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Trump vs. the Bureaucrats

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Trump vs. the Bureaucrats

Much of what the Civil Service does takes place behind the scenes instead of on center stage. Basic public goods that Americans take for granted, like clean air and safe drinking water, rely on a complex infrastructure of regulation and enforcement. The American way of making policy means that benefits, such as they are, are often channeled through the tax code. The political scientist Suzanne Mettler calls this invisible work “the submerged state.”

During the first decades of the 20th century, the rapid growth of the administrative state aroused suspicions. When President Franklin D. Roosevelt created new federal agencies and programs in the 1930s to address the Depression, small-government conservatives were outraged. A group of businesspeople created the American Liberty League to attack the New Deal on constitutional grounds, charging it with executive branch overreach — a “strategic choice,” says the legal scholar Gillian Metzger, who notes that any attempt to go after the New Deal for burdening elite economic interests would have been a hard sell to a suffering public. In the lurid rhetoric of one Liberty League pamphlet, “The federal bureaucracy has become a vast organism spreading its tentacles over the business and private life of the citizens of the country.”

Conservative denunciations of the administrative state have continued to couch objections in terms of the Constitution and bureaucratic treachery. In “Unmasking the Administrative State” (2019), the conservative political scientist John Marini warned that the growth of government bureaucracy “had opened up the prospect of the greatest tyranny of all.” Two years later, Trump’s 1776 Commission published a report that compared President Woodrow Wilson to Mussolini: “Like the progressives, Mussolini sought to centralize power under the management of so-called experts.”

Fears of an undemocratic, overweening bureaucracy haven’t only served as a right-wing talking point. Some of the administrative state’s most pointed critics have been intellectuals on the left, like the anthropologists James C. Scott and David Graeber, each of whom has argued that a domineering bureaucratic state is hostile to local ways of living. But anarchist critiques like theirs are harder to marshal into a mass political movement. In 2015, a time when the Tea Party, a MAGA precursor, was already well underway, Graeber lamented that the right had figured out how to politicize antipathy toward the bureaucracy, deploying the rhetoric of “anti-bureaucratic individualism” to push through a free-market agenda that guts social services while bolstering business interests.

The MAGA thrashing of bureaucracy, though, is of a different order. The political scientists Russell Muirhead and Nancy L. Rosenblum distinguish between critiques of government and Trump’s vows to hobble it. “Every modern state is an administrative state,” they declare in their spirited new book, “Ungoverning: The Attack on the Administrative State and the Politics of Chaos.” They take a common complaint about bureaucracy — its inescapability — to highlight its necessity. A bureaucracy filled by professionals and experts who administer the day-to-day functions of governing is the price we pay to live together in a big, complex, populous society.

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Try This Quiz on Oscar-Winning Adaptations of Popular Books

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Try This Quiz on Oscar-Winning Adaptations of Popular Books

Welcome to Great Adaptations, the Book Review’s regular multiple-choice quiz about works that have gone on to find new life as movies, television shows, theatrical productions — or even books. With the Academy Award nominations announced last week, this week’s challenge celebrates past Oscar-winning films that were based on books. Just tap or click your answers to the five questions below. And scroll down after you finish the last question for links to the books and their filmed versions.

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What Kind of Lover Are You? This William Blake Poem Might Have the Answer.

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What Kind of Lover Are You? This William Blake Poem Might Have the Answer.

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Not every poem about love is a love poem. This one, from William Blake’s “Songs of Innocence and of Experience,” first published in 1794, is more analytical than romantic. Instead of roses and violets, it offers us dirt and rocks.

William Blake (1757-1827), obscure in his own time and a hero to later generations of poets and spiritual seekers, made his living as an engraver and illustrator. He conceived and executed many of his poetic projects as works of visual as well as literary art, etching his verses and images onto copper plates and printing them in vivid color — a style designed to blur the boundary between word and picture.

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From a 1795 copy of William Blake’s “Songs of Innocence and of Experience.”

The Trustees of the British Museum

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“The Clod & the Pebble” is set in a rustic tableau populated by wild and domesticated animals. In the print, we can’t quite see the main characters, who are presumably somewhere beneath the hooves and the ripples. But the cows and sheep, the frogs and the duck, are nonetheless connected to the poem’s meaning.

The two sections of “Songs of Innocence and of Experience” are meant to illustrate “the contrary states of the human soul” — the purity and wonder associated with early childhood and the harder knowledge that inevitably follows.

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“The Clod & the Pebble” recapitulates this fall from sweetness into disillusionment, and the plate suggests it in contrasting ways. The wild animals down below symbolize a natural condition of innocence, while the livestock above live in confinement, bound to another’s use. At the same time, though, the cows and sheep are peaceful ruminants, while the frogs and the duck are predators.

In the poem, the Clod is an avatar of innocence. As it happens, this is a recurring character in the Blakean poetic universe. In “The Book of Thel,” a fantastical meditation composed a few years before the publication of “Songs of Innocence and of Experience,” the Clod appears as a maternal figure selflessly nursing a baby worm:

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The Clod of Clay heard the Worms voice, & raisd her pitying head; 

She bowd over the weeping infant, and her life exhald 

In milky fondness 

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“We live not for ourselves,” she tells the poem’s heroine, a young girl named Thel. But in Blake’s system self-sacrifice can never be the last word. There is no innocence without the fall into experience, and no experience without the memory of innocence. Giving gives way to wanting.

Want to learn this poem by heart? We’ll help.

Get to know the poem better by filling in the missing words below.

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Question 1/6

First, the Clod’s perspective.

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Love seeketh not Itself to please, 

Nor for itself hath any care; 

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Tap a word above to fill in the highlighted blank.

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Try This Quiz on Myths and Stories That Inspired Recent Books

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Try This Quiz on Myths and Stories That Inspired Recent Books

Welcome to Lit Trivia, the Book Review’s regular quiz about books, authors and literary culture. This week’s challenge tests your memory of 21st-century books that were inspired by ancient myths, legends and folk tales. In the five multiple-choice questions below, tap or click on the answer you think is correct. After the last question, you’ll find links to the books if you’d like to do further reading.

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