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Microsoft has a product for you…..c’mon….go for that “natural 20″….you know you want to…..

HNN is running a symposium on Jonah Goldberg’s recent book, Liberal Fascism: The Secret History of the American Left, From Mussolini to the Politics of Meaning:

While I know a great deal about the historical period in question, I have not read Goldberg’s book, so I am not going to comment on his core proposition except to say that IMHO, I tend to find arguments that the intellectual roots of Fascism and Nazism are located exclusively on one side of the political spectrum are flatly and demonstrably wrong. Goldberg’s polemical thesis though, yields a hysterical reaction because he is jubilantly shredding the hoary (and false) assertion of the academic Left, going back to the pre-Popular Front Communist Party line of the 1930’s, that Fascism is a form of radicalized conservatism and a secret pawn of big business capitalism.

Therefore, the following series amounts to an intellectual food fight between Goldberg and (mostly) a band of clearly enraged Leftist professors. Enjoy!:

HNN Special: A Symposium on Jonah Goldberg’s Liberal Fascism

• Neiwert: Introduction
• Paxton: The Scholarly Flaws
• Griffin: An Academic Book – Not!
• Feldman: Poor Scholarship, Wrong Conclusions
• Berlet: The Roots of the Book
• Michael Ledeen Responds to Liberal Fascism
• Goldberg: Definitions and Double Standards
• Feldman: An Open Letter to Mr. Jonah Goldberg
• Griffin: Definitions and Double Standards – A Rebuttal
• Neiwert: Goldberg’s Response Fits His History of Evasion

After all, who doesn’t like an intemperate, online argument about Nazs? 🙂

Actually the speeches that Dave Schuler of The Glittering Eye considers the greatest – not speeches made by Dave himself. Though, being an erudite fellow, he probably can give a good speech.

The Greatest Speeches

…..Another reasonable criticism is that some of the speeches, in my view probably anything from before about 1500 CE, are fictional.

But it’s a good, interesting, thought-provoking list that includes George Washington’s Farewell Address, Lincoln’s Second Inaugural, his Gettysburg address, several memorable speeches from Theodore Roosevelt, FDR’s first inaugural speech, several of Churchill’s wartime speeches, Douglas MacArthur’s farewell address, several of John Kennedy’s speeches, and several of Ronald Reagan’s speeches.

Ignoring speeches less than twenty years old which can reasonably be thought not to have withstood the test of time and just off the top of my head, here are several speeches in chronological order that I think are worthy of consideration in a “best” list:

• Elizabeth I’s Golden Speech
• Napoleon’s farewell to the Old Guard
• John Quincy Adams’s speech on the Fourth of July, 1837
• Sojourner Truth’s “Ain’t I a Woman” speech
• Garibaldi’s speech of 1860 to the troops
• Bismarck’s “Blood and Iron” speech
• Lenin’s speech on the Soviet power
• Nehru’s “Tryst With Destiny” speech
• Mao’s speech of June 30, 1949, the 28th anniverary of the Chinese communist party
• Khrushchev’s “We will bury you” speech

I think Dave’s criticism of the ancient speeches in the Art of Manliness list is reasonable, though saying they are entirely “fictional” might be going too far ( though in some cases that might be true). Real events often become “mythologized” and accrue a thick crust of romanticism but attain a historical staying power because, unlike with pure fiction, there was a real event underneath acting to legitimize the story. Lincoln’s Gettysburg Address will probably still be remembered in 2500 AD by someone, even if we Americans have vanished but how they reconstruct it may involve some invented context.

ADDENDUM:

On a humorous note, Schmedlap points to Peter’s Evil Overlord List

… 55)  The deformed mutants and odd-ball psychotics will have their place in my Legions of Terror. However before I send them out on important covert missions that require tact and subtlety, I will first see if there is anyone else equally qualified who would attract less attention.

