Renee DiResta

In December 2014, a visitor carrying the measles virus walked through Disneyland. Within weeks the outbreak spread across California and beyond, infecting more than a hundred people in a country that had declared measles eliminated in 2000. In the Bay Area, Renée DiResta (b. 1981), a former Wall Street trader turned venture capitalist, had a son approaching preschool age. She did what a trader does before taking a position. She pulled the data. California published vaccination rates by school, and the numbers stunned her. Some Bay Area preschools, filled with the children of engineers and executives, had immunization rates below those of South Sudan. She began looking at where the anti-vaccine message came from, and with the data scientist Gilad Lotan she mapped the networks. The maps showed that on Twitter about a quarter of the anti-vaccine content came from 0.6 percent of the accounts. A small, coordinated, passionate minority looked like a mass movement. She had found the subject that consumed the rest of her career.

Nothing in her training pointed toward public health. DiResta grew up in Yonkers, New York, the daughter of a family with no connection to Silicon Valley or Washington. At Stony Brook University she took five years to finish two degrees, computer science and political science, with two minors. During the summers of those undergraduate years, from 1999 to 2004, she interned at the Central Intelligence Agency. She decided against staying at the Agency, took the LSAT, and considered law school. Instead she took a job at Jane Street Capital, the quantitative trading firm in New York, where she started as a clerk writing code to scrape data from Bloomberg terminals in the days before the firm had clean data feeds. She stayed seven years and became an equity derivatives trader and market maker. The work rewarded speed, pattern recognition, and comfort with incomplete information. Prices moved on rumor before they moved on fact. A trader who understood how a story spread through a market before it appeared in a newspaper had an edge. She later said the common thread across her jobs was a love of high-intensity environments with big analytical problems and adversarial behavior.

In 2011 she moved west and became a principal at O’Reilly AlphaTech Ventures, a seed-stage fund, where she focused on hardware, manufacturing, and logistics. She co-authored The Hardware Startup in 2015 and joined the founding team of Haven, a supply-chain logistics company. She was, at that point, a competent and obscure figure in the technology economy, one of thousands of people in the Bay Area who moved between trading, investing, and startups. The Disneyland outbreak changed the trajectory.

In 2015 she co-founded Vaccinate California, a parents’ group that backed legislation to end California’s personal belief exemption for childhood vaccination. The fight over that bill taught her the lesson she repeated for the next decade. Her side had the medical establishment, the data, and majority opinion. The other side had the feeds. Anti-vaccine activists ran coordinated hashtag campaigns, flooded legislators’ social media accounts, and dominated search results. She called this the asymmetry of passion. Online influence requires no majority. It requires repetition, emotional intensity, and platforms whose recommendation engines reward engagement over accuracy. She noticed something else. When she followed anti-vaccine groups on Facebook, the recommendation engine began suggesting chemtrail groups, anti-GMO groups, and Pizzagate. The platform did not merely host conspiracy communities. It introduced people to them.

The 2016 election made that observation a national security question. After the intelligence community concluded that Russia had interfered in the campaign, the Senate Select Committee on Intelligence went looking for outside experts who could read platform data. DiResta had by then joined New Knowledge, an Austin-based firm that tracked online manipulation, as director of research. On August 1, 2018, at 9:32 in the morning, Chairman Richard Burr (b. 1955) called a hearing to order in room SH-216 of the Hart Senate Office Building. Poster boards displaying fake social media accounts stood on easels beside the witness table. DiResta sat with witnesses from RAND, Graphika, Oxford, and the German Marshall Fund, the emerging expert class of a field that had not existed three years earlier. She told the senators the country faced a defining threat of the generation and warned that future operations might use fake audio and video generated by artificial intelligence. She testified about Russian campaigns that pushed anti-fracking messages into oil regions and GMO fears into farm states. The senators, men who had grown up on network television, listened to a former derivatives trader explain how trending algorithms could be gamed.

At the committee’s request, DiResta and her New Knowledge co-authors then analyzed the datasets Facebook, Twitter, and Alphabet had turned over. Their report, “The Tactics and Tropes of the Internet Research Agency,” released on December 17, 2018, examined Russian Internet Research Agency operations against Americans from 2014 through 2017. The finding that stayed with her concerned race. The IRA ran fake pages aimed at Black Americans, built audiences around Black pride and police violence, and then pushed messages of alienation, including encouragement to sit out the election. The operation spent less effort converting voters than fragmenting communities and convincing people that participation was pointless. Burr said the data showed how aggressively Russia had worked to divide Americans by race, religion, and ideology.

Two days after the report’s release, the New York Times published a story that complicated everything. During the 2017 Alabama Senate race between Roy Moore (b. 1947) and Doug Jones (b. 1954), a small project funded through Democratic-aligned money had run a deceptive online experiment, including a scheme to make it appear that Russian bots backed Moore. New Knowledge’s chief executive, Jonathon Morgan, had participated. Public reporting centered on Morgan and others, and no clear public evidence shows DiResta directed the Alabama tactics. The association still cost her. A researcher who studied disinformation worked at a firm whose leadership had run a disinformation-style experiment. Her critics never let the detail go, and they did not need to prove more than proximity for it to work.

In June 2019 she joined the Stanford Internet Observatory as technical research manager, recruited by its founding director Alex Stamos (b. 1979), the former Facebook security chief. The Observatory studied abuse across information systems: state influence operations, election rumors, child exploitation, and later the effects of generative AI. Her team published research exposing covert Pentagon influence operations, a report that pushed the Department of Defense to reexamine its own propaganda practices, a fact her critics rarely mention.

In 2020 the Observatory joined the University of Washington, Graphika, and the Atlantic Council’s Digital Forensic Research Lab in the Election Integrity Partnership. During election week, students and analysts worked in shifts, logging viral claims about mail ballots, voting machines, and stolen votes into a ticketing system, the kind of workflow software a corporate help desk uses. A rumor about Sharpie pens invalidating ballots in Arizona would come in, an analyst would open a ticket, trace the spread, assess the claim, and in some cases flag it to a platform. Election officials, civil society groups, and platform trust-and-safety teams all touched the pipeline. To the researchers this was rapid-response scholarship, a public service in a year when the President of the United States was telling his supporters the election was rigged. To their later critics it was a censorship switchboard, a place where academics, government entities, and platforms sat in one reporting chain deciding which speech lived and which died. Both descriptions attach to the same ticketing queue. The fight that followed was over who gets to label a claim false, who gets notified, and what a platform does next. A companion effort, the Virality Project, applied the same model to COVID-19 vaccine rumors in 2021.

The reckoning arrived in December 2022, when Elon Musk gave internal Twitter documents to a handful of writers. Matt Taibbi (b. 1970), Michael Shellenberger (b. 1971), and others used the Twitter Files to argue that content moderation had fused with government pressure and elite preference, and they named DiResta as a central node in what they called the censorship-industrial complex. The undergraduate CIA internship, two decades old, became the load-bearing biographical fact. On podcasts and Substacks she became “CIA Renée,” a spy running a global censorship operation from a Stanford office. The House Select Subcommittee on the Weaponization of the Federal Government, chaired by Jim Jordan (b. 1964), subpoenaed Stanford’s documents in April 2023, enforced the subpoena in June, interviewed Stamos under oath, and included students, undergraduates among them, in its document demands. Stephen Miller‘s (b. 1985) America First Legal sued DiResta, Stamos, and Kate Starbird (b. 1975) of the University of Washington in a case that a Louisiana federal court allowed into discovery in December 2024. Stanford spent millions on legal defense. DiResta answered her accusers in an The Atlantic essay about becoming the main character of the fantasy-industrial complex. She had spent years studying how a rumor cascade selects a villain, strips away context, and hardens into a bespoke reality. Then she watched one do it to her. Her Substack biography compresses the experience into four words and a count of her children: Twitter Files bête noire, mom of three.

The constitutional question reached the Supreme Court as Murthy v. Missouri, a suit alleging that federal officials had coerced platforms into suppressing disfavored speech about elections and COVID-19. On June 26, 2024, the Court ruled six to three, in an opinion by Justice Amy Coney Barrett (b. 1972), that the plaintiffs lacked Article III standing. The ruling settled nothing underneath. It never decided when government contact with a platform becomes coercion. Her defenders read the decision as vindication. Her critics read it as a procedural escape from a genuine First Amendment problem, and the private suits continued.

By then the Stanford Internet Observatory was finished as an election-research operation. Stamos had stepped back in November 2023. In June 2024 Stanford University declined to renew DiResta’s contract, other contracts lapsed, and remaining staff were told to look for jobs. The university disputed reports that it was dismantling the Observatory and said child-safety work, the trust-and-safety journal, and the annual conference would continue under a faculty sponsor. Jordan posted that free speech had won again. Shellenberger declared victory over a censorship operation. The Election Integrity Partnership announced it would not work on the 2024 election or any future one. Whatever Stanford called it, the outcome was the one the campaign’s architects wanted. Lawsuits, subpoenas, legal bills, and harassment had priced election-rumor research out of one of the richest universities on earth, and every other university watched it happen.

DiResta landed at Georgetown University. In October 2024 the McCourt School of Public Policy appointed her associate research professor, with positions in the Massive Data Institute and the Tech & Public Policy program. She became a contributing editor at Lawfare and kept writing for The Atlantic. That same year she received the Carl Sagan Prize for Science Popularization for translating propaganda research into public writing, and she published her synthesis, Invisible Rulers: The People Who Turn Lies into Reality, with PublicAffairs. The paperback arrives August 4, 2026.

The book argues that the modern information environment fuses two older systems, the propaganda machine and the rumor mill. Propaganda once moved downward through states, parties, and broadcasters. Rumor moved sideways through neighborhoods, churches, and workplaces. Social media collapses the two channels into one. A rumor becomes a meme, the meme becomes a movement, the movement becomes a news story, and the story becomes political reality. Her invisible rulers are no cabal. They are the interlocking forces of influencers, recommendation algorithms, and online crowds, operating where the old gatekeepers have lost authority. Small groups manufacture the appearance of consensus. Platforms reward outrage, certainty, novelty, and tribal belonging. Francis Fukuyama praised the book’s account of bespoke realities. Her opponents reviewed the author rather than the argument.

Her prescriptions frustrate both camps. She wants changed platform defaults, user control over algorithmic feeds, friction before virality, transparency about amplification, and civic education in propaganda literacy, rather than mass takedowns. Free-speech advocates see residual faith in expert moderation and institutional coordination. Anti-disinformation activists want harder intervention, faster. Her answer is that the information environment is already governed. Engagement algorithms and manipulation-for-hire govern it now. The choice is between opaque private rule and rules the public can see, contest, and revise.

At Georgetown her work has widened into a general theory. With Josh Goldstein of Georgetown’s Center for Security and Emerging Technology she published “Full-Spectrum Propaganda in the Social Media Era” in Security Studies, arguing that well-resourced states no longer choose between overt and covert operations. They run integrated campaigns across state television, diplomatic accounts, state news sites, covert persona networks, and influencers who may not know they serve one, with channels citing each other to build the appearance of independent confirmation. The framework sorts channels along two axes, overt against covert and broadcast against social, and treats the audience as a distribution channel the state could never build alone. She has applied the same logic to TikTok and ByteDance, arguing that the deeper risk lies past data collection in algorithmic control, since whoever owns recommendation can steer a society’s attention quietly over time. That claim remains her framework rather than a settled empirical verdict in each case, and she treats it as such. Her current research extends to AI-generated propaganda, scams, and privacy-preserving ways to verify humanness online without building a checkpointed internet.

The trajectory holds together better than it first appears. A woman trained on adversarial systems, at the Agency, on the trading floor, in venture capital, found in social platforms the largest adversarial system ever built and spent a decade mapping who exploits it. Her supporters call her the clearest analyst of propaganda in the platform age. Her critics call her the face of an expert class that decided its political judgments were science and used platform back channels to enforce them. Both descriptions draw on real material. She did help build reporting pipelines that connected researchers, officials, and platforms, and reasonable people can find that arrangement corrosive to free expression whatever its intent. She also produced some of the most rigorous public documentation of state manipulation campaigns in existence, and the movement that destroyed her research center relied on distortion, selective leaks, and harassment to do it. She studied how lies become social facts and then became one.

The problem she works on remains unsolved and might be insoluble. A self-governing people needs some shared account of reality, and the attention economy pays for fragmentation, paranoia, and spectacle. Every response so far has either done too little or created a new authority nobody trusts. DiResta’s career is the test case for whether a free society can defend the idea of shared fact without building a ministry of truth, and the returns to date suggest the question will outlive everyone now fighting over it.

Notes

Career history, CIA internships during the summers from 1999 through 2004, Jane Street, the LSAT detour, OATV, Haven, the concept of full-spectrum propaganda, the paperback publication date of August 4, 2026, and the Carl Sagan Prize all come from Renée DiResta’s own biography and the Niskanen Center interview, which also covers her Yonkers upbringing, five undergraduate years, clerk work, and the Disneyland origin story: Renée DiResta and Niskanen Center.

Vaccinate California, the finding by Gilad Lotan that 25 percent of anti-vaccine tweets originated from just 0.6 percent of accounts, her appearance in The Social Dilemma, and her 1981 birth year are documented at Wikipedia.

The August 1, 2018 Senate Intelligence Committee hearing, including the 9:32 a.m. start time, the SH-216 hearing room, Senator Richard Burr’s opening statement, and the witness list, is documented in the official transcript: U.S. Senate. DiResta’s statement describing online manipulation as one of the “defining threats of our generation,” along with the poster illustrating fake accounts, is covered by NBC News. Her testimony regarding anti-fracking and anti-GMO campaigns is summarized by CBS News.

The release of the Senate Intelligence Committee’s reports on December 17, 2018, together with Senator Burr’s statement, is documented here: U.S. Senate.

The dismantling of the Stanford Internet Observatory, including Alex Stamos’s departure in November 2023, the nonrenewal of DiResta’s contract, the timeline surrounding the House Judiciary Committee investigation led by Jim Jordan, and Stanford’s response, is covered by Platformer and NPR. Reactions from Jordan and Michael Shellenberger are reported by The Washington Times.

The December 2024 ruling allowing the America First Legal lawsuit to proceed is documented here: America First Legal.

Her appointment at Georgetown University’s McCourt School is documented at Georgetown University.

The paper “Full-Spectrum Propaganda in the Social Media Era,” coauthored with Josh Goldstein, together with Georgetown’s discussion of the project, appears here: CSET and Georgetown University.

The description “Twitter Files bête noire. Mom of 3.” comes from her Substack biography: Substack.

I added several pieces of self-evident background without separate citation. These include comparing the logic of a trading floor to the way rumors move markets before verified information arrives, likening the Election Integrity Partnership’s workflow to a help-desk ticketing system, using the Sharpiegate controversy as a representative EIP case because it is extensively documented in the final report The Long Fuse, describing senators of that generation as having grown up in the era of network television, and referring to the Pentagon report that, according to DiResta’s own biography, prompted the Department of Defense to reevaluate its approach. The details of Murthy v. Missouri, decided on June 26, 2024, by a 6-3 vote in an opinion by Justice Amy Coney Barrett on standing grounds, are matters of public record. If you wish to link the discussion of Project Birmingham, the principal source is Scott Shane and Alan Blinder’s New York Times article of December 19, 2018.

The Watchman of the Shared World: Renée DiResta’s Hero System

Renée DiResta’s life turns on two terrors, and each has a date.

The first arrived in December 2014. Her son had just turned one. A visitor carrying measles walked through Disneyland, and within weeks a disease America had declared eliminated moved through California. She pulled the state’s vaccination data and found preschools in the richest zip codes in the country with immunization rates below South Sudan’s. The terror was the oldest one there is, the body of a child who cannot yet defend against the world. Behind it stood a second-order version of the same terror, a society that had forgotten why the shots existed, a herd dissolving its own immunity because strangers on the internet told mothers a story.

The second terror arrived in December 2022. Writers with access to Twitter’s internal files named her a central node of a censorship operation, and within weeks a woman who studied rumor cascades for a living watched one select her. “CIA Renée” spread through podcasts and hearings and lawsuits. Strangers rewrote her biography while she held the original. This is the other death, the one Ernest Becker (1924-1974) says man fears as much as the grave. A person lives twice, once in a body and once in a name, and the name can be killed while the body walks around. DiResta has felt the cold of both deaths, the viral and the symbolic, and her hero system is built against the pair of them.

Becker holds that a man handles the knowledge of death by enlisting in a hero system, a cultural project that promises his life will count in something that outlasts him. The soldier has the nation, the monk has eternity, the founder has the company, the mother has the child. The system tells him what a hero is, and if he performs heroism by its lights, it pays him in the only currency that quiets the terror, the feeling of mattering permanently. DiResta’s system is less common and worth stating with care. Her heroism is watchfulness. The hero sees the machine that others cannot see, the troll farm behind the Facebook page, the 0.6 percent of accounts producing a quarter of the noise, the recommendation engine steering a bored mother from playground groups to Pizzagate. Having seen it, the hero warns the city. The project that outlasts her is the shared world, a public that can still agree on what happened, and her immortality is the immortality of the guard on the wall, invisible in the histories of peaceful years, present in every year that stayed peaceful.

The training reads like a preparation she never planned. Summers at the CIA as an undergraduate, seven years making markets in equity derivatives at Jane Street, where a trader learns that a price moves on a rumor hours before it moves on a fact, and the one who traces the rumor to its source eats the one who believes it. Venture capital, a hardware book, a logistics startup. Then the preschool spreadsheet, and the discovery that the skills of the tape reader worked on the feed. By 2018 she sat in room SH-216 of the Hart Senate Office Building telling senators, “This is one of the defining threats of our generation.” By 2020 she helped run a partnership that logged election rumors into a ticketing system and flagged some to the platforms. The watchman had a wall to stand on.

Every hero system runs on a subtraction story, the account of the self with the costs and appetites removed, and hers is the analyst’s. In the subtraction story she never sought power. She followed data, and the data kept leading uphill, from a parents’ group to the Senate to Stanford, and power kept arriving unrequested, the way a subpoena arrives. What the story subtracts is worth listing. It subtracts that a ticket flagged to a platform is not observation, it is governance, a quiet participation in deciding which speech circulates. It subtracts the coalition, the foundations, universities, agencies, and one political party’s adjacent institutions that funded the wall and consecrated the watchman, and whose enemies noticed the pattern before her allies did. It subtracts the Agency summers, reduced on her website to a wry aside about what people on the internet love to discuss. And it subtracts the pleasure, because standing where the levers meet is a pleasure, and the analyst’s self-portrait allows curiosity as the only appetite. None of this makes her the villain of the caricature. It makes her a person, which the subtraction story is designed to prevent.

Her sacred values are reality, protection, and speech, and each word means what her hero system needs it to mean. Set the same words down in other systems and watch them change.

Take reality first. For DiResta, reality is a commons, like a water supply. It is the set of claims that survive method, the count certified, the vaccine trialed, the takedown documented, and it can be poisoned upstream by actors who understand the pipes. Defending it is public health. Monitoring is not an imposition on the commons, monitoring is how a commons stays potable. Now hand the word to a Soviet-born engineer in San Jose who left Kiev in 1979. For him reality is what remained after he subtracted the official version, and he performed that subtraction daily for thirty years as a civic discipline. He reads about an Election Integrity Partnership with a ticketing queue and feels the hair rise on his arms, because in his hero system the man who trusts the ministry dies stupid, and heroism is the samizdat instinct, the belief passed hand to hand beneath the notice of the certifiers. Her water department is his ministry. Hand the word next to a Hasidic diamond dealer on 47th Street. His reality was sealed at Sinai and transmitted through men whose names he can recite. The feed is noise from a world that was never going to include him in its consensus, and its collapse costs him nothing, because his hero system never banked at that branch. He trades stones worth millions on a handshake and the word mazel, which is to say he lives inside a high-trust reality of his own tribe’s manufacture, and it works. DiResta’s nightmare, the splintering of shared reality into bespoke realities, describes his people’s condition for three thousand years, except his tribe calls the bespoke reality a covenant and has buried its dead in it with honor.

