of life in Putin’s Russia:

    Seven years and many suspicious deaths later, Ksenya Sobchak, the deceased mayor’s pouty, blonde, 24-year-old daughter, appeared in jeans and a tank top on the cover of hte Russian edition of Gala. The top button of her jeans was undone so that readers could see more of her midriff. . . . Panyushkin’s first question to the magazine’s first celebrity cover model was whether her father had been murdered. Sobchak’s response was both cruel and correct. “I don’t think that’s a suitable topic for a glossy magazine,” she said.

Say it ain’t so, Sarah

Peter just unraveled another wrinkle in Sarah Palin’s deviousness. As viewers of the vice presidential debate will recall, when the candidates came onstage, there was a brief exchange between them, transmitted across America even though it wasn’t clear whether they knew the microphones were transmitting:

PALIN: Nice to meet you.

BIDEN: It’s a pleasure.

PALIN: Hey, can I call you Joe?

BIDEN: (OFF-MIKE)

PALIN: Thank you.

At the time, the exchange seemed charming. One inferred that Palin wanted to be sure that the rapport between her and Biden was warm, and the moment appeared genuine, because she didn’t seem to think anyone but Biden could hear her.

But it just occurred to Peter that Palin must have asked permission to call Senator Biden “Joe” because she had planned in advance to deploy against him the soundbite-ready line, “Say it ain’t so, Joe.” “Say it ain’t so, Senator Biden” wouldn’t have had the same ring.

To some extent, she lost her nerve. A guilty conscience? By my count, Palin went on to call her opponent “Senator Biden” eight times. Although Biden called himself “Joe” a few times, Palin called him that exactly once, in issuing her obviously prescripted attack. In other words, her girlish request “Hey, can I call you Joe?” was disingenuous. She was setting Biden up.