Official Avatar Movie

I’ve enjoyed a sporadic conversation with Steve Pressfield , author of Gates of Fire and Killing Rommel, ever since he started his Tribes site. While most of our discussions had to do with COIN, tribalism, ancient history and Afghanistan, Steve is also generous with his time and advice with those who aspire to become better writers. Pressfield distilled his philosophy of writing, learned from the school of hard knocks, into a short handbook, The War of Art which I heartily recommend. Steve also features a “Writing Wednesdays” as a weekly tutorial in the writer’s craft and the acquisition of a professional mindset.

In the spirit of “Writing Wednesday”, Steve invited me to pose three questions to him based on my impressions of The War of Art. Here are my questions and Steve’s answers:

ZP: You write in The War of Art about “the muse”and Socrates‘ “heaven-sent madness”. It sounds very much like the “flow” described by creativity theorist Mihaly Csikszentmihalyi. Does the intensity of that experience ever lead the artist astray ?

SP: In my experience, Mark, the writing process bounces back and forth between two poles.  One is the let-‘er-rip mode, which could be called “flow,” or “Dionysian.”  That’s the one when the Muse possesses a writer and he just goes with it.  But yes, as you suggest, it can lead you astray.  It’s the like the great ideas you have at three in the morning after two too many tequilas.  This mode has to be balanced by a saner-head mode, which sometimes to me almost feels like a different person–an editor, a reviser.  That’s really when you put yourself in imagination in the place of the reader and ask yourself, as you’re reading the stuff that this “other guy” wrote: “Does this make any sense?  Is this any good?  Have I got it in the right place, in the right form?  Should I cut it, expand it, modify it, dump it entirely.”  Then you become cold-blooded and professional.  You get ruthless with your own work.  This is the time, I think, when “formula” wisdom can help, when you can ask yourself questions like, “What is my inciting incident?” or “What is my Act Two mid-point.”  Not when you’re in the flow, or you’ll censor yourself and second-guess yourself.  But now, when you’re rationally evaluating what you produced when you were in flow.

This back-and-forthing, I imagine, would be true in any artistic or entrepreneurial venture.  It’s great to let it rip and really get down some wild, skatting jazz riffs.  But then we have to come back and ask ourselves, “Is this working for the audience?  Is this working for the work itself?”

ZP: Amateurs reach a tipping point where they “Turn pro”. Is turning professional more from innate character or from the lessons of experience?

SP: Some people are born “pro.”  I have two friends, identical twins, who are both tremendous producers of excellent work and they’ve never suffered a minute of Resistance in their lives.  The lucky bastards.  For the rest of us though (at least this is my experience), only after many painful hard knocks … really when it becomes simply too excruciating to continue living as an amateur (and thereby suffering the agonies of never completing anything, always screwing up, forever feeling inadequate in our own eyes and just plain not respecting ourselves) do we finally, out of sheer emotional self-preservation, say to ourselves, “This crap has gotta stop!  We gotta get our act together!”

ZP: Artists run straight into hierarchies, filled with gatekeepers, between ourselves and a goal. Go through or go around?

SP: There’s an axiom in Hollywood that if you write a truly great script, it will not go unrecognized.  I think this is true.  What I mean by that is that gatekeepers can be our friends.  They can open gates as well as close them.  In fact, I vote for jettisoning the term “gatekeeper.”  It’s negative and self-defeating–and it’s an insult, I think, to the editors, agents, publishers and development executives whose agenda is not to exclude us, the artists.  In fact they’d like nothing more than to discover fresh talent, a hot new manuscript, a great pitch or biz proposal.  In my own experience, I got shot down again and again when my stuff wasn’t ready and wasn’t good.  But once I had done the work and elevated my material to the professional level, I found open doors and helping hands.

All that is not to say that “going around” can’t be a good idea too.  Look at Seth Godin, who’s the poster boy for damning the torpedoes and taking his stuff straight to the marketplace with incredible success.  In my own career though–now that you’ve made me think about it, Mark–I realize I’ve always gone the traditional route.  And the “gatekeepers” I’ve met have become, almost within exception, great friends and allies–and I’ve wound up helping them, in other ways, almost as much as they’ve helped me.

Thanks Steve!