Take protection. In her system the word points at the herd. Protection is the immunization rate, the pre-bunked rumor, the friction added before a lie goes viral, the child kept safe by the health of the whole. She came to the work as a mother, and the maternal charge under the analytic prose is what gives her writing its heat. Now give the word to a homeschooling Baptist mother in east Tennessee, and it points the other way with equal heat. Protection means the state’s needle stays out of her child’s arm and the school’s screen stays out of her child’s head, and she has read enough, in her own counter-canon with its own experts, to die on this. She is also guarding a child from death, and in her system from the second death, the eternal one, which the epidemiologists do not model. Each mother performs heroism at her own kitchen table, and each reads the other as the threat her heroism exists to stop. Give the word last to an emergency physician in Queens in April 2020, intubating patients whose families were still forwarding cures from WhatsApp. For him protection collapsed into triage, and misinformation stopped being a research topic the week it started arriving on gurneys. His system and DiResta’s are allies, but his runs on the body in front of him, and hers runs on the population curve, and the difference shows in what each will trade for control.

Take speech. DiResta’s formulation, echoed across her camp, is freedom of speech without freedom of reach, speech as an ecosystem to be gardened, the microphone distinguished from the mouth. Within her hero system this is a modest claim, since some editor always decides what amplifies, and she asks only that the deciding be visible and accountable. Hand the word to an old ACLU lawyer, the kind of Jew who defended the Nazis’ right to march through Skokie in 1977 and considered it the proudest wound of his career. For him speech is the individual’s shield against exactly the coalition DiResta assembled, the state, the university, the dominant press, and the platform, all agreeing on what counts as poison. He hears ecosystem and garden and smells the gardener’s boot. His heroism was defending the speech he hated, and a generation later the institutions that gave him his medals switched systems without holding a funeral. Now hand the word to a Salafi preacher in Cairo, and something stranger happens. He agrees with her. Speech must be governed, the feed corrupts, the young are led astray by influencers, and a righteous order curates what circulates. He commands right and forbids wrong, she moderates content and demotes harm, and the two systems, which share no god, no politics, and no century, converge on the premise that the information environment is too dangerous for laissez-faire. The disagreement is over which clerisy holds the pruning shears. The ACLU man notices the convergence and rests his case.

There is also the tribalist, and he deserves his full turn, since his is the oldest system on the field. The tribalist, nationalist, and traditionalist holds that men do not live in an information commons, they live in peoples, and every people that survives curates its story. The Passover Haggadah is curated. The Gettysburg Address is curated. Grandmothers are moderation systems. From inside this hero system, DiResta’s error is not that she governs speech, everyone governs speech, it is that she claims to govern from nowhere, in the name of a species-wide public that has never existed, with method standing in for a god. Her shared world, the tribalist says, is the tribal story of one tribe, the credentialed, the mobile, the institutionally employed, and the revolt against her was other tribes recognizing a rival priesthood and treating it as one. Yet the tribalist grants her more than her libertarian critics do. He honors watchmen. He agrees the feed is a weapon and that someone must stand on the wall, and he respects that she stood there under fire and paid. His correction is one sentence long. Know whose wall you stand on, and say the name of your people, because a watchman who claims to guard everyone is either lying or lost.

What lifts DiResta’s case above the usual run of these essays is that she is herself a professional student of hero systems and came within one step of Becker without citing him. Invisible Rulers describes bespoke realities, influencers who sell belonging, crowds that manufacture consensus, ordinary people who join online movements for identity and status and the feeling of fighting a great battle. This is Becker’s material wearing a lanyard. Becker wrote in The Denial of Death that culture is a shared illusion that makes the terror of mortality livable, and that men will kill to defend the illusion because the illusion is what stands between them and the abyss. DiResta documents the supply side of modern illusion with more empirical care than anyone alive, the troll farms, the recommendation engines, the engagement payouts. Where she stops is the demand side. Her account explains why a lie reaches a man. It does not explain why he grips it like a rope over a drop, why correction reads to him as attempted murder, why the anti-vaccine mother and the election-fraud believer defend their claims with a ferocity all out of scale with any policy stake. Becker explains it. The claims are load-bearing walls in immortality projects. The mother who believes the shot is poison has organized her heroism around protecting her child from it, and to accept the correction is to have been, for years, the danger in her own house. No fact-check offers her a way to survive that. Remove every troll farm on earth and the hunger for the saving lie remains, because the hunger comes out of the grave, and the platforms did not dig the grave, they only sold advertising on the way down. This is the ceiling on DiResta’s entire field, and she has spent a decade pressing against it with better and better instruments.

Her own ordeal proves the point on her body. In Escape from Evil Becker argues that groups purge accumulated death anxiety by loading it onto a victim whose destruction lets the group feel its world cleansed. The movement that made “CIA Renée” was not doing analysis, it was doing hero work. It had a cosmology, the regime of censors strangling the people’s voice, and a cosmology needs a devil with a face, and a woman who had interned at Langley, traded at Jane Street, worked at Stanford, and flagged tweets was a casting director’s gift. Killing her name paid her accusers in the same currency her watchman’s post paid her, the feeling of defending a world. She understands this in outline. Her Atlantic writing on becoming the main character of what she calls the fantasy-industrial complex is controlled, ironic, and wounded in the right places. What her published work has not yet said is that the machine that processed her runs on the same fuel as the machine she serves, that watchman and mob are both terror-management, and that her side’s certainty of guarding reality feels, from the inside, exactly like the other side’s certainty of exposing it.

How self-aware is she of the trade-offs? More than most subjects of this series. She concedes the central point her honest critics make, that the information environment will be governed by someone, and she argues in the open about who and how, which is candor of a kind the platforms never offered. She has admitted the wall cost her, the harassment, the subpoenas, the security consultations a mother of three should never need. The blind spot sits where Becker predicts it, at the foundation. She writes as if a baseline reality waits underneath the manipulation, recoverable once the pipes are cleaned, and the possibility she does not entertain in print is that the appetite for bespoke reality is constitutional, that her preschool parents in Palo Alto were not tricked into fearing the needle so much as they were shopping for a heroism, and that her own coalition supplies its members the same product in a different wrapper. A watchman can see every enemy outside the wall. The one thing the post does not let him see is the wall.

She earns empathy, and the empathy should be said plainly. She did the work. The reports on the Internet Research Agency and on the Pentagon’s own covert operations were real contributions to public knowledge, and the second one cut against her supposed masters, which her enemies never mention. She absorbed years of organized cruelty without becoming cruel in print. She kept writing under her own name while strangers rewrote it. Whatever one makes of the ticketing queue, the woman standing behind it was braver than the institutions that abandoned her, and Stanford’s lawyers should have to read that sentence twice.

The shape of her heroism is the sentinel’s, the one who stays awake over the sleeping city and accepts that the city will never know which nights the watching saved it, and whose reward is the clear sight the sleepers are spared. The rival her writing never names is the church, the original shared-reality machine, which governed what circulated for centuries and could do what no trust-and-safety team can, forgive the believer his saving lie while slowly trading it for a larger one, because it had something to offer the man on the rope besides a correction. And the cost her ledger cannot price is what a decade of studying belief as manipulation does to the student, because a woman who has traced ten thousand convictions back to their engines can no longer take a conviction whole, including her own, and the watchman’s final wage is a city she can see with perfect clarity and no longer live in as a citizen.

The Expert Without a License: Renée DiResta and Stephen Turner’s Problem

During election week in November 2020, an analyst on the Election Integrity Partnership rotation opened a ticket. The claim under review said Sharpie pens invalidated ballots in Maricopa County. The analyst traced the accounts spreading it, wrote an assessment, and the ticket moved through a queue that connected university researchers, election officials, civil society groups, and the trust-and-safety desks of the platforms. Downstream, a voter in Mesa saw a label under a post telling him the claim about his own ballot was disputed. He never learned who wrote the ticket. He had no way to weigh the analyst’s evidence, no vote over the analyst’s appointment, and no procedure for appeal that he could name. He experienced the analyst’s judgment the only way a citizen can experience judgment he cannot inspect, as power.

Stephen Turner (b. 1951) has spent a career on the question that loop poses. In “What Is the Problem with Experts?” and in Liberal Democracy 3.0: Civil Society in an Age of Experts, Turner argues that expertise creates a standing embarrassment for liberal theory. Liberal democracy rests on the premise that citizens can discuss public claims and judge them, and that officials answer to that judgment. Expert knowledge breaks the premise, since the citizen cannot assess the claims of the epidemiologist or the actuary on their merits. Democracies have lived with the break through settlements. Experts advise, officials decide, citizens judge the officials, and the expert’s cognitive authority gets validated over time in use, the way the lay passenger validates aeronautical engineering every time the plane lands. Turner’s warning concerns the cases where the settlement fails, where expert judgment enters the decision loop at a point the citizen cannot see, and where nothing in the citizen’s experience ever tests it. There the expert rules without a license, and the political system stores up a legitimacy debt that someone eventually collects.

Renée DiResta poses Turner’s problem, and her career supplies the case study his books lacked.

Begin with how the expertise came into existence, because Turner insists on the question most commentary skips. Cognitive authority has a supply side. Some expertise wins acceptance through results any layman can check. Some wins acceptance only within a sect that already believes. And some gets called into existence by subsidy, by foundations and agencies that want a class of knowers to exist, and that certify the knowers they fund. Misinformation studies belongs to the third kind. Before 2016 the field barely existed. After the election, money arrived at speed. Foundations wanted grantees, platforms wanted researchers to receive their data sets, the Senate wanted outside analysts, and universities wanted centers. The Stanford Internet Observatory launched in 2019 with platform cooperation and philanthropic funding, and DiResta became its technical research manager without a doctorate, a former derivatives trader whose credential was a body of work the new field certified because the new field had no older standard to apply. None of this says the work was bad. Much of it was careful. Turner’s point cuts elsewhere. The field’s authority was conferred by its patrons before it could be validated by its public, and a discipline whose peer reviewers were summoned by the same grants that summoned the authors reviews in a circle.

Watch the circle from inside, through her eyes, because from inside it looked like duty. A measles outbreak had shown her that coordinated minorities could capture the feed. The Senate had handed her platform data and asked what Russia did with it. She answered with the most detailed public accounting then available and told the committee the country faced a defining threat of the generation. When the 2020 election approached, election officials had no capacity to monitor viral rumors and platforms had no appetite to coordinate. Someone had to stand in the gap. The researchers stood in it. From inside, the ticketing queue was a public service performed by the only people equipped to perform it, and the talk with platforms was speech, citizens petitioning companies, protected like anyone’s.

Now watch from the other side, through the eyes of a House staffer in 2023 reading subpoenaed emails in a windowless room, because Turner requires this view too. The staffer sees a federal agency that cannot censor speech under the First Amendment. He sees that agency in contact with a university consortium. He sees the consortium flagging posts to platforms, and the platforms acting on some flags. He does not need a conspiracy for the pattern to alarm him. He needs only the observation Turner supplies, that expert judgment had been wired into an enforcement circuit at a point no voter could reach, and that the wiring let each node disclaim the power the circuit as a whole exercised. The agency only shared concerns. The researchers only shared findings. The platform only enforced its own policies. Authority without an author. The staffer’s boss, Jim Jordan, put the conclusion on a poster. DiResta’s camp answered that the committee misread routine research correspondence, leaked fragments, and defamed scholars. Both descriptions fit the record, and that both fit is the finding. The settlement between knowledge and power had never defined where advice ends and rule begins, so each side could describe the same emails in good faith and reach opposite verdicts.

Turner’s typology sharpens the diagnosis. The misinformation expert differs from the aviation engineer in the audience for his claims. The engineer’s audience includes the public, which validates him in use across millions of uneventful flights. The misinformation expert’s audience was never the public. It was platforms and agencies, bureaucracies that acted on his findings, and the public met the findings only as outcomes, a label, a demotion, a vanished account. Turner names this configuration as the most corrosive one available, expertise exercised on the public through intermediaries rather than accepted by the public through experience. The citizen in Mesa cannot check the analyst. He can only obey the label or resent it. Multiply him by fifty million and the resentment becomes a constituency.

The revolt, when it came, followed Turner’s script so closely one could teach the script from the clippings. He argues that expertise which outruns its license does not get refuted, since the public lacks the means to refute it. It gets revoked. The revocation arrives as politics, crude, opportunistic, indifferent to the merits of particular studies, because revocation is the one instrument a democratic public retains over knowledge claims it cannot assess. The Twitter Files, the Weaponization subcommittee, the America First Legal suits, and the Murthy litigation made a single motion in different registers. They did not engage the field’s findings about the Internet Research Agency or rumor cascades. They attacked the field’s standing to sit in the loop. Matt Taibbi and Michael Shellenberger built the case in installments. Jordan enforced subpoenas and read student names into the record. Stephen Miller’s lawyers sued. The methods ranged from journalism to harassment, and the merits ranged from real questions to fantasy, and Turner’s frame holds through the whole range, because a legitimacy crisis does not select its collectors for fairness. The debt gets collected by whoever shows up.

One episode deserves its own paragraph, because it was the exception that proved the license problem. In October 2020, when the New York Post published the Hunter Biden laptop story, platforms suppressed the link, and figures across the expert class treated the story as probable foreign disinformation. Here, for once, the public got what Turner says the field otherwise never provides, a claim it could validate in use. The laptop was real. The story checked out. Every citizen could run the test himself, and millions did, and the field failed the one lay-checkable test it ever faced in public. An engineer survives a thousand landings and earns deference. A field survives on deference and loses its one landing. No committee hearing damaged the enterprise as much as that single verifiable miss, because it converted the skeptic’s suspicion from theory into experience.

The Supreme Court had the chance to write the missing settlement and declined. In Murthy v. Missouri, decided June 26, 2024, the majority found the plaintiffs lacked standing and left unaddressed the question underneath, when government contact with a platform becomes coercion. Turner might have predicted the abstention. Liberal constitutional doctrine has categories for the state and for the speaker, and thin ones for the commissioned intermediary, the expert consortium that is neither state nor citizen and carries messages between them. The Court looked at the circuit and could not find the node where the constitution attaches. So the circuit remains unadjudicated, the researchers remain exposed, and the next administration of either party inherits the ambiguity intact.

Stanford, facing millions in legal costs and no constitutional cover, ran the calculation a patron runs. By June 2024, Alex Stamos had stepped back, DiResta’s contract lapsed, staff were told to look for work, and the university insisted nothing was being shut down while the election work stopped. Turner’s supply-side analysis explains the collapse without any reference to who was right. Subsidized expertise lives at the pleasure of the subsidy. A field created by patrons in 2017 could be uncreated by patrons in 2024, and the personnel could do nothing about it, because the field had never acquired the independent base that validated disciplines hold, a public that misses them when they go. Aviation engineering cannot be dissolved by a nervous provost. Election-rumor research could be, and was.

DiResta’s response to the collapse is where her case turns instructive rather than merely illustrative, because her remedies read as an attempt to renegotiate the license on Turner’s terms, whether or not she has read him. The program in Invisible Rulers retreats from the configuration that destroyed her. Takedowns and flagging pipelines put expert judgment at an invisible point in the loop. Her proposals move judgment to points the citizen can inspect. Changed platform defaults are visible rules. User control over algorithmic feeds hands the lever to the layman. Friction before virality operates on all claims alike, without an analyst adjudicating each one. Transparency requirements let outsiders audit what the deference once concealed. The phrase she coined years earlier, freedom of speech, not freedom of reach, already contained the retreat, since it concedes the speech and fights only over amplification design. Read through Turner, the program amounts to converting Type-of-expertise, from judgment exercised on the public through bureaucracies toward engineering the public can validate in use, from the priest toward the civil engineer. It is the most serious attempt at relicensing the field has produced, and it came from the person the revocation hit hardest, which is no accident, since she alone among her peers has felt the full price of ruling without a license.

The relicensing remains incomplete at the point Turner would watch. Media literacy sits in her program alongside the design remedies, and literacy curricula are expertise teaching citizens whom to trust, a catechism for correct deference, drafted by the same class whose deference collapsed. And the design remedies still require someone to set the defaults and define the friction, which reopens the appointment question one level up. Turner’s deepest claim is that the problem admits no clean solution, only better and worse settlements, and that the standard fixes reproduce the problem at a remove, transparency reports written by experts, oversight boards staffed by experts, fact-checkers ranked by other fact-checkers. Her program improves the settlement. It does not escape the regress, and nothing can, which is Turner’s conclusion and should be the field’s.

What her case adds to the Turner literature, and this is the contribution worth stating for readers who know that literature, is a limiting case the typology implies without developing. Every prior expertise claimed a competence the citizen lacks in some domain, bridges, drugs, monetary policy. Misinformation expertise claims competence over the citizen’s own weighing of testimony. Its founding premise holds that laymen cannot reliably judge which claims to believe, and must have the judging environment managed for them. But the layman’s capacity to weigh testimony is the one competence liberal democracy cannot delegate, since it grounds the vote, the jury, and the discussion Turner’s liberals stake everything on. The aviation engineer says, you cannot build the plane, and the citizen agrees and boards. The misinformation expert says, you cannot be trusted to decide what to believe, and the citizen who agrees has conceded the premise of his own self-government. This is why the field drew a revolt no economist ever drew, and why the revolt reached for constitutional language rather than technical rebuttal. The expertise did not sit inside the liberal settlement awkwardly, the way nuclear physics does. It contradicted the settlement’s first axiom, and the public heard the contradiction before the field did.

DiResta now works at a policy school, writes at Lawfare, publishes on full-spectrum state propaganda, and argues in public about defaults and friction and audit. She has become an expert on the terms of her own license, which no one in her field was in 2019, and the education cost her the field, the post, and for a season the name. The citizen in Mesa still cannot check her work. But her current program asks less of his deference and more of his inspection than anything her field produced in its funded years, and Turner’s framework suggests that this, rather than any hearing or ruling, is what the beginning of a legitimate settlement looks like, experts bidding for a license from the public instead of billing the public for one it never signed.

The Great Delusion

If John J. Mearsheimer’s anthropology is right, it provides a structural validation of DiResta’s empirical observations while reframing the ultimate stakes of her work.
DiResta’s research documents how ordinary digital tools can be used to launder conspiracy theories, elevate niche beliefs into mainstream opinions, and distort consensus. In a traditional liberal framework, the solution to this problem relies heavily on education, fact-checking, and the critical faculties of individual citizens who, when presented with accurate information, will logically reject falsehoods. Mearsheimer’s anthropology suggests that this individualist, reason-based defense is a fundamental misunderstanding of the human animal. If reason is the least important of the ways we determine our preferences, and if individuals develop deep attachments to their group long before critical faculties form, then no amount of fact-checking will dissolve a tribal narrative. When an online crowd rallies around a specific rumor or bespoke reality, they are not engaging in a detached intellectual exercise. They are engaging in tribal signaling and consolidation. The facts are irrelevant because the group attachment dictates the moral code, rendering individual critical reasoning secondary.
DiResta often writes about the incentives that drive online systems, noting that when attention, money, status, or political power reward manipulation, we see more of it. She tracks how platforms allow coordinated networks to mimic real communities, creating artificial amplification that feels like grassroots consensus. If Mearsheimer is right that humans are tribal at their core and designed to survive by being embedded in a society, then digital platforms do not create polarization out of thin air; they act as a supercharged accelerator for man’s innate tribal instincts. Human beings seek out social groups to escape the atomistic void of individualism. Social media algorithms simply automate and optimize this search, herding individuals into hyper-socialized digital tribes with unprecedented speed. The “invisible rulers” DiResta describes—the influencers who game algorithms to turn lies into reality—are simply exploiting the deep human need for group belonging and collective identity.
DiResta’s work often looks for structural interventions, such as design changes to platforms, decentralized social media, protocol-based governance, or “bridging-based” recommendation systems that promote content appealing across ideological lines.
However, if Mearsheimer’s view is correct, the splintering of reality into fragmented, adversarial factions is not a technical glitch or a malfunction of the information ecosystem that can be engineered away. It is the natural, inevitable expression of human nature when freed from the artificial constraints of centralized, institutional authorities. For decades, elite institutions and a centralized media ecosystem enforced a superficial, liberal consensus that masked man’s tribal core. By decentralizing communication, the internet did not corrupt a rational public; it merely stripped away the institutional filters, allowing human beings to revert to their primary, tribal state. If Mearsheimer’s anthropology holds, the bespoke realities DiResta studies are permanent fixtures of the human landscape, because the drive to protect and defend the tribe will always supersede the pursuit of an objective, universal truth.

‘A Big Misunderstanding’

To David Pinsof, DiResta represents the misunderstanding myth. Her entire career rests on the premise that societal fractures like political polarization and vaccine skepticism are malfunctions of our informational infrastructure. She views the public as gullible targets infected by a digital virus. If tech platforms simply deployed the right interventions and experts raised public consciousness, the country might return to a shared reality.

Pinsof offers a colder alternative. The citizens sharing memes, resisting institutional mandates, and participating in online tribalism do not suffer from a technical bug or a cognitive blind spot. They understand their incentives perfectly.

From this perspective, the online ecosystem is not a broken information utility; it is a highly efficient arena for high-stakes, zero-sum competition over the coercive apparatus of the state. Partisans do not share hyper-partisan propaganda because they are too stupid to spot fake news. They share it because confirmation bias helps them win arguments, demonize political enemies, and forge alliances with their peers. Stupidity online is strategic.

DiResta frames her work as a neutral effort to protect democratic consensus and restore institutional trust. Pinsof invites us to look past these stated motives and consider the actual motives. Defining misinformation and deciding which narratives require intervention is an instrument of immense social power. By setting the boundaries of acceptable discourse, elite institutional researchers create a framework that they happen to be uniquely qualified to police. It transforms local political preferences into objective standards of truth, allowing the credentialed class to dismiss their rivals not as competitors with conflicting material interests, but as irrational actors who need a nudge from their bethers.

The conflict between online factions does not stem from bad beliefs that better algorithmic engineering can fix. It stems from deeply conflicting motives over status, power, and resources. No amount of fact-checking or media literacy can bridge that divide. The only misunderstanding in disinformation research is the belief that political warfare is just a big misunderstanding.

Posted in Censorship | Comments Off on Renee DiResta

Brandy Zadrozny: The Librarian Who Went to War

On the morning of December 17, 2020, a nurse named Tiffany Dover stands at a podium in Chattanooga, Tennessee. She manages the COVID unit at CHI Memorial Hospital and she has just received one of the first vaccine doses in America, live, on camera, in front of local reporters. She takes questions. Then she stops. She says she feels dizzy. She apologizes. She faints into the arms of the doctors behind her, and the local news cameras turn away. Twenty minutes later she is back at the podium saying she feels fine, that fainting happens to her when she feels pain. It does not matter. In the twenty minutes she was off camera, strangers around the world decided she was dead.

Six hundred miles north, in Brooklyn, Brandy Zadrozny (b. 1980) is watching livestreams of medical workers getting their shots. This is her job. She calls the method deep hanging out, borrowing the phrase Clifford Geertz (1926-2006) used for anthropological immersion, and what she immerses in are the anti-vaccine groups, the far-right channels, the conspiracy forums. She waits for something to happen. Now something happens. The clip of the fainting nurse moves through the channels she monitors, gathering claims as it goes. Dover is dead. The hospital is covering it up. The woman in later photos is a body double. The list of conspirators grows to include the drug companies, the media, and the Pope. Zadrozny watches a theory get born in real time, and she cannot let it go. The obsession will consume the next two and a half years of her working life and produce the podcast that defines her career.

To understand why this reporter, of all the reporters in New York, chased a fainting nurse to the hills of northern Alabama, you have to start at a reference desk.

Zadrozny did not train as a journalist. She tended bar. She taught middle school English. From 2003 to 2007 she worked as a teacher-librarian for the New York City Board of Education, and she earned a master’s degree in library and information science from Pratt Institute in Brooklyn. She worked the news library at ABC News. For a stretch she lived in Vermont, baked pies, skied cross-country, worked the Burlington Public Library and the reference desk at Champlain College. She has said her mission never changed from those days: inform a public hungry for answers. At the reference desk the question was the capital of Montana. Later the question became the identity of the anonymous account the president retweeted that morning.

In December 2011 she took a job in the research department at Fox News, the unit the network calls the Brain Room. It sits apart from the opinion shows, staffed in those years with doctors, lawyers, a former SEC man, subject specialists. She has described its internal mandate as an order to “kill BS stories,” and has called it the most depressing job she ever had. The Brain Room fielded questions from producers across the building, and the questions mapped the building’s range. Shep Smith’s team wanted witnesses and user-generated content when news broke. A Fox and Friends producer once asked her whether dolphins rape people. She built briefing books on women’s issues, crime statistics, abortion. She lasted about eighteen months, and when she left in May 2013, she left money on the table. She has said she “took a huge pay cut to be a baby reporter” at The Daily Beast, a woman in her thirties with a graduate degree starting at the bottom.

The bottom at The Daily Beast was the Cheat Sheet, the site’s aggregation column. One hundred words or fewer per item. A lede, a kicker, the right voice, real editing sessions. It taught her compression the way the reference desk had taught her retrieval. She rose to researcher and then reporter, covering social issues, science, and crime, and she became the person other reporters came to when they needed a court record, a domain history, an archived page, a person who did not want to be found. She showed the newsroom how to set domain-name notifications, a trick that produced the site’s scoop on the crude internet domains that Felix Sater, the Trump associate and convicted mobster, registered against his enemies. She dug bankruptcy filings out of court records to show how chronic illness pushed Dan Scavino, Trump’s social media director, into insolvency. Ben Collins, her frequent reporting partner in those years, later said she was “the crown jewel of any newsroom” she worked in, that she could find what no one else could find and then present it in a way that felt human.

Around 2015 the beat found her. Collins tracked conspiracy theories. She tracked pickup artists and their crimes. Mass shootings came faster, and the two of them started pulling the shooters’ online lives out of the wreckage of deleted profiles and archived posts. The work sat in a strange place. Editors treated internet subcultures as a sideshow, juvenile and strange, a technology story at best. Then the sideshow elected a president. Zadrozny has described the shift in one line: suddenly the stupid stuff on the internet, the scary stuff, became mainstream and important. In 2018 NBC News hired her and Collins to cover it full time. Collins called his half the dystopia beat. Hers had no name yet. Disinformation, misinformation, extremism, the internet. The titles kept changing because the institution was still learning what it had bought.

What it had bought was a method. Political reporting in Washington runs on access. You cultivate the operative, the lawyer, the staffer, and you trade. Zadrozny’s reporting runs on records. She treats the internet as a vast and badly indexed public archive, and she works it the way a librarian works a collection: preserve the page before it vanishes, compare the versions, follow the trail from the Telegram channel to the fundraising page to the corporate filing to the courthouse. Her stories do not announce that a false claim exists. They reconstruct its supply chain. Where did it start. Who carried it. Who paid. Who got paid. When she and Collins covered QAnon, they covered it as a movement with influencers, revenue streams, victims, and congressional candidates, a participatory religion assembling itself in public, and their reporting became the standard account as the theory moved from message boards toward the Capitol.

The money question separates her from the moralists on the beat. Plenty of coverage treats false belief as a fever or a character defect. Zadrozny asks who benefits. Her reporting on the anti-vaccine movement traced an industry: the supplement lines, the donation streams, the legal defense funds, the nonprofits, figures like Robert F. Kennedy Jr. (b. 1954) and Del Bigtree converting distrust into audience and audience into revenue. The frame makes disinformation legible as an economy rather than a fog, and it holds up whether the seller is a Telegram hustler or a cabinet secretary. By 2025 she was reporting on Kennedy’s health department hiring anti-vaccine activists as senior advisers, and on a measles outbreak burning through a small Texas community where the skepticism she had covered for years had settled in.

The work has a price, and in October 2020 she paid it on national television. Tucker Carlson (b. 1969) gave a segment of his Fox News show to Darren Beattie, a former Trump speechwriter, who accused Zadrozny of digging up personal information about anonymous Trump supporters to ruin their lives. The charge inverted her method and aimed it back at her. She had reported on anonymous accounts that wielded real political influence or organized harassment, using the same public records she always used. To her critics on the online right, that is doxxing by a powerful media corporation against private citizens who hold the wrong opinions. To her defenders, an anonymous actor who shapes elections or directs abuse has forfeited the presumption of privacy, and identifying him is what accountability reporting means. NBC News called the segment a dangerous and dishonest smear. The International Women’s Media Foundation said it produced threats, doxxing, and violence against her. The reporter who covered harassment campaigns became the object of one, run from the building where she once answered producers’ questions. Her old employer had turned its audience on her. She kept the beat.

Consider the same episode from the other side of the screen, because the other side has a case worth stating. A man posts anonymously. He has a job, a family, opinions his employer might punish. A reporter for a national network, backed by lawyers and a corporate security desk, connects his account to his name. Nothing he did was illegal. From his chair, the power runs entirely one way, and the reporter’s talk of accountability sounds like the winner describing the rules. The honest answer to him is a distinction, one Zadrozny’s work depends on: there is a difference between a private citizen speaking under a pseudonym and a hidden operator moving money, organizing abuse, or running influence at scale while claiming a private citizen’s protections. Her strongest stories sit on the far side of that line. The argument over where the line sits will outlast her career.

The Tiffany Dover story became her answer to a different question: what the machine does to a person who never asked to be in it. Dover was not an operator, an influencer, or a candidate. She was a nurse in Higdon, Alabama, who fainted at the wrong moment in front of the wrong audience. Zadrozny pitched the story as a simple debunking. Find the woman, put her on the record, prove the theory a lie. It did not go simply. Dover had gone silent, and to the truthers her silence proved everything. Zadrozny staked out the house and the hospital. She pulled police records, vital records, grave registries. Nothing. She left a note at a house she believed belonged to Dover’s in-laws, and while she refueled at the local pizza place her phone buzzed with a text from an unknown number: whoever wanted the story could have it, but only if they paid the most. The sender turned out to be a nineteen-year-old relative, put up to it, the girl said, by Dover’s mother-in-law. The reporter’s archive of records had run out, and she was down to knocking on doors in Sand Mountain country, a Brooklyn journalist with a rental car and a recorder, watched from porches.

The podcast, Tiffany Dover Is Dead*, ran in 2022 and ended in what she considered failure. She never got the interview. The truthers celebrated. An NBC News reporter could not produce one nurse from Chattanooga, and to them the asterisk in the title flipped its meaning. She had made it worse, she said later, and she meant it. Then, nine months after the finale, she woke to a text: “While I did not die that day, the life I knew did.” It was signed Tiffany Dover. Zadrozny drove back to Alabama. This time she was invited. A white two-story house, big windows, horses in the front yard, Dover on the porch. They had dinner off the record first, and the next day Dover sat for the interview and described what it costs an ordinary woman when strangers decide her life is evidence. When they finally met, Zadrozny cried. The special episode aired in 2023. The podcast drew more than a million downloads, a Webby honor, an audience far past the disinformation beat. The truthers who had promised to recant if Dover ever appeared did not recant. Zadrozny went back to them anyway and recorded what accountability sounds like when it fails, which is its own finding.

Between the seasons she spent 2021 and 2022 as a research fellow at Harvard’s Shorenstein Center, in its Technology and Social Change Project, part of the academic apparatus then assembling around her beat. The fellowship marked something about the field. Ten years earlier, no serious center studied viral rumor networks. Now the reporter who learned the trade in the Fox basement was affiliated with Harvard, teaching digital investigation alongside researchers, cited in the scholarship. The beat had become a discipline, with the institutional blessings and institutional enemies a discipline attracts.

In July 2025 the institutions rearranged themselves around her again. Comcast spun its cable networks into a new company called Versant, and MSNBC, which had leaned on NBC News reporters since 1996, had to build a newsroom of its own. Zadrozny was among its first and most prominent hires, a senior enterprise reporter based in New York, covering the internet, politics, technology, and extremism. Fast Company treated the hire as a signal of what the new operation valued. In November 2025 the network renamed itself MS NOW and spent twenty million dollars telling viewers the mission had not changed. Strip away the branding and the meaning of the hire is plain enough. A political news channel building itself from scratch decided that a reporter of conspiracy economies and online radicalization was core infrastructure, not a specialist to borrow during election years. Twenty years ago the equivalent hire was a White House correspondent. Her recent bylines show the beat’s reach: a Russian influence operation called Storm-1516 laundering faked documents through international outlets toward American audiences, the anti-vaccine movement operating from inside the federal health department, the Epstein emails and the conspiracy communities they fed.

She lives in Brooklyn with her husband Gregory, who works in advertising, stays off the internet, and does not understand what fills her day, an arrangement she recommends. They married on April 25, 2008, and have three children. She plays the ukulele, badly and recently, by her own account. On November 1, 2025, she ran the New York City Marathon in five hours, twenty-seven minutes and fifty-three seconds. The details read like a life built deliberately against the material. The beat requires immersion in spaces organized around violent fantasy, and it makes the reporter a permanent target. Her press profile lists a Signal handle before an email address. Compartmentalization, she has said, keeps her sane, and she says it like a woman who has tested the alternative.

Her significance is easiest to state as a before and after. Before roughly 2016, American newsrooms treated the internet’s fringe as a feature-desk curiosity and treated research staff as support. Zadrozny’s career joined the two corrections. The fringe turned out to be a manufacturing sector for mainstream politics, and the librarian’s craft, preserve the record, follow the trail, check the source against the archive, turned out to be the right tool for covering it. She helped build a reporting specialty where technology, public health, extremism, and electoral politics meet, and the specialty now hires, trains, wins Emmys, and draws congressional subpoenas of its critics and defenders alike. Whether the beat constitutes journalism’s necessary adaptation or its capture by one political coalition’s threat perception remains the live fight around her work, and she stands nearer the center of that fight than any reporter of her generation. What is not in dispute is the method. Much of public life now runs through systems built to erase their own tracks. She keeps the tracks.

Notes

Career history, library positions, birth date, and the Tucker Carlson episode are documented at Wikipedia. One point deserves caution. A low-quality biographical website identifies her birthplace as Dover, Florida. That appears either to be an unusual coincidence or an error, so I omitted her birthplace.

The Brain Room, the question about dolphins, the decision to take a pay cut, her work at The Cheat Sheet, the partnership with Ben Collins, and her description of internet reporting as becoming “mainstream and important” come from the Nieman Lab interview and the original *Very Fine Day* interview: Nieman Lab and Very Fine Day.

The phrases “kill BS stories” and “most depressing job” come from Zadrozny’s own post on X: X.

The Vermont background, pies, Pratt Library, Sater domains, the Anthony Scaramucci bankruptcy story, Ben Collins’s description of her as the newsroom’s “crown jewel,” and the discussion of her reference-desk approach to reporting come from Poynter.

The Tucker Carlson and Darren Beattie segment, together with NBC News’s public response, are documented by Variety. The International Women’s Media Foundation statement referenced in your draft should also be cited if you retain that discussion.

The Tiffany Dover fainting scene, the stakeouts, public-records searches, the text message from the pizza restaurant, and the interview with Dover’s nineteen-year-old relative are documented in the podcast episode descriptions: Apple Podcasts and Spotify.

The quotation beginning “While I did not die that day,” together with the porch interview, the horses, and the off-the-record dinner, comes from NBC News’s transcript of the special episode: NBC News.

The discussion of “deep hanging out,” drawing on Clifford Geertz, the podcast’s 1.4 million downloads, the Webby Award, Zadrozny’s account of crying after the meeting, and her conclusion that she had “made it worse” come from Forbes.

Her comments about her husband staying offline, her ukulele playing, and her strategy of compartmentalization come from Ethan Zuckerman’s interview: Public Infrastructure.

Her move to MSNBC in July 2025, Emmy and Webby recognition, and the broader Versant restructuring are discussed in Fast Company. Information on the MS NOW rebrand and the reported $20 million promotional campaign appears at Wikipedia. Her marathon time is also documented at Wikipedia. Coverage of Storm-1516 and the Jeffrey Epstein email story is reflected in her Muck Rack profile and LinkedIn page.

I added a few pieces of self-evident background without separate citation. These include describing The Cheat Sheet as training in compressing complex stories, portraying the Brain Room as physically and culturally separate from opinion programming, identifying Sand Mountain as the setting for Mike Higdon’s reporting, evoking the feeling of being watched from front porches during field reporting, and framing the conclusion as a before-and-after narrative. Those elements are my synthesis rather than claims made by the sources.

The Footnote Against Death: Brandy Zadrozny’s Hero System

Two terrors run under Brandy Zadrozny’s working life. The first is deletion. The page comes down, the account renames, the archive gaps, and the lie stands alone in the record because the correction left no trace. She spent years behind reference desks learning that a fact unrecorded is a fact that never happened, and the internet taught her the harder lesson, that a fact recorded can still be made to disappear. The second terror is inversion. She corrects the lie and the correction feeds it. She proves the nurse alive and the proof convinces the believers the nurse is dead. She names the hidden operator and becomes, in his story and the stories of millions watching, the villain with the network behind her. The first terror says her work can vanish. The second says her work can turn in her hand.

Ernest Becker (1924-1974) argues that a man cannot live with the knowledge of his own death, so every culture builds him an arena where he can earn a significance that outlasts him. The arena assigns the parts. It tells him what counts as courage, what counts as treason, which acts inscribe his name and which erase it. Becker calls this the hero system, and he insists the systems are plural and warring. One man’s martyr is the next man’s suicide. The fight over what a life means is a fight between immortality projects, and it admits no neutral referee.

Zadrozny’s project is the record. Strip away the Emmy, the Webby, the Harvard fellowship, the founding-hire status at a rebuilt network, the marathon medal, and what remains is a librarian who believes the preserved page is the one thing death cannot cross-examine. Her heaven has a call number. The heroic act, in her system, is retrieval and preservation performed against erasure: screenshot the post before it comes down, pull the court file before it seals, save the domain registration, log the deleted video, and place each item where a future reader can find it. Persuasion is welcome but optional. The believers do not have to believe her. The record has to hold. She titles her podcast Tiffany Dover Is Dead* and the asterisk carries her creed in one typographic mark. The lie gets the headline. The truth gets the footnote. She stakes her working life on the footnote outlasting the headline, which is the librarian’s wager on immortality, that the catalog wins in the end because the catalog is still there when the shouting stops.

She tells her own story as a subtraction story, and it is a good one. She subtracts the bartender’s apron, the middle-school classroom, the Fox News salary. The Brain Room pays well and asks little, and one day a Fox and Friends producer sends down a question about whether dolphins rape people, and the question tells her what her knowledge is for in that building. So she takes the pay cut, a woman past thirty with a graduate degree writing hundred-word aggregation items, and she calls herself a baby reporter, and the self-mockery does the work self-mockery always does in a subtraction story. It says: I gave up money and standing and kept only the mission. The account is true as far as it goes. What it omits is what the new arena gave her that the library never could. A library has patrons. A beat has enemies. The reference desk offers service without stakes, an afterlife of quiet usefulness, the immortality of the helpful. The disinformation beat offers war. It puts her name on the wall of a movement, gets her denounced on the highest-rated show in cable news, sends threats into her home, and confirms, nightly, that her work strikes bone. Becker would recognize the trade. The hero needs resistance the way the record needs a reader. A woman who wanted only to preserve pages could have stayed in Vermont and baked pies. She wanted the pages to count, and pages count where they are contested.

Take her sacred values one at a time and walk them through the rival arenas, because each value changes meaning at every border crossing, and the changes map the war she is in.

Start with the record. For Zadrozny the record is evidence, the incorruptible witness, the thing you preserve so that power cannot lie about what it did. A Mormon genealogist in a Utah family history center holds the same word and means salvation. His record redeems the dead; a name recovered from a parish register is a soul offered the ordinances, and the archive is a rescue operation running backward through time. A former East German dissident reading his own Stasi file means a wound kept open on purpose. His record proves what the state did to him, and preserving it is how a nation forbids itself to forget. A QAnon researcher, and Zadrozny has sat with many, means prophecy. He archives the drops with a devotion any librarian might admire, timestamps them, cross-references them, because to him the record is scripture awaiting fulfillment, and when the storm comes the archive will vindicate the faithful. A sofer bent over a Torah scroll means holiness under a standard so strict that one broken letter voids the scroll. His record is perfect or it is nothing, and no update, no correction, no editor’s note can touch it. Five keepers, five immortalities. Zadrozny’s version has a quality the others lack and pays for it. Her record accuses. It exists to catch someone. The genealogist’s record embraces, the sofer’s record sanctifies, the dissident’s record mourns, the QAnon baker’s record promises. Hers indicts, and a life spent building indictments takes its shape from the defendants.

Now take exposure, the value that put her on Tucker Carlson’s (b. 1969) screen in October 2020. In her arena, exposure is accountability. A hidden actor who moves money, organizes harassment, or runs influence at scale has forfeited the mask, and naming him is the whole point of the craft, the moment the record stands up in court. Cross the border and the word turns. A parish priest hears exposure and thinks of the confessional, where a man exposes everything and the seal guarantees the exposure travels no further than God. Exposure heals there because it stays secret; broadcast it and you have desecration. An Alabama church lady, of the kind who watched Zadrozny’s rental car pass on the road to Higdon, practices exposure as governance. The town runs on knowing, on who saw whose truck outside whose house, and the knowledge stays inside the town, enforcement without newspapers. A witness protection marshal holds the inverse office. His sacred duty is concealment; every exposure is a killing he failed to prevent, and a reporter who unmasks people reads to him as a man playing with ordnance. And the anonymous poster, the man Darren Beattie stood up to defend, holds exposure as the weapon the strong use on the weak. His mask is the old mask of carnival, the one that let the peasant mock the bishop one day a year without hanging for it. From his chair, a network reporter with a security desk and a legal department stripping masks off ordinary men is the bishop tearing off the peasant’s mask and calling it accountability. Zadrozny’s answer is a line she draws between the private speaker and the hidden operator, and her best work lives on the defensible side of it. But Becker would note that the line is drawn inside her arena, with her arena’s chalk. The other arenas do not recognize the referee.

The tribalist watching all this from his own hero system, and this writer names his own here, tribalist, nationalist, traditionalist, has a quarrel with her that runs deeper than the doxxing fight. He shares her reverence for the record. His shelves hold chronicles, genealogies, responsa, the names of the dead read aloud on the anniversary, a scroll checked letter by letter for a thousand years. No one out-archives the tribe. His quarrel concerns jurisdiction. In his arena the record serves the continuity of a people, and exposure follows the law of inside and outside. Correct your brother within the walls, with love, in the language of the house. Hand him to the outside press and you have not performed accountability, you have informed, and the tradition has a word for the informer and no honors for him. Zadrozny’s arena recognizes no walls. Her public is everyone, her jurisdiction is the species, and a militia captain in Michigan, an anti-vaccine mother in Tennessee, and a troll-farm supervisor in St. Petersburg all stand equal before the record. The tribalist sees in that universalism the acid that eats peoples. She might answer that his walls are where the bodies get buried, that loyalty without exposure rots into cover-up, and he might answer that exposure without loyalty rots into a career, and both speak from arenas that bury their dead with honor and mean different things by honor. The exchange has no winner because Becker is right about the referee.

Her third sacred value is the public, and it is the tenderest one because it might be a memory. At the reference desk the public had a face. A patron walks in, hungry for an answer, and you feed him, and the transaction completes in front of you. She has said her mission never changed, that the question used to be the capital of Montana and became the identity of the account the president retweeted. The sentence moves a librarian’s faith onto a national stage and assumes the patron scaled up with the question, an American public that wants the answer and will use it. Rival arenas hold the same word and laugh. The advertising man means by the public a herd to be moved, and he moved on from truth decades before she was born. The populist means the people, virtuous and betrayed, and in his story she belongs to the manor, an employee of the conglomerate class explaining to the people which of their beliefs are diseased. The Talmudist barely uses the word; he knows a covenant community with obligations running person to person, and the undifferentiated public strikes him as a crowd, and crowds build calves of gold. And somewhere in a exurban kitchen a woman scrolls past the fact-check without slowing, not hostile, just gone, and she is the rival no segment ever names. Zadrozny has met the terror behind this value and said it out loud. The idea that the work changes anything, she told an interviewer, she has given up on. Read that admission slowly, because within her hero system it should be fatal. The exposure fails to shame, the debunking fails to convince, the patron never comes to the desk. A missionary who stops believing in conversion usually leaves the mission. She stayed, and the staying reveals the deeper architecture of her project. The public was the transference object, the audience in whose eyes the heroism counted. When the public failed to hold the weight, she transferred the weight to the record. The work no longer needs the reader to succeed. The archive absorbs the heroism whole. Even if no one changes, the true account exists, findable, timestamped, and that existence is the victory. It is the purest librarian’s immortality, salvation by catalog, and it explains how she works a beat built on futility without breaking. She is not losing the argument. She is building the collection.

How much of this does she see? More than most subjects of this series. She jokes about the beat as the depressing internet, calls her Fox years the most depressing job she ever had, recommends her marriage to a man who stays offline as a survival arrangement, and confesses that the Dover project made things worse before it made anything better. The self-awareness runs right up to the edge of the system and stops, as Becker says it must, because no one audits his own immortality project while standing on it. She can see that debunking often backfires. She has not, in public, followed the thought to its next station, that the disinformation beat as an institution might function less as a correction of the information supply and more as a hero system for a class, a way for credentialed knowledge workers to hold the line of their own significance while their gatekeeping power drains away. Her method is better than her beat. The method, follow the money, name the operator, preserve the page, produces findings a reader from any arena can use. The beat, as a category, decides in advance which arenas produce disinformation and which produce context, and that decision is coalition work wearing a lab coat. She is the strongest version of the practice, which is what makes her the right subject for the question the practice avoids.

The Dover story earns its place at the center of her legend because it is the one where her hero system met a woman who had no arena at all. Tiffany Dover never volunteered for anyone’s war. She fainted on a livestream, twenty minutes of lost footage became an empty tomb, and rival hero systems fought over her body while she raised her kids in Higdon and stayed silent. The truthers needed her dead; she was their proof, their first relic. Zadrozny needed her alive and on the record; she was the correction that might hold. Between the two armies stood a nurse who wanted her life back and found that in the attention economy silence reads as confession. When Dover finally texted, the line she chose could serve as the epigraph for the whole beat: she did not die that day, but the life she knew did. Zadrozny cried when they met, and the tears deserve a close reading. Some part was relief, some part vindication. And some part, on the evidence of her own words about making it worse, was recognition of what her arena had extracted from a bystander to complete its ritual. The record got its interview. The archive gained its proof. The truthers did not recant, which she also recorded, an honest keeper logging her own defeat into the collection.

The hero, then, is the keeper who outlasts, the woman who quit persuading the living and started briefing the future, whose courage consists of sitting for years inside other people’s violent fantasies and filing what she finds where death and deletion cannot reach it. The rival she never names is the indifferent reader, the patron who no longer comes, the public whose absence she has already conceded in one unguarded sentence and must keep unconceded every working day, because a record no one consults is a tomb with excellent metadata. And the cost the ledger cannot price is the reading she can no longer do. A woman who spends twenty years learning to see every page as either evidence or forgery loses the page as a place to live. Her husband keeps a house with no internet in it, her children grow up with a mother whose name strangers spit, and somewhere behind the Signal handle and the security protocols there is a reference librarian in Vermont with flour on her hands, the version of her that answered questions for people who wanted answers, and no archive, however well she keeps it, returns that woman her innocence about what a question is for.

The Reference Desk Goes to War: Brandy Zadrozny Through Pierre Bourdieu

The research department at Fox News sits away from the studios, and in 2012 it holds doctors, lawyers, a retired SEC man, subject specialists, and a librarian named Brandy Zadrozny who keeps a briefing book on crime statistics and abortion. The network calls the unit the Brain Room. Producers send questions down and the Brain Room sends answers up. One day a producer for the morning show asks whether dolphins rape people. She answers the question, because that is the job, and the question tells her the price of her knowledge in that building. Upstairs, men with law degrees read outrage off teleprompters for seven figures. Downstairs, a woman with a master’s degree from Pratt Institute earns a service salary settling bar bets for the morning show. The building has an exact map of what counts, and she can read a map.

Pierre Bourdieu (1930-2002) builds his sociology on three linked ideas. A field is an arena with its own stakes, its own rules for keeping score, and its own definition of winning, and the score is kept in capital, which comes in kinds: money, credentials, skills, connections, and the recognition of peers, which he calls symbolic capital and treats as the most convertible currency of all. A player carries into each field a habitus, the set of dispositions his history has trained into him, and the fit between habitus and field decides whether he moves like a native or a tourist. Fields change, and when a field revalues its currencies, players holding the newly precious capital rise fast, while players holding the old kind sink without understanding what happened to them. Careers, in this frame, are runs of capital conversion, and the ones that look like luck are usually a conversion executed at the moment the exchange rate turned.

Zadrozny’s career is the cleanest capital-conversion story in American journalism, and the place to start is with what she holds at the beginning, which the market prices near zero. Library science is a feminized credential, low paid, low status, invisible by design. The librarian’s skills are retrieval, verification, preservation, and citation, and through the twentieth century the journalism field treats those skills as support staff work. The news library is a basement function. The researcher gets a thank you and no byline. The field’s honors, the front page, the White House credential, the Pulitzer, flow to access reporting, the cultivation of powerful sources, and the researcher who found the court file that made the story stands outside the frame of the award photo. She enters holding capital the field has already classified as clerical. Bartender, middle school English teacher, teacher-librarian for the New York City Board of Education from 2003 to 2007, the Pratt degree, the ABC News library, a reference desk in Vermont. Every line on the resume reads, in the field’s eyes, as service.

The Fox job shows what a heteronomous field does with autonomous capital. Bourdieu splits every cultural field between two poles. At the autonomous pole, producers play for the respect of peers and the standards internal to the craft, art for art’s sake, science for the referees. At the heteronomous pole, producers play for the external market, ratings, advertisers, political patrons. Fox News in 2012 sits about as far toward the heteronomous pole as a news organization can sit, and yet it maintains, in its basement, a unit whose mandate she later describes as killing false stories. The arrangement is not a contradiction. A market-pole organization rents autonomous-pole capital as insurance, the way a casino keeps accountants. The Brain Room exists so the lawyers can sleep, and its inhabitants hold the field’s purest skills at the field’s lowest rank. She stays eighteen months and later calls it the most depressing job she ever had, and depression is what habitus feels like when it wakes up in the wrong field.

Then comes the move that Bourdieu built a career explaining. In May 2013 she quits Fox for The Daily Beast, takes what she calls a huge pay cut, and starts, past thirty, at the bottom, writing the Cheat Sheet, aggregation items of one hundred words or fewer. Read as economics, the move is irrational. Read as field strategy, it is the standard entry fee of cultural production, the trade Bourdieu calls the interest in disinterestedness. She swaps economic capital for a position, however low, inside the field proper, where symbolic capital can be earned, because the basement at Fox pays better and consecrates nothing. The Cheat Sheet is her apprenticeship in the field’s craft competencies, the lede, the kicker, the voice, compression under discipline, and it stakes her to the field’s illusio, Bourdieu’s term for the shared conviction that the game is worth playing and its prizes are real. A player without illusio writes memos. A player with it stays until two in the morning to beat a rival to a story about a domain registration, and she does.

Inside the Beast she runs a double game that the field does not yet have a name for. Half her time she works as the newsroom’s researcher, teaching reporters domain-name notifications and court-records tricks, capital transfer performed for free, which builds the social capital of gratitude across the room. The other half she reports, and her stories carry a signature the access reporters cannot fake: the Felix Sater domains, the Dan Scavino bankruptcy files, the excavated online lives of mass shooters. Around 2015 she pairs with Ben Collins, who knows where the internet’s fringe lives, while she knows how to pull its records, and the partnership functions as a merger of complementary capitals. What they are covering, the forums, the conspiracy entrepreneurs, the pseudonymous influencers, holds, by the field’s 2015 exchange rates, almost no value. Internet culture is a features desk curiosity. The capital they are accumulating is, for the moment, worthless.

Then the field revalues, and the revaluation is the hinge of her career. The 2016 election humiliates the journalism field at its own game. The access reporters, holding the field’s blue-chip capital, miss the story, because the story ran through message boards, troll farms, and Facebook groups that no one at the autonomous pole could read. A field in crisis reprices its currencies fast. Digital-forensic skill, archive literacy, fluency in fringe platforms, the librarian’s kit, goes from clerical to scarce in about eighteen months. Poynter profiles her in March 2018 as the librarian-turned-reporter behind a scoop factory, the trade press performing the field’s official act of reclassification. NBC News hires her and Collins that year to cover the new territory full time, and the hire completes the conversion: basement capital exchanged, at the top of the market, for a national byline. Bourdieu notes that the biggest winners in a field transformation are rarely the ones who saw it coming. They are the ones whose habitus happened to match the field’s next state. Her mission, she says, never changed from the reference desk, answer the public’s questions, and the line is habitus speaking: the dispositions stayed constant while the field moved underneath them, and skills trained for patrons turned out to be armament.

What she and Collins do at NBC exceeds position-taking. Bourdieu distinguishes between taking a position that exists and making a position exist, and the second is the rarer and larger play. The disinformation beat is a new position in the field’s space: a desk that treats rumor networks, platform incentives, and conspiracy economies as a permanent subject with its own methods and its own standards of proof. Creating a position means creating its capital, and the beat mints one, a hybrid of records skill, platform fluency, and source work inside closed communities, that the field did not previously recognize and now cannot do without. Every disinformation reporter hired after 2018 occupies space she helped clear, and in field terms that makes her a founder, which is the durable form of symbolic capital, since founders get cited in the origin story every time the position reproduces. The Harvard Shorenstein fellowship in 2021 and 2022 adds the academy’s stamp, an exchange across fields in which the university borrows her currency, practical knowledge of the object, and pays in its own, the consecration that only universities issue. The Emmy and the Webby do the same work from the industry side. The podcast converts the capital once more, into audio, a sub-field with its own prizes, and Tiffany Dover Is Dead* draws more than a million downloads, which converts back into standing at the home desk.

The October 2020 collision with Tucker Carlson (b. 1969) reads, in this frame, as a border war between fields over the master stake, the right to define legitimate journalism. Carlson operates at the market pole’s far edge, where the score is audience share and the product is grievance. His guest Darren Beattie accuses Zadrozny of digging up personal information on anonymous Trump supporters to ruin their lives, and the accusation is a classification move: it renames her records method, the core of her capital, as doxxing, an illegitimate practice, and renames the anonymous operators she covers as private citizens, protected persons. If the renaming holds, her capital is counterfeit. NBC answers with a statement praising her research and her rigor, a counter-classification asserting that the autonomous pole’s standards, verification, documentation, accountability, define the legitimate game and that Carlson’s pole practices incitement. Neither side can win on the other’s scoreboard, which is the point. Fields at war do not argue. They classify. And the fight carries a private charge that Bourdieu would savor: she is a defector. She left the market pole’s basement for the autonomous pole’s masthead, her trajectory is a standing insult to the building that priced her at a service salary, and the building’s biggest star turns its audience on her. The threats that follow are what heteronomous power looks like when it stops classifying and starts spending.

The 2025 move confirms how far the exchange rate traveled. Comcast spins its cable networks into Versant, MSNBC must build a newsroom without NBC News, and the network that will soon call itself MS NOW makes her one of its first and most publicized hires, senior enterprise reporter, announced in the trade press as a signal of what the new operation will be. Follow the capital flows in that transaction. A new institution, short on legitimacy, purchases hers. Her presence on the roster tells advertisers, critics, and rivals that the newsroom intends serious reporting, and the network pays for that signal in salary, rank, and promotion of her byline. Twenty-five years earlier the equivalent legitimacy purchase was a White House correspondent. The librarian’s capital, priced at zero in 2003, now anchors the launch of a national news network, a repricing of one currency across one working life that has few equals in the field’s history.

Bourdieu’s frame also prices what the triumph costs and what it obscures, and honesty about the frame requires running it against her side too. The disinformation beat, viewed coldly as field strategy, is a reconversion play by a profession losing its monopoly. The journalism field’s old capital rested on gatekeeping: control of the channels through which the public learned things. Platforms broke the monopoly, and a field stripped of its central asset responded by asserting a new jurisdiction, the authority to adjudicate the information the open channels now carry, to sort speech into information and disinformation. The beat is the institutional form of that claim, and the claim is an exercise of classification power, which Bourdieu calls symbolic violence when the classified have no say in the classifying. Her critics on the right sense this structure even when they lack the vocabulary for it, and their rage at the beat is, among other things, the rage of people discovering that a field they no longer trust has appointed judges over their speech. None of this makes her findings false. Her records hold up under any field’s audit, which is what separates her from the beat’s weaker practitioners, who hold the position without the capital. But her career and the field’s counterattack ride the same wave. The profession that ignored the librarian for a century needed her skills at the exact moment it needed a new reason to exist, and both needs got met in one hire.

She keeps, through all of it, the habits of the class fraction she came from. The Signal handle listed before the email address. The husband in advertising who stays off the internet. The Brooklyn home, the three children, the marathon run in five and a half hours at forty-five, the ukulele taken up late. These are the status markers of the dominated fraction of the dominant class, Bourdieu’s home address for teachers, librarians, and journalists, rich in cultural capital, modest in economic capital, and disposed by that mix to believe in knowledge as a calling rather than a commodity. The disposition survived three fields and one war. It made her cheap for Fox, priceless for NBC, and legible to Harvard. Fields rise and reprice around a habitus that does not move, and hers still answers questions from behind a desk, except the desk is a beat she built, and the patrons include the people who want her silenced.

The Great Delusion

If John J. Mearsheimer’s anthropology is right, it alters the diagnosis and prognosis of Zadrozny’s investigative beat.

Zadrozny’s reporting often focuses on how media manipulators use false narratives to alter public perception. In a traditional liberal framework, disinformation is viewed as an external contaminant—a collection of lies that corrupts an otherwise rational public square. The implied solution is exposure, fact-checking, and improved information literacy.

Mearsheimer’s anthropology suggests that what we call disinformation is not a virus invading a rational mind, but rather a symptom of man’s innate tribalism. When Zadrozny documents ordinary people adopting fringe beliefs like QAnon, Mearsheimer’s logic suggests these individuals are not suffering from a simple deficit of facts. They are seeking shelter from the atomistic isolation of modern individualism. They adopt the narrative because it binds them to a social group, provides a collective identity, and validates their inborn sentiments. The false narrative is downstream of the tribal need; humans choose the tribe first, and then accept whatever moral code or alternative reality the tribe requires for membership.

Zadrozny has spoken candidly about the exhausting, relentless nature of her beat, even noting in interviews that she has largely given up on the idea that documenting these movements will change the broader landscape.

Mearsheimer’s framework explains exactly why she hit that wall. If reason is the least important tool humans use to determine their preferences, then exposing a lie with meticulous research and logical evidence will almost never dissolve a conspiracy theory. By the time an investigator like Zadrozny uncovers the facts, the individual’s critical faculties have already been bypassed by intense group socialization. Fact-checking treats the problem as an intellectual error, whereas Mearsheimer views it as a biological and social survival mechanism. A person will rarely abandon the narrative of his group just because an outside actor presents contradictory data, because doing so means facing social excommunication.

The underlying assumption of modern disinformation reporting is that the internet has broken a previously functional, shared reality, and that structural or algorithmic fixes might restore order.

If Mearsheimer is right, the chaotic internet Zadrozny investigates is not a malfunction of technology; it is an unfiltered reflection of human nature. Elite institutions and centralized media previously enforced a superficial, liberal consensus that suppressed man’s tribal instincts. The internet simply democratized communication, stripping away those institutional gatekeepers and allowing human beings to swiftly reorganize into their natural state: fragmented, adversarial tribes. For Zadrozny’s beat, this means the “depressing internet” she documents is here to stay. The splintering of reality into hostile factions is the permanent result of man’s tribal core operating without institutional constraints.

‘A Big Misunderstanding’

To David Pinsof, Zadrozny embodies the misunderstanding myth. Her entire career operates on the assumption that major societal fractures are caused by a digital public health failure. In this framework, the masses are gullible consumers infected by toxic narratives, and the solution requires expert gatekeepers to expose lies, raise public awareness, and push platforms to purge bad beliefs.

Pinsof offers a colder alternative. The individuals who share conspiracy theories or build fringe political alliances do not suffer from a temporary lapse in intelligence or a structural breakdown in their reasoning. They understand their immediate incentives. Stupidity is strategic.

From this perspective, the internet is not a broken information utility that requires repair from investigative journalists. It serves as an arena for zero-sum competition over status, social capital, and the coercive apparatus of the state. Partisans do not amplify hyper-partisan narratives because they are misinformed. They amplify them because confirmation bias helps them win arguments, secure their place within a chosen coalition, and attack their political rivals.

Zadrozny frames her investigative reporting as a public service meant to protect truth and expose harmful actors. Pinsof invites an examination of the actual motives behind this dynamic. Defining what constitutes misinformation and choosing which individuals to expose is an instrument of social power. It allows the credentialed elite to turn their own political preferences into an objective standard of sanity. It permits them to dismiss their rivals not as competitors with conflicting material interests, but as irrational actors who require correction.

The friction in the political landscape does not stem from bad beliefs that a well-researched news report can fix. It stems from deeply conflicting motives that no amount of investigative exposure can resolve. The only misunderstanding in disinformation journalism is the belief that political warfare is just a big misunderstanding.

Posted in Journalism | Comments Off on Brandy Zadrozny: The Librarian Who Went to War

Lee Edelman: The Man Who Said No to the Future

In December 2005, in a Washington, D.C. convention hotel, the Modern Language Association stages a panel that people in queer theory still argue about. Robert Caserio organizes it and gives it a name that sticks: The Antisocial Thesis in Queer Theory. The premise sounds dry. The room does not feel dry. Four of the field’s marquee names sit at the table. Lee Edelman (b. 1953) and Jack Halberstam (b. 1961), then publishing as Judith Halberstam, defend negativity. Tim Dean and José Esteban Muñoz (1967-2013) warn against it. The audience knows the stakes. One year earlier Edelman published No Future: Queer Theory and the Death Drive, and the field has divided over it the way a family divides over a will.

The panelists do not perform collegial vagueness. Muñoz argues that queerness lives in collectivity and hope, that it points toward a future worth wanting, and that a politics of pure refusal abandons the people who need politics most. Halberstam claims the negative for punk, for rage, for the Sex Pistols. Edelman answers that the Sex Pistols never left reproductive futurism at all. A song that shouts no future while casting the disenfranchised as flowers in the dustbin, as seeds of renewal, still promises that the children will redeem us. The pose of negativity, he suggests, is easy. The thing is hard. PMLA publishes the exchange in May 2006, and graduate seminars assign it for the next twenty years.

To understand how a professor of English at Tufts University came to occupy this position, the argument that made him famous and the temperament that made the argument possible, start in Poughkeepsie, New York, where Edelman grows up in the 1950s and early 1960s. At ten he sees his first Hitchcock film, The Birds. The horror movies of the era run on monsters and rubber suits. Hitchcock scares him differently. The terror comes from inside the ordinary world, from the mother, the schoolhouse, the small town, the sky. He later tells an interviewer the film felt like entering a nightmare, and the fascination never leaves him. Decades on, he teaches a Tufts course on Hitchcock, cinema, gender, and ideology, and Alfred Hitchcock (1899-1980) remains a touchstone in his criticism. A boy who learns early that the most frightening thing on screen can be a flock of birds over a children’s birthday party has already absorbed the lesson that innocence and menace share a frame.

Edelman takes his B.A. at Northwestern University in 1975, then goes to Yale. The dates matter. He earns an M.A. in 1976, an M.Phil. in 1978, and a Ph.D. in 1981, which places him in New Haven during the high period of the Yale School. Paul de Man (1919-1983) teaches there. Jacques Derrida (1930-2004) visits. Geoffrey Hartman (1929-2016), Harold Bloom (1930-2019), and J. Hillis Miller (1928-2021) fill out a department that has become the American capital of deconstruction. Yet Edelman later describes a bifurcation that outsiders miss. He sits in the English program, which stays closer to traditional methods. The theoretical ferment concentrates in Comparative Literature, where students work with de Man and think through Derrida, Lacan, Shoshana Felman, and Barbara Johnson. Edelman watches from across the hall.

He watches with a personal stake. His closest friends study in Comparative Literature, and one of them, Joseph Litvak, becomes his partner around 1978. Litvak trains under the deconstructionists and takes his own Yale Ph.D. in 1981, the same year as Edelman. The two men will spend their careers in the same department at Tufts, Litvak as a professor of English working on Victorian literature, Cold War mass culture, and Jewish cultural studies. The relationship gives Edelman something rarer than a method. It gives him a household in which the seminar never ends. His early work carries the Yale signature anyway: close reading as an ethic, rhetoric as the place where a culture confesses what it denies, the figure as the unit of analysis. He starts teaching at Tufts in 1979, before the doctorate is even finished, and never leaves.

He begins as a poetry scholar. Through the early and mid 1980s he writes on Elizabeth Bishop, John Ashbery, and Hart Crane (1899-1932), and he publishes poems of his own in The Nation. His first book, Transmemberment of Song: Hart Crane’s Anatomies of Rhetoric and Desire (1987), reads Crane’s difficult modernism through the body, desire, and figural excess. The title word, transmemberment, comes from Crane and does double work. Language dismembers the subject it claims to express and reassembles it as something else. A poem about a bridge becomes a study of how desire gets built into syntax. The book announces the concern that will govern everything Edelman writes afterward: rhetoric produces the desiring subject rather than merely describing him.

The 1980s also hand Edelman, and every gay academic of his generation, a catastrophe. AIDS kills friends, colleagues, and lovers while the national government treats the epidemic as a punchline and then as a punishment. The plague years radicalize a cohort of literary critics who might otherwise have stayed with Bishop and Ashbery. Edelman’s second book, Homographesis: Essays in Gay Literary and Cultural Theory (1994), belongs to the founding shelf of queer theory, alongside the work of Eve Kosofsky Sedgwick (1950-2009), Judith Butler, and Leo Bersani (1931-2022). The coinage in the title fuses homosexuality and writing. Gay identity, Edelman argues, functions as a text the culture insists on reading. Visibility can discipline as easily as liberate. The demand that homosexuality announce itself in legible signs, on the body, in the voice, in the walk, binds gay men to the interpretive system that polices them. He refuses the liberal remedy of better representation. Representation is the problem he wants to study, and no volume of positive images can fix a structure that runs on making people into signs.

The book that changes his life, and the field, arrives a decade later. No Future: Queer Theory and the Death Drive (2004) runs barely 200 pages, and Edelman later says the writing came easily even though he knew the argument would not make people happy. The polemic centers on a figure he capitalizes: the Child. Not any actual child, not the specific kid on the specific street, but the symbolic Child in whose name every political program justifies its demands. Think of the campaign ads, the padlocked playgrounds, the speeches that end with our children’s future. Edelman names the fantasy reproductive futurism: the conviction that politics gains meaning by serving a tomorrow embodied in the Child, and that whatever refuses this service becomes unthinkable, monstrous, queer.

His most quoted passage takes the argument to its edge, urging his readers to say fuck the social order and the Child in whose name we’re collectively terrorized. The sentence continues through Annie and the waif from Les Mis. Readers who stop at the profanity miss the machinery. Edelman does not counsel harming anyone. He asks what happens when queerness stops auditioning for the role of good citizen, stops promising to be productive, family-friendly, and useful, and instead accepts the position the social order already assigns it: the figure of the death drive, the negativity that the fantasy of wholeness must expel to hold together. Both parties, he argues, worship at the same altar. Conservatives invoke the Child through innocence and sexual discipline. Liberals invoke the Child through progress and a better world to come. The Child wins every election because both sides nominate him.

The Lacanian scaffolding does real work here. From Jacques Lacan (1901-1981), Edelman takes the drive, the pressure that circles its object without resolution, and the sinthome, the knot of enjoyment that holds a subject together beyond meaning. He coins sinthomosexuality for the queer figure who embodies enjoyment without reproductive alibi, the Scrooge, the Silas Marner, the Hitchcock villain whom the narrative must convert or kill so that the Child may live. Literature, he shows, has always known this figure. It keeps writing him so it can keep sacrificing him.

The year No Future appears, Massachusetts legalizes same-sex marriage, and Edelman marries Litvak after twenty-six years together. A student reporter for the Tufts Daily asks him about the ceremony, expecting joy from a newlywed. “It was anticlimactic,” he says. After twenty-six years, the legality felt like paperwork. The scene compresses the whole Edelman problem into an anecdote. Here stands the theorist of anti-relationality, of queerness as the refusal of social form, in a decades-long monogamous partnership with a colleague, filing a marriage license in the suburbs of Boston. His critics call this a contradiction. He might call it evidence for the thesis. The institution added nothing, which is what he had been saying about institutions all along. The same reporter finds him in room 203 of East Hall amid what she calls organized chaos, dressed in crisp khakis and a pressed red button-down, a man of exacting personal order preaching the gospel of the negative. He paints. He speaks French. He loves the Rolling Stones, Janis Joplin, Ella Fitzgerald, and Sinatra. When the reporter reads him a glowing student review from a professor-rating site, he answers that it was the best five-dollar bribe he ever gave.

The field’s answer to No Future comes from many directions, and the strongest arrives in 2009. Muñoz publishes Cruising Utopia: The Then and There of Queer Futurity and turns the debate from the Washington panel into a book-length counterargument. Queerness, for Muñoz, is not the death drive. Queerness is the horizon, the not-yet, the collective rehearsal of a world that does not exist. He draws on Ernst Bloch and on the performance cultures of queers of color, and he charges that Edelman’s negativity carries an unmarked Whiteness, a luxury position available to those whose survival is not in question. Feminist, trans, and disability critics press related points. For people fighting for housing, medical care, and safety from violence, a politics of pure refusal can sound like a tenured man pulling up the ladder. Materialist critics add that capital does not need the family. Markets commodify queer nightlife and anti-family style as happily as they sell minivans, so non-reproduction threatens nothing by itself. Edelman has answers, chiefly that his critics keep smuggling the future back in and calling it radical, but the objections stick, and Muñoz’s early death in 2013 froze the debate at its sharpest point, two positions and no synthesis.

Edelman’s next major book makes the refusal of synthesis its form. Sex, or the Unbearable (2014), written with Lauren Berlant (1957-2021), unfolds as a dialogue between two theorists who disagree and decline to stop. Berlant, whose Cruel Optimism studies the attachments that damage the people who hold them, keeps asking what sustains relation. Edelman keeps pressing what breaks it. The book performs its argument: relation as impasse, intimacy as the scene of misrecognition, conversation as the thing that continues without resolving. Berlant’s death in 2021 gave the book a retrospective weight neither author intended. It now reads as a record of a friendship conducted through disagreement, which may be the most social thing the antisocial theorist ever wrote.

Bad Education: Why Queer Theory Teaches Us Nothing (2023) extends the project into the university. The back cover carries a dare: make queer theory controversial again. The line concedes what everyone knows. Queer theory has been domesticated into a curriculum, a job category, a set of learning outcomes. Edelman argues that education itself runs on the promise of positive transmission, of knowledge converted into value and students converted into socially usable subjects, and that queerness names what this pedagogy cannot process. He reads Shakespeare, Harriet Jacobs, Pedro Almodóvar, Kasi Lemmons, and Michael Haneke, and he engages Afropessimism, above all Frank Wilderson, whose account of Blackness as the constitutive outside of the human parallels and pressures his own account of queerness as the constitutive outside of the social. In March 2023 he discusses the book at Tufts with his colleague Jess Keiser, taking aim at the neoliberal university’s demand for measurable, transportable educational product. He has taught at that university for forty-four years by then. He knows the product line from inside.

The reach of his work now extends past the humanities corridor. In 2024 Routledge publishes Lee Edelman and the Queer Study of Religion, a collection applying his thought to theology and biblical studies. The extension fits better than it first appears. Edelman’s target was always quasi-theological: the sacred future, the innocent Child, the promise that collective life can purge its own negativity and arrive at redemption. He wrote a polemic against a secular eschatology, and the theologians recognized their genre.

What should a reader make of him? The criticisms hold. The theory abstracts from material life, offers no program, and gives little to a person trying to survive a landlord or a legislature. Its severity can shade into a mannerism, and its Lacanian idiom walls it off from anyone unwilling to learn the vocabulary. Yet the core observation survives every objection. Political rhetoric does use children to silence dissent. Appeals to innocence do function as moral blackmail. Marginal people are pressured to purchase tolerance by proving themselves harmless, optimistic, and productive, and the price of that purchase is the right to say what they see. Edelman built a career on refusing the purchase. He teaches in the institution he indicts, married the man he loves while doubting the form, and spent five decades reading closely in a culture that stopped rewarding close reading. The contradictions do not embarrass the work. They are its data. He remains what he has been since the Washington ballroom in 2005, the field’s most useful antagonist, the man who forces every hopeful theory to state what its hope will cost and who pays.

Notes

The December 2005 MLA panel in Washington, D.C. comes from the published exchange by Robert L. Caserio, Lee Edelman, Jack Halberstam, José Esteban Muñoz, and Tim Dean, “The Antisocial Thesis in Queer Theory,” PMLA 121.3 (May 2006), 819-828: JSTOR. Edelman’s jab at Halberstam’s Sex Pistols reading, arguing that the song still imagines renewal through the disenfranchised as flowers in the dustbin, appears in Edelman’s contribution to that exchange. The convention hotel setting is a reasonable extrapolation from the usual format of MLA panels and does not need a separate source.

The Room 203 East Hall scene, including the khakis and pressed red button-down, the organized chaos, the Poughkeepsie childhood, seeing The Birds at age ten, the Hitchcock course, the marriage to Joseph Litvak after twenty-six years, the description of it as “anticlimactic,” the five-dollar-bribe joke, the painting, the French, and the music tastes all come from the student profile “Professor, queer theorist, poet and avid Hitchcock fan,” published in The Tufts Daily on March 4, 2005: Tufts Daily. It is the richest humanizing source I found.

The Yale scene, including the split between English and Comparative Literature, Litvak studying with Paul de Man and reading Derrida, Lacan, Shoshana Felman, and Barbara Johnson while Edelman watched from English, as well as Edelman’s teaching at Tufts since 1979, his early work on Elizabeth Bishop and John Ashbery, and his poems in The Nation, comes from a long interview in November: November. The same interview confirms the back-cover line for Bad Education and the connection to Frank B. Wilderson III.

His degrees and dates, Northwestern B.A. in 1975, Yale M.A. in 1976, M.Phil. in 1978, and Ph.D. in 1981, along with the Fletcher Professorship and his marriage to Joseph Litvak, are documented by Wikipedia and his Tufts faculty page. Litvak’s work in Victorian literature, Cold War mass culture, and Jewish cultural studies, together with his Yale Comparative Literature Ph.D. in 1981, appears in this Caltech event listing: Caltech.

I made several extrapolations without direct sourcing. The AIDS-era radicalization of Edelman’s cohort is a commonplace in histories of queer theory, although I did not find Edelman himself narrating his work in exactly those terms. If that point becomes load-bearing, it should be sourced. The gloss on “sinthomosexuality” and the examples of Scrooge and Silas Marner come directly from No Future. The account of José Esteban Muñoz’s response in Cruising Utopia, including the critique of whiteness, is standard and can be sourced from the book’s introduction if you need a page number. Massachusetts legalized same-sex marriage in 2004, which is public record. The “fuck the social order” passage appears on page 29 of the Duke University Press edition of No Future.

Posted in English | Comments Off on Lee Edelman: The Man Who Said No to the Future

Henry Louis Gates Jr.: The Man Who Rebuilt the Archive

On the afternoon of July 16, 2009, a woman named Lucia Whalen stood on Ware Street in Cambridge, Massachusetts, holding a cell phone. An older woman had stopped her on the sidewalk and pointed at a yellow clapboard house half a block from Harvard Yard. Two men with suitcases were pushing against the front door. Whalen worked nearby, for the Harvard alumni magazine. She told the 911 dispatcher she saw two men, possibly forcing entry, possibly not. She said one might be Hispanic. She said she saw suitcases and allowed that the men might live there. She never mentioned race until the dispatcher asked.

Inside the house, Henry Louis Gates Jr. (b. 1950) had just returned from Shanghai, where he had been filming interviews for a PBS documentary about American ancestry. He was fifty-eight years old, five foot seven, one hundred fifty pounds, and he walked with a cane because a doctor in West Virginia had misdiagnosed a broken hip when he was fourteen and the joint had never sat right since. His front door had jammed. His driver, a large Moroccan man, put a shoulder into it while Gates went around through the kitchen. The house belonged to Harvard. Gates held the most senior professorship Harvard gives.

Sergeant James Crowley of the Cambridge police arrived alone. He saw a man in the foyer. He asked the man to step outside. The man refused. What happened next depends on who tells it. Crowley’s report says Gates shouted, accused him of racism, and followed him onto the porch yelling. Gates says he showed his Harvard identification and his driver’s license, asked for the officer’s name and badge number, and got handcuffed on his own porch for asking. The charge was disorderly conduct. The city dropped it five days later and called the arrest regrettable. By then the mug shot of America’s most decorated Black scholar, in a polo shirt, arrested at his own home, had gone around the world.

The scene compressed his life’s work into a single frame. Gates had spent thirty years arguing that the record of Black lives in America gets lost, miscataloged, or never written down at all, and that someone has to go find it. On his porch the question turned personal. Who counts as belonging where he stands? What does the paperwork prove? He had the deed, the ID, the endowed chair, and the handcuffs went on anyway. Years later he donated those handcuffs to the Smithsonian‘s National Museum of African American History and Culture. He understood, better than almost anyone alive, that objects become archives.

He came from Piedmont, West Virginia, a paper mill town of around two thousand people folded into the Allegheny hills near the Maryland line. The Westvaco mill ran the town’s economy and its social order. Black men could work the loading platform. They could not work the machines. Henry Louis Gates Sr. (1913-2010) loaded trucks at the mill by day and worked a second job as a janitor at the telephone company by night, and he read two newspapers every day and handicapped the ball games with a sharp tongue. Pauline Coleman Gates, who died in 1987, cleaned white families’ houses and became the first Black secretary of the Piedmont PTA. She wrote obituaries for the Black dead of the county, and her younger son watched her turn lives into paragraphs. He was called Skip from infancy, a family nickname that followed him onto the letterhead of Harvard University.

Piedmont was segregated and small and, in the way of small places, intimate across its own color line. The mill picnic was for whites. The Black families held their own. Gates has written that the terms of the town were unjust and the texture of the life inside those terms was rich: church breakfasts, report cards, family photographs on the mantel, the weekly ritual of watching any Black person who appeared on television, the whole family calling out, colored, colored, on Channel 9. His memoir Colored People (1994) recorded that world just as integration dissolved it, and the book carries a double grief, for what segregation cost and for what integration scattered.

In 1964, at fourteen, he broke his hip playing touch football. The white doctor in the next town examined the fracture and delivered a different diagnosis. The boy was an overachiever, the doctor said. The injury was in his head. A Black boy from the mill hollow who said he wanted to be a doctor himself had presented a psychological symptom, and the physician treated the ambition instead of the joint. The hip healed wrong. One leg ended up shorter than the other. Gates has walked with a cane or crutches ever since, a permanent gait built by a white man’s judgment about what a Black child could plausibly want. Whatever theory of race in America Gates later constructed, he carried the evidence in his own walk.

He graduated from Piedmont High School in 1968 as class valedictorian and went first to Potomac State College, a junior college twenty minutes from home, because that was what ambitious Piedmont kids did. An English professor there, Duke Anthony Whitmore, read his essays and told him to aim at Yale. He transferred in 1969, part of the largest cohort of Black students Yale had ever admitted, arriving on a campus where Black studies had just become a department and a demand. He dropped the premedical plan. In his junior year Yale gave him a fellowship that sent him to Tanzania, where he worked delivering anesthesia at a mission hospital in Kilimatinde and then spent months crossing Africa overland. He graduated summa cum laude in history in 1973.

A Mellon fellowship took him to Clare College, Cambridge, and Cambridge nearly ended the career before it began. His tutors regarded African literature as anthropology at best. There was no chair in the subject, no tripos paper, no serious tradition of study. What saved him was the presence of Wole Soyinka (b. 1934), the Nigerian playwright then at Cambridge, who took Gates on and taught him that Yoruba myth, ritual, and verbal art constituted a literary system with its own gods, its own forms, and its own theory of language. Gates also fell in with a Ghanaian-English undergraduate philosopher named Kwame Anthony Appiah (b. 1954), and the two began a friendship and editorial partnership that has now run fifty years. Gates took his Cambridge doctorate in English in 1979. The degree certified him in the tradition that had excluded his subject, which turned out to be the precise credential the fight required.

He taught at Yale through the early 1980s, then Cornell from 1985 to 1989, then Duke where he held the John Spencer Bassett chair. In 1981 the MacArthur Foundation put him in its first class of fellows. He was thirty. He used the standing, and the money, on a bet that looked eccentric at the time: that the history of Black writing in America was far larger than anyone knew, and that the shortage was in the catalog, in the index, in the archive, and not in the writing.

The bet paid almost at once. In a Manhattan bookshop he bought, for fifty dollars, a copy of an 1859 novel called Our Nig; or, Sketches from the Life of a Free Black, by one Harriet E. Wilson (1825-1900). Scholars had assumed the author was white. Gates ran down census records, death certificates, and local histories in New Hampshire and established that Wilson was a free Black woman, which made Our Nig the first novel published by a Black woman in the United States. He republished it in 1983 with the documentation attached. The method mattered as much as the find. Literary claims, he showed, could be settled the way property claims are settled, with paper.

He scaled the method up. The Black Periodical Literature Project, which he directed with support from the National Endowment for the Humanities, sent research teams through American periodicals from 1827 to 1940 and indexed Black fiction and poetry from more than nine hundred publications. He edited the thirty-volume Schomburg Library of Nineteenth-Century Black Women Writers, which won an Anisfield-Wolf award in 1989 and put a shelf of recovered women in front of every research library in the country. A tradition that had been taught as a handful of names now had a census.

The theory came in the same decade. Figures in Black (1987) and The Signifying Monkey (1988) argued that African American literature carries its own critical system inside its vernacular. The Signifying Monkey of Black folklore, a trickster who defeats the lion by mastering indirection, descends from Esu-Elegbara, the Yoruba god of interpretation, and the practice named signifying, the art of repetition with a difference, of parody, revision, and double-voiced talk, supplies the tradition’s native poetics. Hurston revises Douglass, Ellison revises Wright, Reed revises everybody, and the revisions are the tradition. The claim landed hard because it answered the strongest objection to the field. Black literature did not need to borrow its criticism from Paris or New Haven. It had brought its own. The book won the 1989 American Book Award and became one of the founding documents of the discipline.

The canon wars of the late 1980s and early 1990s made him a general. In Loose Canons (1992) and a stream of essays, Gates argued for expansion against both flanks. Against the traditionalists, he held that a curriculum which omitted Black writing misdescribed America. Against the hard multicultural left, he held that Black texts deserved formal reading, not devotional citation, and he mocked the idea that a syllabus could substitute for politics. His position, roughly the pluralist center, drew fire from both sides, which he took as evidence of its accuracy.

Harvard hired him in 1991 to run an Afro-American studies department that had dwindled to almost nothing. What he built there became the most famous act of academic recruitment of the decade. He brought Appiah from Duke. He brought the philosopher and preacher Cornel West (b. 1953) from Princeton, the sociologist William Julius Wilson (b. 1935) from Chicago, the historian Evelyn Brooks Higginbotham, the sociologist Lawrence Bobo. The press called it the Dream Team, a basketball metaphor that Gates did nothing to discourage, since it made a point: Black scholars were stars, they had a market, and Harvard was paying. When Harvard’s president Lawrence Summers (b. 1954) clashed with West in 2001 over grade inflation and a rap CD, West left for Princeton and Appiah followed, and the columnists wrote the department’s obituary. Gates stayed, recruited again, and turned the W. E. B. Du Bois Institute into what is now the Hutchins Center for African and African American Research, a complex of fellowships, journals, art galleries, prize medals, and archives that functions as the field’s central bank. His insight was institutional. Arguments win seminars. Endowments win centuries.

In February 2001 he sat in the sale room at Swann Galleries in New York while an agent bid on his behalf, anonymously, for lot 30, an unpublished nineteenth-century manuscript titled The Bondwoman’s Narrative, by Hannah Crafts. He won it for about eight thousand five hundred dollars. Authentication followed: ink and paper analysis, handwriting study, and a hunt through census schedules and plantation records that tied the manuscript’s details to the household of a North Carolina planter named John Hill Wheeler. Gates published it in 2002 and it reached the bestseller lists, a novel by an enslaved woman, in her own hand, unedited by any white sponsor. A decade later the scholar Gregg Hecimovich identified the author as Hannah Bond, a woman who escaped the Wheeler house in 1857 disguised as a man. The full circuit, auction paddle to census page to national bestseller, is Gates’s career in miniature.

By then he had stopped being only a professor. He wrote long profiles for The New Yorker through the 1990s, collected in Thirteen Ways of Looking at a Black Man (1997). He consulted on Spielberg’s Amistad. He and Appiah built Encarta Africana and then the print Africana: The Encyclopedia of the African and African American Experience, completing a project W. E. B. Du Bois had planned and never finished, which was the point. In 2008 he founded The Root with Donald E. Graham (b. 1945) of the Washington Post Company, putting Black commentary and genealogy online just as commentary and genealogy moved online. And he became, by increments, the face of Black history on American television: Wonders of the African World, America Beyond the Color Line, African American Lives, Black in Latin America, The African Americans: Many Rivers to Cross, Reconstruction, The Black Church, Gospel, and in February 2026 the four-part Black and Jewish America: An Interwoven History.

Finding Your Roots, running on PBS since 2012 and through its twelfth season in 2026, made him something rarer than famous. It made him familiar. The format is simple. A guest sits across a table from Gates. A large album called the book of life sits between them. He turns the pages. Ledgers, ship manifests, muster rolls, baptismal records, DNA percentages. The camera holds on faces as abstraction becomes kin: the comedian whose ancestor bought his own freedom, the actress descended from the man who enslaved her other ancestor, the senator with the horse thief. Gates supplies the pause, the raised eyebrow over the half-glasses, the courtroom timing of a man revealing a verdict. His own research had already carried him somewhere improbable. Having traced descent from John Redman, a free Black man who fought in the Continental Army, Gates was inducted into the Sons of the American Revolution in 2006. The scholar of exclusion carries the country’s most exclusive genealogical credential.

The show also produced his worst professional embarrassment. In 2015, hacked Sony emails revealed that the actor Ben Affleck had pressed to keep a slaveholding ancestor out of his episode, and that Gates had complied after consulting a Sony executive about the request. PBS reviewed the matter, found the program had violated its editorial standards, postponed the next season, and required new fact-checking and independence rules. Gates apologized and absorbed the lesson in public. The episode exposed the tension his television career runs on. The archive does not care about a celebrity’s brand, and a show that needs celebrities needs their comfort. He had spent a career insisting the record must stand. For one guest, briefly, it bent.

His arguments have bent no further left than the evidence, which has cost him standing in places that once claimed him. His 2010 New York Times op-ed on the African role in the Atlantic slave trade, and his insistence in Wonders of the African World on filming African participation in that trade, drew a furious rebuttal from the political scientist Ali Mazrui and a longer coolness from Afrocentric scholars who read him as handing ammunition to the other side. His reparations writing dwells on the difficulty of the ledger rather than the justice of the claim. His DNA ventures, including a commercial ancestry company, drew criticism from geneticists who considered the science oversold and from colleagues who considered the commerce unseemly. The recurring charge, across forty years, is that he is too comfortable: with markets, with Harvard, with white institutions, with reconciliation. The beer summit stands as the emblem. Two weeks after the arrest, after President Barack Obama (b. 1961) said the Cambridge police had acted stupidly and then walked it back, Gates and Crowley sat with Obama and Joe Biden at a white iron table in the Rose Garden, four men, four beers, cameras at a distance. Critics on the left saw a teachable moment dissolved into a photo op. Gates saw a Black man arrested on his porch drinking with his arresting officer at the White House and judged the exchange worth making. He and Crowley have since shared beers again, and DNA testing later suggested the two men share a distant Irish ancestor, a coincidence so on the nose that no novelist could use it.

The late work runs at a pace that embarrasses younger scholars. Stony the Road (2019) on Reconstruction and its overthrow. The Black Church (2021). The Black Box: Writing the Race (2024), a synthesis of his lifelong argument that Black identity in America is a construction built under pressure, unstable in biology and formidable in history, written by Black authors from inside a box whose walls others drew, named one of the New York Times hundred best books of its year. In 2025 he and Martha H. Patterson edited The New Negro: A History in Documents, 1887-1937 for Princeton University Press. In 2026 he, David Bindman, and Suzanne Preston Blier published The Image of the European in African Art at Harvard University Press, reversing the gaze of his long-running Image of the Black in Western Art project. The season twelve finale of Finding Your Roots aired in April 2026 with Barry Diller in the chair. The honors compound like interest: the Spingarn Medal in 2024, the Barry Prize and honorary fellowship of the Royal Academy of Arts in 2024, the hundred-thousand-dollar Vilcek Prize for Excellence in Literary Scholarship in February 2025, the Thomas Jefferson Foundation Medal in Citizen Leadership from Monticello and the University of Virginia in April 2026.

On June 24, 2026, he processed in scarlet through Oxford, from Exeter College to the Sheldonian Theatre, where the chancellor, William Hague, conferred an honorary doctorate. The other honorands included Jacinda Ardern, Billie Jean King, and two Nobel laureates. Gates said Oxford had held an almost mythical place in his imagination since childhood. The mill town valedictorian with the miscast hip, whose Cambridge tutors once doubted his subject was a subject, now collects the ancient universities the way his mother’s PTA collected honor roll names.

His critics keep a fair ledger. He conciliates. He commercializes. He performs. He has made a fortune from television and philanthropy while colleagues who took harder lines took smaller stages. All of that is true and all of it is downstream of a decision he made young and never revisited: that the war over Black standing in America would be won in the archive and the institution, in the census page and the endowed center and the prime-time slot, and that a man who wants to move the record must be in the rooms where the record is kept. He has recovered novels, indexed a century of periodicals, rebuilt a department twice, published the enslaved in their own hand, and turned genealogy into a national civic ritual. The son of the woman who wrote Piedmont’s Black obituaries became the country’s chief officer of Black memory. His deepest claim needs no theory to state. Black history is where American history keeps its receipts, and he went and got them.

Notes

Verified this week through current sources:

Oxford University conferred an honorary degree on Henry Louis Gates Jr. at Encaenia on June 24, 2026. The ceremony included the traditional procession from Exeter College to the Sheldonian Theatre, with William Hague presiding. The other honorary degree recipients included Jacinda Ardern and Billie Jean King: University of Oxford and Cherwell (June 24, 2026). Gates remarked that Oxford had occupied an almost mythical place in his imagination since childhood.

The 2026 Thomas Jefferson Foundation Medal in Citizen Leadership was presented by the University of Virginia and Monticello, as documented by the Harvard Faculty of Arts and Sciences: Harvard FAS.

The Vilcek Prize for Excellence in Literary Scholarship, announced in February 2025, including the $100,000 award, is documented by the Harvard Gazette and the Vilcek Foundation.

Season 12 of Finding Your Roots premiered on January 6, 2026, and concluded in April with the episode featuring Barry Diller and Kate Burton. Black and Jewish America aired on PBS in February 2026 as a four-part series. These details appear in the Cantab profile and the Hutchins Center curriculum vitae: Hutchins Center.

Gates was inducted into the Sons of the American Revolution in 2006 through his ancestor John Redman. This is documented in the Anisfield-Wolf Book Awards juror biography and on the Monticello profile.

The following material is well documented but would benefit from a final spot check before publication. The details of Gates’s 2009 arrest come from the Cambridge Police Department report, widely republished by outlets including The Boston Globe and The New York Times. Lucia Whalen’s 911 call, released by Cambridge police on July 27, 2009, confirms that she did not volunteer Gates’s race and instead referred to the men carrying suitcases. The setting and beverages at the White House “beer summit” come from the White House pool reports of July 30, 2009. The display of Gates’s handcuffs at the Smithsonian National Museum of African American History and Culture was reported by The Washington Post and Smithsonian Magazine around the museum’s 2016 opening.

The story of the childhood hip misdiagnosis and the family description of him as an overachiever comes from Colored People and Gates’s later retellings, including a New Yorker profile and the Harvard Gazette. His work administering anesthesia in Tanzania and the encouragement he received from Duke Anthony Whitmore at Potomac State College are documented in Yale and MacArthur Foundation biographical materials and in Colored People.

The purchase of Our Nig for fifty dollars is recounted in Gates’s introduction to the 1983 Random House edition and in contemporary New York Times coverage. The Swann Galleries auction, including the anonymous winning bid of approximately $8,500 in February 2001, is described in Gates’s introduction to The Bondwoman’s Narrative and in New York Times reporting from 2001 and 2002. Gregg Hecimovich’s identification of Hannah Bond as the author was reported by The New York Times in September 2013.

The Ben Affleck controversy is documented through the WikiLeaks Sony emails released in April 2015 and the PBS review issued in June 2015, which found violations of editorial standards and introduced new procedures. The exchange between Gates and Ali Mazrui over Wonders of the African World took place during 1999 and 2000 and was published in the West Africa Review before being widely excerpted elsewhere. Gates’s discovery of a shared Irish ancestor with Stephen Colbert followed the DNA research conducted for Faces of America in 2010.

I added several pieces of self-evident descriptive background without separate citation, including the appearance of a mill town’s racially segregated labor structure, the atmosphere of the Swann auction room, the mechanics of using the “book of life” during filming, and the ceremonial texture of the Encaenia procession.

Henry Louis Gates Jr.: The Recording Angel

Ernest Becker (1924-1974) argued that a man cannot live staring at his own death, so every culture builds him a hero system, a structure of value inside which his acts add up to something that outlasts him. The system tells him what counts as courage, what counts as waste, and what he may point to on his last day as proof he was here. Henry Louis Gates Jr. built his hero system out of paper, and to see why, you have to find his two terrors, because a hero system is always an answer, and the terrors come first.

The first terror sat at the kitchen table in Piedmont, West Virginia, in the 1950s, where Pauline Coleman Gates wrote the obituaries of the Black dead of Mineral County. Watch the scene from the boy’s height. The mill whistle has blown. His father works the second job at the phone company. His mother sits with a tablet of lined paper and turns a laundress or a deacon or a stillborn child into paragraphs, because if she does not, the county’s memory will hold nothing, the White paper will not run it, and the person will have lived and died and left less trace than a receipt. The boy learns before he can name it that death has two stages. The body goes first. The record goes second, and for his people the second death usually arrives on schedule because no one is paid to prevent it. Everything Gates later does, the recovered novels, the indexed periodicals, the census pages read aloud to weeping actors, wars against the second death. He cannot stop the first. Nobody can. Becker’s point is that heroism begins there, at the admission.

The second terror came in 1964, when a doctor looked at a Black fourteen-year-old with a broken hip and diagnosed the ambition instead of the bone. The injury, the doctor said, lived in the boy’s head. The boy walked wrong for the rest of his life on that sentence. Here the terror inverts. The first terror is no record. The second terror is the record kept by someone else. The slave ledger recorded men with care, weight, price, teeth, temperament, and the care was the violence. A misdiagnosis, a mug shot, a manifest: paper can erase you while preserving you. So the hero system that answers both terrors cannot rest at getting Black lives written down. It must seize the pen. The recorder must be one of your own, trained past challenge, credentialed by the same institutions that kept the hostile books, standing where the books are kept. That is the shape of the ambition, and Cambridge, Harvard, Norton, PBS, and the Pulitzer board mark its stations.

Every hero system carries a subtraction story, an account of what you can strip from a man and still find the part that counts. The ascetic subtracts appetite and keeps the soul. The soldier subtracts comfort and keeps honor. Gates runs his subtraction on race. Put the cheek swab in the envelope and the lab dissolves the mythology: the segregationist carries African ancestors, the Black professor carries Irish ones, blood sorts nobody. Gates subtracts biology from race and expects the concept to survive, and in his system it does, because what remains after the subtraction is history, the deeds, ledgers, laws, sale bills, and church registers that made a people out of a category. Race is a fiction with a paper trail, and the paper trail is real, and the paper trail is his. The heroic core, once blood is gone, is the document. Other systems run the same subtraction and keep a different remainder, the soul, the nation, the class, the self that owes nothing to ancestry. Gates keeps the receipts.

Now take his sacred values one at a time and carry them into other courts, because a value never floats free. It means what its hero system needs it to mean.

Start with roots, the word on his most famous product. At the table on his set sits an actress, and Gates turns a page of the large album his producers call the book of life, and she reads the name of a fourth great-grandfather who bought his own freedom for four hundred dollars, and she covers her mouth, and the camera holds. In Gates’s system this moment completes a circuit. The unrecorded becomes recorded, the second death reverses, the descendant carries proof. Roots mean evidence of arrival.

Set other figures at that table. A Mormon genealogist from Salt Lake City has spent thirty years in microfilm for a different stake. In his hero system the dead wait on the living. A name recovered is a soul that can be baptized by proxy and sealed to its family for eternity, and an unrecovered name is a soul stranded. Roots run forward, not back. He does not weep at the reveal. He files it and gets the ordinance scheduled, because in his court the archive is a rescue operation with a deadline of never.

A Yoruba babalawo would find the album cold. In his system the ancestors do not live in paper. They eat. They attend. A grandfather is fed at a shrine, consulted before a marriage, blamed for a fever. Writing a name in a book and closing the book resembles burying the man a second time. Roots mean presence, and a people who must consult archives to find their dead have already lost them. Gates knows this court. Soyinka introduced him to it at Cambridge, and Esu, the god of interpretation, stands behind his first big book. He took the god and left the shrine, which tells you which system he serves.

A Daughter of the Confederacy in Richmond keeps her roots in a velvet folder, the commission of a great-great-grandfather, and in her system the document confers rank. Ancestry is a claim against the present, proof that her family held standing before the world broke, and the archive exists to certify grievance and precedence. She and Gates handle identical instruments, censuses, muster rolls, and family Bibles, and the instruments serve opposite gods. Hers freeze a hierarchy. His overturn one.

A street lecturer on 125th Street, folding table, incense, laminated charts of Kemet, offers roots as restoration. In his system the archive of the oppressor is poisoned at the source, and the true record shows kings, pyramids, stolen sciences. Gates fought this court in the open. When he filmed Africans discussing African participation in the slave trade, this court called him a traitor, because in a restoration system the record must heal, and a record that wounds is enemy work. Gates answered that a record that cannot wound cannot certify anything. The two systems both say recovery and mean different rescues.

A Zen abbot might watch the page turn and see attachment compounding. In his system the self is already a fiction, and a documented fiction is a heavier fiction. Roots are what you cut so the mind can be free. To him the entire apparatus, the labs, the albums, the tears, elaborates a mistake about what a person is. Gates’s system has no reply to this court and does not want one. A hero system does not answer every rival. It selects its battles by what its terror requires, and the abbot’s terror is not his.

Take the second value, the book. Gates named his album the book of life, and the phrase has an owner. In the synagogue on Rosh Hashanah the Book of Life opens, and for ten days a Jew stands in judgment while it is decided who will be written and sealed for the year. The tribal traditionalist, the Orthodox Jew in Los Angeles or Jerusalem, lives inside a hero system where the decisive record is kept elsewhere, by a Judge, and no human archivist can add a name. His people run the deepest genealogical operation in history, a chain of transmission from Sinai, yichus weighed in marriage, descent tracked through mothers for three thousand years, and all of it points at obligation. Roots bind him to commandments. The record certifies duty, not arrival. Watch a sofer at his desk: one letter wrong and the scroll is unfit, because in that court the text is a covenant and variance is corruption. Now put Gates beside him. Gates built his theory on signifying, repetition with a difference, the tradition advancing by revision, Ellison rewriting Wright, Reed rewriting everybody. In one system difference in transmission voids the document. In the other, difference in transmission is the document. Both men bend over books with total seriousness, and the books ask opposite things of them. Gates borrowed the sacred title for a television prop, and the borrowing shows what his system does with older systems: it collects them, cites them, and files them, the way a museum holds altars that once held blood.

Take the third value, recovery, and give it two more courts. In Moscow in the 1990s a volunteer of the Memorial society photographs NKVD execution lists, name, occupation, date shot, and in his hero system recovery is indictment. The names are recovered so that a state may someday stand where the actress sits, and no one at his table weeps for joy. Recovery aims at judgment. Gates recovers toward admission. Our Nig enters the syllabus, the Norton anthology enters the backpack, the recovered writer takes a chair at the table that excluded her, and the table stays. His critics inside Blacker, angrier courts have said this for forty years: he recovers in order to join. A Palestinian grandmother in Nablus keeps an iron key and a Turkish land deed in a tin box, and in her system the record is a claim to ground. Paper points at soil. She would find it strange to recover a deed in order to teach it. Gates’s porch in 2009 tested exactly this line. He held the deed, the lease, the university card, and the handcuffs went on anyway, and for four minutes on Ware Street the paper did what paper does when the man reading it decides it weighs nothing. His system absorbed the blow the way his system absorbs everything. The handcuffs went to the Smithsonian, labeled, accessioned, lit. Another system might have gone to court or to the street. He filed the insult in the national archive and called it a win, and inside his hero system it was one.

How aware is he of the trade? More than most. Becker says the hero system works best slightly out of sight of its owner, and Gates’s runs close to the surface. He knows the pluralist center draws fire from both flanks and has said the crossfire proves the position. He knows television requires guests and guests require comfort, and in 2015 the world saw the one documented instance where comfort beat the record, a slaveholding ancestor kept off the air for a movie star, and Gates took the finding and the new rules in public. He knows what the beer in the Rose Garden cost him on the left and paid him everywhere else. What he holds slightly out of view is the limit the porch exposed: a hero system built on paper needs readers who honor paper, and it has no answer for the moment they decline, except to write the moment down. His deepest faith, past race, past pluralism, holds that the record eventually finds an honest reader. Piedmont taught him that faith at the kitchen table, and no arrest, no hack, no critic has moved him off it. Whether the faith is true is a question his system cannot ask, because it is the floor the system stands on.

The empathy he earns, he earns honestly. He took a wrecked hip, a mill-town start, and a field that his Cambridge tutors did not consider a field, and instead of bitterness he produced shelves. The Schomburg Library gave nineteenth-century Black women back their names. The periodical project gave a literature back its bulk. A woman who escaped a North Carolina house in men’s clothes in 1857 sits on bestseller lists in her own hand because he raised a paddle at an auction. Set aside the celebrity and the bow ties, and the core act repeats for fifty years: he finds the dead the county would not print, and he prints them. That is his mother’s work at industrial scale, and a man who spends a life finishing his mother’s sentences deserves gentler judgment than his rivals give him.

So mark the coordinates. The hero here is the clerk raised to angel, the man who answers death by seizing the ledger, who believes that a life written down in friendly hands has beaten the second death and that beating the second death is what a man can do about the first. The rival he never names sits past all his named enemies, past the restorationist and the colorblind man and the radical, and it is the believer for whom the decisive book is kept in heaven and every human index is vanity, the court where his mother’s obituaries were prayers and his own are programming. He debates everyone except that court, because his system and that one cannot share a table; one of them holds the pen, and the other kneels. And the cost his ledger cannot price is Piedmont alive, the mill picnic, the supper, the family calling colored, colored at the television set, the world whose intimacy his own ascent helped dissolve, which he then recorded in the best book he ever wrote. The archive holds the obituary. It never holds the supper. He knows this, said it in Colored People, and kept filing, because the alternative his system offers is the second death, and against that he has spent everything.

Posted in Academia | Comments Off on Henry Louis Gates Jr.: The Man Who Rebuilt the Archive

N. Katherine Hayles: The Chemist Who Rewrote the Human

Picture a chemistry lab in Southern California in 1968. Beckman Instruments, Fullerton. Fluorescent light on stainless steel. A young woman in a white coat runs analyses for a company that builds the machines other scientists use to measure the world. She holds a bachelor’s degree in chemistry from the Rochester Institute of Technology and she is finishing a master’s at Caltech, where women in the graduate chemistry program can be counted on one hand. The work is exact. The work is also narrow. She later describes her problem in the mildest terms available to her: she loved science, she loved literature, and laboratory life gave her no room for the second love. In 1970 she walks away from the bench. She enrolls in an English M.A. program at Michigan State. In the status economy of American science, this looks like failure. A Caltech-trained chemist trading instruments for novels trades hard knowledge for soft, money for penury, rigor for talk. It takes her thirty years to prove the ledger wrong.

Nancy Katherine Hayles (b. 1943) grew up in St. Louis, Missouri, the daughter of Edward and Thelma Bruns. Her surname comes from her first marriage, to William Hayles in 1969; the marriage ended in 1979 and left her with two children and the name under which she built her career. She earned the B.S. in chemistry from RIT in 1966, worked as a research chemist at Xerox, took the M.S. from Caltech in 1969, and consulted for Beckman Instruments until 1970. Then came the pivot: the M.A. in English from Michigan State in 1970 and a Ph.D. in English from the University of Rochester in 1977. On her own website she recalls the shock of the crossing through a line from Tom Stoppard‘s Arcadia: she discovered that “everything I thought I knew was wrong,” down to what counts as evidence and how one makes an argument. A chemist demonstrates learning by running the experiment. A literary scholar demonstrates learning by building a reading. Hayles spent the rest of her life refusing to choose between the two proofs.

The academic ladder she climbed tells its own story about status in the American university. Instructor, then assistant professor, at Dartmouth from 1975 to 1982. Assistant professor at the University of Missouri-Rolla, an engineering school in the Ozarks, from 1982 to 1985. Associate professor at the University of Iowa in 1985, then a named chair there, the Millington F. Carpenter Professorship, by 1989. In 1992 UCLA hired her as the Hillis Professor of Literature in English and Media Arts, a joint appointment that recognized what she had become: a literary critic whom the design and media people also claimed. In 2008 Duke made her the James B. Duke Professor of Literature, the highest rank the university confers. She now holds the emerita version of that chair alongside a Distinguished Research Professorship back at UCLA, where she returned and where she still works. A woman who started at a technical institute in Rochester, took a detour through corporate labs, and entered literary study a decade behind her cohort ended up holding chairs at two of the wealthiest research universities in the country. She did it by writing about things her colleagues did not yet know they needed to understand.

Her first two books established the method. The Cosmic Web: Scientific Field Models and Literary Strategies in the Twentieth Century (1984) traced how field theories in physics and relational models of reality surfaced in the fiction of Pynchon, Nabokov, and Borges. Chaos Bound: Orderly Disorder in Contemporary Literature and Science (1990) did the same for chaos theory and postmodern narrative. The premise sounds modest and is not. Hayles argued that scientists and novelists working in the same decades draw on the same cultural reservoir. Science does not simply discover; it also imagines, and its imagination has a period style. Literature does not simply decorate; it thinks, and its thinking sometimes runs parallel to the equations. She refused both available pieties. Against the scientists who saw literary theory as fog, she insisted that scientific models carry cultural assumptions. Against the humanists then riding high on social constructivism, she insisted that science delivers reliable knowledge about the world. She named her middle position “constrained constructivism”: theories are models of reality rather than reality, but reality pushes back and rules most models out. Her chemistry training shows here. She had run experiments. She knew nature votes.

The years around 1990 gave her a front-row seat to the science wars, and the seat was uncomfortable. She has compared the period to a child watching her parents fight. One parent was her lab training, which told her scientific method is the best instrument humans have built for reliable knowledge. The other parent was her literary training, which told her every scientist swims in a culture he cannot fully see. Most combatants picked a parent. Hayles kept both, and the books that followed are the record of a forty-year effort to hold the two loyalties in one frame.

The breakthrough came in 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics opens with a scene of reading. Hayles picks up Mind Children by the Carnegie Mellon roboticist Hans Moravec (b. 1948) and finds his prediction that human consciousness will soon be downloaded into computers. Moravec presents this as a dream. Hayles receives it as a nightmare, and the book she writes in response asks how a serious scientist came to believe that a person is a pattern of information that can leave its body the way a traveler leaves a hotel.

Her answer runs through the Macy Conferences, the meetings held in New York between 1946 and 1953 where Norbert Wiener (1894-1964), Claude Shannon (1916-2001), Warren McCulloch (1898-1969), Margaret Mead (1901-1978), and a shifting cast of engineers, neurophysiologists, and social scientists built the field of cybernetics. Hayles reads the transcripts the way a novelist reads a dinner party. She watches Shannon define information as a mathematical quantity stripped of meaning, a move that made communication engineering possible and telephone networks profitable. She watches the group generalize the move, until information floats free of any body, any medium, any material substrate. The decision was practical and local. Its consequences were metaphysical and global. Once the culture learned to imagine information as bodiless, Moravec’s fantasy followed: if you are your information, the flesh is packaging, and packaging can be discarded.

How We Became Posthuman argues that this entire construction rests on an erasure. Information never exists without a body. It lives in ink, in voltage, in neurons, in air pressure. Minds do not ride in bodies; minds are what certain bodies do. Hayles attacked the disembodied posthuman while refusing to retreat into the liberal humanist subject it replaced, the autonomous, self-owning, rational individual of Enlightenment political theory. That subject, she noted, was always a fiction too, and a gated one; it described propertied European men and called the description universal. Her posthuman keeps the embodiment the cyberneticists erased and drops the sovereignty the humanists invented. The book won the René Wellek Prize for the best book in literary theory and the Eaton Award for science fiction criticism in the same cycle, a pairing that captures its reach. It became a founding text of posthumanist studies and a standard syllabus item on three continents. Graduate students who never opened a chemistry textbook learned from Hayles that the Turing test, Neuromancer, and Shannon’s channel diagrams belong to one history.

She could have spent the next twenty years administering that success. Instead she kept moving. Writing Machines (2002), a small experimental volume designed with Anne Burdick, argued that the material form of a text shapes its meaning, and proved it by making its own typography and page design part of the argument. She coined the term “technotext” for works that reflect on the technology producing them, and the book took the Suzanne Langer Award. Her concept of the “flickering signifier” gave critics a tool for digital writing: a word on a screen is not a stable mark like ink on paper but the momentary surface of code, memory, processor, and display, a signifier that flickers between visible text and invisible execution. My Mother Was a Computer (2005) pushed into code as a cultural force, examining how machine language and natural language now interpenetrate in everything from novels to subjectivity. The title comes from a time when “computer” named a job held by women who calculated by hand, a detail Hayles uses to remind readers that the history of computation is a history of bodies, many of them female.

Alongside the books she built a field. Electronic literature, the writing born digital, hypertext fiction, generative poetry, works that exist only in execution, had passionate makers and no scholarly infrastructure. Hayles supplied it. She directed NEH summer seminars on the subject starting in 1995, introducing a generation of scholars and writers to the form. She served as faculty director of the Electronic Literature Organization from 2001 to 2006 and co-edited the first Electronic Literature Collection, which gave teachers a stable canon to assign. Her 2008 book Electronic Literature: New Horizons for the Literary surveyed and legitimated the field. Since 2014 the organization’s annual prize for criticism carries her name, which is the academic equivalent of a statue in the town square. Her championing of writers such as Mark Z. Danielewski (b. 1966), whose House of Leaves she read as a print novel remade by digital logic, helped move experimental work from cult status to dissertation topic.

In 2007 she published a short article that traveled farther than some of her books. “Hyper and Deep Attention: The Generational Divide in Cognitive Modes” distinguished deep attention, the sustained single-object focus that long novels train and reward, from hyper attention, the rapid switching among information streams that digital environments train and reward. Teachers recognized their classrooms in the distinction at once. Hayles declined the jeremiad the topic invited. She treated the shift as a change in cognitive ecology with costs and gains on both sides, and asked what pedagogy should do about it rather than which generation to blame. How We Think: Digital Media and Contemporary Technogenesis (2012) expanded the argument: humans and their technologies evolve together, and digital media are reorganizing attention, memory, and scholarship whether the professoriate approves or not.

Then came the late turn, the one that makes her career unusual among literary critics. Most scholars narrow with age. Hayles widened. Unthought: The Power of the Cognitive Nonconscious (2017) argued that cognition exceeds consciousness. Most of the interpretive work that keeps a human alive happens below awareness, and cognition in her definition, the interpretation of information within contexts that connect it to meaning, extends to nonhuman animals, to plants, and to technical systems. She introduced the “cognitive assemblage”: a working combination of humans and machines that senses, interprets, and decides together. Traffic systems, drone warfare, high-frequency trading. In such assemblages the interesting question is no longer whether the machine thinks like a man but how the joint system distributes interpretation, and who answers for what it decides.

Postprint: Books and Becoming Computational (2021) returned to her oldest love, the book, and refused both funeral and triumph. Print did not die; it was absorbed. Every printed book now passes through computational systems of composition, design, distribution, and marketing before it reaches a hand. The codex survives as the visible tip of a computational apparatus. And Bacteria to AI: Human Futures with Our Nonhuman Symbionts (2025), published when she was eighty-one, proposes an Integrated Cognitive Framework that places human thought on a continuum running from bacterial sensing through plant signaling and animal cognition to large language models. She argues that computational media possess something like umwelten, the world horizons that biology ascribes to organisms, while insisting on the difference between living systems, which have intentions, and physical processes, which do not. The political claim beneath the theory is blunt: the belief that humans are the only real cognizers on the planet has licensed the treatment of everything else as raw material, and the ecological results are in. She rejects the accelerationists who expect machines to save us and the reactionary humanists who want the old sovereign subject back. Her proposal is humbler and stranger: learn to live as one cognizer among many, a symbiont in systems no single mind controls.

The profession has kept score. A Guggenheim Fellowship, two NEH fellowships, a Rockefeller residency at Bellagio, the National Humanities Center. Lifetime achievement awards from the Science Fiction Research Association and the Society for Literature, Science, and the Arts, a society she served as president from 1991 to 1993, back when it was small and its subject was suspect. Election to the American Academy of Arts and Sciences and the Academia Europaea in 2015. Honorary doctorates from Umeå in Sweden, the Art Center College of Design in Pasadena, and, in 2024, the Royal College of Art in London. Critics have landed blows along the way. Some charged that How We Became Posthuman holds science to a constructivist standard it exempts from its own realism; others found her readings of Maturana‘s autopoiesis strained. The objections register as border disputes within a territory she mapped.

The last scene closes a sixty-year loop. May 8, 2026. Panara Theater on the campus of the Rochester Institute of Technology, the doctoral hooding ceremony. The graduates process in regalia while student performers from the National Technical Institute for the Deaf sign the national anthem. The honorary degree recipient and keynote speaker is Katherine Hayles, class of 1966, chemistry. RIT gave her a B.S. and an apprenticeship in laboratory method; she left the lab within four years. Now the institute confers on her an honorary Doctor of Letters, and its new doctors of engineering and imaging science and computing sit and listen to a literary critic in her eighties tell them about cognition, machines, and books. The chemists in the room might miss the joke. The degree is in Letters because the letters won, but she never let them win alone. Bodies matter in her account, and media, and code, and the ink this sentence would be printed in. She spent a career telling a culture in love with disembodied information that there is no such thing, and the culture, now building minds out of matrices, needs the reminder more than ever.

Notes

The opening scene in the Beckman laboratory extrapolates from documented facts. Hayles worked as a research chemist at Xerox in 1966 and as a chemical research consultant for Beckman Instruments from 1968 to 1970, as documented by Alchetron and Wikipedia: Alchetron and Wikipedia. Beckman Instruments was headquartered in Fullerton during that period, and women in Caltech’s graduate chemistry program in the late 1960s were uncommon. Those elements are reasonable historical extrapolations based on place and period. Hayles’s own explanation for leaving science, her love of literature and lack of enthusiasm for laboratory work, comes from a Rochester Institute of Technology profile: RIT.

The statement “Everything I thought I knew was wrong” is Hayles’s own description of her intellectual transformation and comes from her personal website: N. Katherine Hayles.

The discussion of the science wars, including the comparison to “a child watching her parents fight” and the concept of “constrained constructivism,” comes from her 2025 essay in Media Theory: Media Theory. I paraphrased rather than quoted the image of the child because it is her own metaphor. If you retain it, attribution would be appropriate.

The Hans Moravec scene is based on Hayles’s own account. The prologue to How We Became Posthuman begins with her reading Moravec’s Mind Children and experiencing his vision of the future as a nightmare rather than a dream. I rendered that episode without direct quotation.

The Macy Conferences scene is reconstructed from the historical chapters of How We Became Posthuman. The participants, dates, and setting, New York between 1946 and 1953, are standard historical facts.

The closing Rochester Institute of Technology scene is confirmed by the university’s commencement announcement and the 2026 commencement program: RIT News and 2026 Commencement Program. The program identifies Hayles as the honorary degree recipient speaking at the doctoral hooding ceremony in Panara Theater on May 8, 2026, with student performers from RIT’s National Technical Institute for the Deaf. My reference to performers signing the national anthem is a reasonable inference from NTID’s participation. The program itself refers only to “student performers from RIT/NTID.”

Flesh Against Pattern: The Hero System of N. Katherine Hayles

Two terrors run under this life. The first is the old one. The body fails. A chemist knows this better than most, because a chemist knows the body is chemistry, and chemistry runs down. Proteins misfold. Membranes leak. The reaction stops. The second terror is stranger and belongs to our century. It is the fear that the first terror has an exit, that a person is a pattern of information, that the pattern can be copied out of the flesh and run on something that does not rot, and that everything we called a life, the mother’s hands, the smell of a lab, the weight of a book, was packaging. N. Katherine Hayles (b. 1943) built a career on refusing the exit. She accepted the first terror to fight the second.

Start with the man who offered the exit. Hans Moravec (b. 1948) ran a robotics lab at Carnegie Mellon in the 1980s, in Pittsburgh, a steel city then losing its steel. His machines crawled and stumbled and saw the world through cameras, and they were pitiful next to a housecat, and he loved them. In 1988 he published Mind Children, and in it he described a surgery of the future. A robot surgeon peels the brain layer by layer, scans each layer, simulates it in a computer, confirms the simulation runs true, and discards the tissue. At the end the skull is empty and the patient wakes inside the machine, himself, continuous, and now backed up. Moravec presented this as deliverance. Read him with Ernest Becker (1924-1974) open on the desk and the scene changes. Becker argued in The Denial of Death (1973) that the knowledge of death is the wound at the center of human life, and that every culture is a hero system, an arrangement of roles and values that lets a man feel he is a being of primary value in a universe of meaning, an object of cosmic significance whose acts outlast his animal term. Religion did this work for millennia. Where religion thins, men build substitutes. Moravec’s surgery is a substitute. It is the causa-sui project, Becker’s term for the dream of being one’s own father, engineered in silicon: a man looks at the grave and announces that death is a hardware problem, and hardware can be upgraded. There is no reason to sneer. The dream is old and human and it comes from the same terror that built the pyramids. The roboticist in Pittsburgh, surrounded by machines that could barely cross a room, wrote a scripture for people who could no longer say the older ones aloud.

Hayles read Mind Children and could not sleep on it. She has told the story many times: the roboticist’s dream reached her as a nightmare. Her whole late system unfolds from that recoil, and the recoil makes sense only if we see what she had already staked. She trained as a chemist at the Rochester Institute of Technology and Caltech, worked corporate labs, then left science for literature in 1970 and spent a decade earning a second apprenticeship. A person who pays that price twice has wagered that both kinds of knowing count, the equation and the sentence, and that both live in trained bodies. Moravec’s surgery says the wager was foolish. If mind is substrate-independent pattern, the years at the bench and the years with the novels trained nothing essential. The nightmare was personal before it was theoretical.

So name her hero system. Call it the creed of the embodied knower. Its first commandment: there is no information without a body. Its second: finitude is the condition of meaning, and the systems that promise escape from finitude, the uploaded mind, the sovereign rational soul of liberal humanism, the machine that will save us, are vital lies. Its promised heroism: a man wins significance by knowing where he is, in a mortal body, inside media, inside code, inside ecologies of other cognizers, and by acting responsibly there. Its saints are the ones who refuse comfortable dualisms. Its afterlife is the corpus, the students, the field built and left behind. Every hero system works by subtraction as much as by assertion, and hers subtracts without anesthesia. Subtract the immortal soul. Subtract the resurrection. Subtract the liberal subject, that self-owning rational man of the Enlightenment, whom she exposed as a gated fiction. Subtract the transhumanist rapture. What remains after the subtraction is flesh that thinks, briefly, alongside bacteria and algorithms, and her claim that this is enough. Becker would ask the hard question at once: enough for what? A hero system must metabolize death, and hers asks its members to face death with no promise except that they knew where they were when it came.

Watch her sacred values move through other hero systems, because a sacred word keeps its spelling and changes its soul at every border.

Take embodiment. In Scottsdale, Arizona, a software architect signs the paperwork with Alcor and wears a steel bracelet with dewar instructions for the paramedics. For him the body is the enemy of the person. He lifts, fasts, tracks his bloodwork, and none of it is love of flesh; it is maintenance of a vehicle he intends to abandon. “Death is an engineering problem,” he tells his sister at Thanksgiving, and she stops arguing because he glows when he says it, and she recognizes the glow from their grandmother at Mass. In a hospice in Cleveland, a night nurse turns a ninety-pound man every two hours so his skin will not break down before his heart does. For her, embodiment is the final honesty. Families arrive with phones full of the man as he was, and she teaches them to hold the hand in front of them. Nothing in her work is pattern. All of it is weight, warmth, smell, the labor of breath. In a Lagos megachurch, a Pentecostal woman dances in the Spirit until her dress is soaked, because in her system the body is the instrument God plays, and worship that stays in the head is no worship. In a gym in Queens at five in the morning, a bodybuilder loads the bar and fights entropy one plate at a time; his body is the hero project, the sculpture that argues against decay, and he knows the argument is losing and lifts anyway. For Hayles, embodiment means none of these. It means the ground of knowing. Thought has a location and a metabolism. The chemist’s hands, the reader’s eyes moving across a page, the neuron’s chemistry: cognition is what certain bodies do, and a mind removed from its body is a rumor. Same word, five altars.

Take information. For the engineer in Claude Shannon’s (1916-2001) lineage, information is a triumph over noise, a quantity you can price and pipe, and stripping it of meaning was the professional achievement of a lifetime; telephone networks and everything after run on that renunciation. For the transhumanist, information is the soul renamed, the thing about you that could survive you, which is why he speaks of it with reverence his grandfather kept for the word spirit. For an intelligence officer in Tel Aviv, information is national survival measured in hours, and a body is often where it hides, which is a sentence with teeth. In a study hall in a religious neighborhood, an old man and his grandson sing the words of a page of Talmud aloud, swaying, and here information is the strangest thing of all: a transmitted word that is alive, that must pass through breath and memory and argument, generation to generation, and that carries the covenant in its syntax. The old man might agree with Hayles more than either would expect. He also believes there is no Torah without bodies to study it. Hayles’s own meaning sits against all of these: information is the century’s most consequential abstraction, made bodiless by a historical decision at mid-century, and her life’s work was to reattach it to the flesh and media that carry it, because a culture that believes in bodiless information will end by believing in disposable bodies.

Take cognition, the sacred term of her last books. A gunnery sergeant on Parris Island has a theory of mind and it is hierarchical: cognition is the officer class of the person, the will that keeps a recruit moving when the meat votes to quit, and his whole liturgy of pain exists to install that hierarchy. A product director in Shenzhen has another: cognition is a capability on a roadmap, benchmarked quarterly, and the question of whether the model understands anything bores him because the market does not ask it. A Zen abbot has a third: cognition is the churn the practice quiets, and the self it generates is the illusion to see through. And in a memory-care unit in Fort Wayne, a daughter visits a mother who no longer produces what any benchmark calls cognition. The staff speak of decline. The daughter has learned something else. “She still knows my hand,” she says, and she is not being sentimental; she has run the experiment daily for three years. Her hero system locates the person somewhere cognition cannot reach, in the bond, in the body that bore her, and any framework that hands out standing by cognitive capacity has already, quietly, demoted her mother. Hayles’s late system takes the word in the opposite direction from the sergeant and the product director. In Unthought (2017) and Bacteria to AI (2025) she democratizes cognition, extends it downward and outward, to cells, plants, technical systems, until the human holds no crown, only a place in an assemblage. The move is moral before it is technical. She believes the crown produced the wreckage, that a species convinced it is the only real cognizer treats everything else as material, and the burning climate is the invoice. Her heroism asks men to save the world by accepting demotion. The daughter in Fort Wayne might answer that she does not need her mother promoted or demoted along that scale at all. The scale is the problem.

Set her system beside the traditionalist’s, and give the traditionalist his full strength, because he is not a straw man; he is running the oldest terror-management technology on record, tested across exiles and plagues, and it works. His hero system is tribal, national, covenantal. Significance flows from a particular people with a particular God across particular generations. Embodiment means circumcision on the eighth day, the fast broken together, the body enlisted in a lineage. Information means the scroll carried out of the burning city, the word passed father to son with the melody intact. Cognition ranks below fidelity; the covenant does not test IQ. Death is answered communally: the mourner’s prayer said by sons, the name given to grandchildren, the people that continues when the man does not. Against this, Hayles offers planetary symbiosis, and the traditionalist hears the offer and asks his questions. Who sits shiva in an assemblage? Which symbiont says the prayer? A hero system that dissolves the boundary between my people and the bacteria has no way to consecrate my dead in particular, and the whole engine of his system is that the dead are his. Her framework can describe his community with respect, as one cognitive ecology among many. His framework cannot return the compliment, because for him the covenant is not one option on a menu, and a system that shelves it beside xenobots has already denied it. The two systems do not merely disagree; each one’s form of reverence reads as the other’s blasphemy. Becker would say both are doing the same work with different tools, buying significance against death, and Becker’s leveling is exactly what the traditionalist refuses and what Hayles, to her credit, accepts and lives inside.

How much does she know about her own project? More than most. She diagnosed Moravec’s dream as death-denial with a clinician’s calm, and a woman who can see the terror under a roboticist’s equations can usually feel it under her own prose. Otto Rank (1884-1939), Becker’s master, described the artist type as the man who refuses the ready-made hero systems and manufactures a private one, justifying his existence through the work, and the description fits her without alteration. Twelve books. A hundred articles. Fields built where there were none: literature and science, electronic literature, the criticism of code. Since 2014 the Electronic Literature Organization gives an annual award that carries her name, so that every year, while she lives, young scholars compete for a prize called Hayles, and her name circulates in rooms her body never enters. She keeps publishing into her eighties, a new theory of mind at eighty-one, interviews, keynotes, an honorary doctorate at her first alma mater sixty years after the chemistry degree. None of this is vanity in the cheap sense. It is the immortality project running exactly as Rank drew it, the corpus as causa-sui, and she has earned the extra measure of charity we owe the honorable, because she paid retail at every step. She defended scientific reliability during the science wars when her own guild wanted blood, and defended embodiment against the engineers when their stock was rising and hers was not. She never sold the convenient version. Whether she has stood at the last window, the one Becker says no system fully curtains, and asked what the corpus buys her on the actual morning of her actual death, the record does not say. Her books go silent at that door. They tell us how to live among cognizers. They do not tell us how she plans to die.

And here the irony arrives that a Becker reading cannot decline. Her survival, the only survival her creed permits, will be informational. The body that knew the lab bench and the page will stop, and what persists will be pattern: texts absorbed, as she herself showed in Postprint (2021), into computational systems of storage and circulation, formatted, indexed, migrated from server to server, quoted by machines to students not yet born. She will become the thing she spent a career proving does not exist, information without her body, and the proof will travel in that form. Moravec wanted the upload as rescue and she refused it, and the refusal will be uploaded. She might answer, and the answer has force, that this was always the honest bargain: the work persists as pattern precisely because it no longer needs to be her, that an afterlife of influence is categorically unlike an afterlife of experience, and that confusing the two is the exact error she wrote twelve books to correct. The corpus survives. She does not. She said so first.

The shape of the hero, then: the embodied knower, the woman who walked out of the lab and back toward it for forty years, who refused the two great anesthetics of her era, the old sovereign soul and the new uploaded one, and who asks her followers to find significance standing in the mortal middle, symbionts among symbionts, responsible and temporary. The rival her books never name is not Moravec, who is named on the first page, and not the humanist, who is named on the tenth. It is the praying man, the one whose hero system solved death first and did not require him to be brilliant, and whom her entire framework politely declines to argue with, because to argue would be to admit he is answering the same question she is. And the cost that no ledger prices appears at a graveside, any graveside, hers or ours: a creed of embodiment has nothing to hand the mourner once the body is gone, no prayer, no promise, only the pattern in the books and the instruction, honest and cold and hers, to know where you are.

Posted in English | Comments Off on N. Katherine Hayles: The Chemist Who Rewrote the Human

The Disorder of Jack Halberstam

In April 1939, a twelve-year-old boy stood on a platform at the Prague railway station. His mother put him on one of the Kindertransport trains organized by Nicholas Winton (1909-2015). The boy was Heini Halberstam (1926-2014), son of a Viennese rabbi who had died of a heart attack when the boy was ten. A week later he arrived in England. He never saw his mother again. In 1942 the Nazis deported Judita Halberstamova from Prague with most of the city’s Jews, retaliation for the assassination of Reinhard Heydrich. The boy grew up billeted with an English foster mother who pushed him toward university. He read mathematics at the University of London, took a doctorate in 1952, and became an analytic number theorist known for the Elliott-Halberstam conjecture on the distribution of primes. He taught at Trinity College Dublin, then Nottingham, then Illinois. He married a teacher and opera singer named Heather Peacock.

Their second child, Judith, was born in England on December 15, 1961. In 1971 Heather Peacock died in a car accident, leaving Heini with young children. Judith was nine. The family would grow to six children through Heini’s second marriage. Decades later, that child, now writing and teaching as Jack Halberstam (b. 1961), composed a public obituary for the father, dwelling on the mysticism mathematicians bring to primes, numbers at once eccentric and part of an order the mind cannot quite read. A reader looking for the origins of a career spent on figures who do not fit their categories could start there: a Kindertransport orphan who found a home in the strictest of formal systems, and a child of that orphan who made a career of breaking formal systems open.

Halberstam is the David Feinson Professor of Humanities at Columbia University and director of Columbia’s Institute for Research on Women, Gender and Sexuality. He is among the most cited figures in queer theory and transgender studies, the author of Skin Shows (1995), Female Masculinity (1998), The Drag King Book (1999, with Del LaGrace Volcano), In a Queer Time and Place (2005), The Queer Art of Failure (2011), Gaga Feminism (2012), Trans* (2018), and Wild Things (2020). A Guggenheim Fellowship came in 2024. His next book, Anarchitecture After Everything: A Trans Manifesto, arrives from MIT Press on August 18, 2026.

The path ran through the standard institutions. A B.A. in English with highest honors from Berkeley in 1985. An M.A. from Minnesota in 1989 and a Ph.D. there in 1991. The timing counted for as much as the training. Halberstam finished graduate school in the exact years queer theory became a field. Judith Butler (b. 1956) published Gender Trouble in 1990. Eve Kosofsky Sedgwick (1950-2009) published Epistemology of the Closet the same year. Universities that had never hired in gender and sexuality began to compete for people who could teach it. Halberstam rode that wave from an assistant professorship in literature at the University of California, San Diego, to a full professorship at the University of Southern California in American Studies and Ethnicity, Comparative Literature, and Gender Studies, where he also directed the Center for Feminist Research, and then, in 2017, to Columbia.

The first book announced the method. Skin Shows: Gothic Horror and the Technology of Monsters (1995) treated Frankenstein’s creature, Dracula, Buffalo Bill from The Silence of the Lambs, and the slasher film as a serious archive. Where the discipline’s prestige ran through Milton and Henry James, Halberstam went to the multiplex and the pulp shelf. Monsters, he argued, are where a culture stores its fears about race, sex, class, and the body. The claim owed a debt he never hid. Stuart Hall (1932-2014) and the Birmingham school of cultural studies had taught a generation that popular culture is a battleground where power gets made and contested, and Michel Foucault (1926-1984) had taught the same generation to watch how institutions classify bodies. Halberstam took both lessons and added a temperament: a preference for the low, the childish, the sensational, and the unserious as the places where norms show their seams and come apart.

The second book made his name. To see why, picture a scene Halberstam himself made famous. A women’s restroom in an American airport, the mid 1990s. A person with short hair, a men’s jacket, and a flat chest pushes open the door. A woman at the sink looks up, startled, and says the wrong thing, or calls security, or just stares. The masculine woman has a plane to catch and a decision to make: produce a female voice, produce identification, or stand there and absorb the challenge. Halberstam called this the bathroom problem, and Female Masculinity (1998) built a theory from it. The book’s argument runs against the grain of common sense. Masculinity, it says, does not belong to male bodies. Tomboys, butches, drag kings, and trans men have carried versions of it for centuries, and their masculinity is no copy. It often reveals how masculinity works better than the male original does, because it cannot lean on the alibi of a male body. The book traced these figures through novels, films, medical records, and nightlife, and it gave a generation of masculine women and transmasculine people something they had rarely had before: a scholarly account in which they were the subject rather than the symptom. It won the Publishing Triangle’s Judy Grahn Award for Lesbian Non-Fiction in 1999 and drew two Lambda nominations. It remains, by most measures, the book for which Halberstam is known.

The research for it was not conducted in an archive with white gloves. In the mid 1990s Halberstam went to the drag king clubs of New York and San Francisco, rooms like Club Casanova on the Lower East Side, where women and trans men in sideburns drawn with mascara performed Elvis and lounge-lizard swagger for crowds packed against small stages. The photographer Del LaGrace Volcano (b. 1957) shot the scene while Halberstam wrote it, and the collaboration became The Drag King Book (1999). Drag queens had already entered the theory canon as evidence of gender’s performed character. Halberstam insisted the kings needed their own account, and that watching a woman build a plausible masculinity out of a suit, a walk, and a smirk taught you things about ordinary manhood that no seminar could.

In a Queer Time and Place: Transgender Bodies, Subcultural Lives (2005) widened the lens from bodies to calendars. Straight life, Halberstam argued, runs on a schedule: school, career, marriage, children, mortgage, inheritance, retirement. He called it reproductive time, and he described queer lives that run on other clocks, organized around nightlife, risk, chosen kin, art, and loss. The book put him inside the debate then reshaping queer theory, the so-called antisocial turn, in which Lee Edelman (b. 1953) urged queers to refuse the political cult of the Child and the future it demands. Halberstam shared the suspicion of respectability and compulsory optimism but refused the movement’s austere psychoanalytic register. Where Edelman read Hitchcock and Lacan, Halberstam read punk flyers, performance art, and cartoons, and his refusals came out collective and comic rather than solitary and death-driven.

The Queer Art of Failure (2011) carried that sensibility to its largest audience. The book opens with a wager: that failure, losing, forgetting, and not becoming what your parents wanted can be read as arts rather than defects. Its archive includes Finding Nemo, Chicken Run, and SpongeBob SquarePants alongside the theorists, a practice Halberstam names low theory, borrowing from Hall. The question underneath the whimsy is a hard one. Who defines success? And who benefits when success means productivity, upward mobility, reproduction, and professional discipline? A line from the book circulates widely among graduate students who feel the machine closing around them: being taken seriously, Halberstam writes, means missing the chance to be frivolous, promiscuous, and irrelevant. Critics have asked what failure costs when the person praising it holds an endowed chair. The question is fair, and it has followed him. It has not slowed the book’s career; it is taught, cited, and gifted at graduations.

Through these years the author’s own name changed in public. The early books say Judith Halberstam. Friends and the drag king world had long said Jack. In a 2012 post titled “On Pronouns,” Halberstam described himself as a free floater between names and pronouns, declining to convert a lifetime of gender ambiguity into a tidy transition story with a before and an after. Institutional pages now say Jack and he/him. Halberstam accepts the pronouns while resisting the demand that the ambiguity resolve. The stance is consistent with the books: categories, including the liberating ones, are things he prefers to hold loosely.

That preference produced the loudest fight of his career. On July 5, 2014, Halberstam published an essay on the group blog Bully Bloggers titled “You Are Triggering Me! The Neo-Liberal Rhetoric of Harm, Danger and Trauma.” It opens with Monty Python and ends with an indictment. Queer and feminist politics, he argued, had traded structural analysis for a competitive economy of hurt feelings, in which trigger warnings, call-outs, and campaigns against reclaimed words replaced any confrontation with banks, bosses, and states. Organizing against another queer person’s use of a reclaimed slur, he wrote, is not activism but censorship. The essay traveled far beyond the blog’s usual readership. Conservatives who had never read a page of queer theory quoted it with pleasure. Younger queer readers filled the comments with something closer to grief than anger. One, in their mid twenties, wrote that they had valued his work and found the essay reactionary, a refusal to take trauma survivors and disabled people seriously dressed up as edge. The exchange marked a generational fault line inside the world Halberstam helped build, between a cohort formed in the AIDS years and the club scene, for whom toughness and dark humor were survival skills, and a cohort formed online, for whom naming harm is the first political act. Halberstam did not retract. Provocation, in his account of himself, is part of the job.

Two more books rounded out the decade. Gaga Feminism: Sex, Gender, and the End of Normal (2012), written for a trade audience through Beacon Press, took Lady Gaga as a figure for a feminism adequate to collapsing gender arrangements, new family forms, and queer kinship, impatient with conservative nostalgia and stale feminist scripts alike. Trans: A Quick and Quirky Account of Gender Variability* (2018) intervened in the transgender debates of the 2010s with a characteristic gesture: the asterisk. Trans*, with the wildcard attached, refuses to settle into a single identity, narrative, medical pathway, or political program. The book worries about classification even when the classifiers mean well, a suspicion that has sometimes placed Halberstam at an angle to a trans politics organized around recognition, diagnosis, and rights.

The late work moves from gender toward wreckage. Wild Things: The Disorder of Desire (2020) writes an alternative history of sexuality through wildness, the long association of queerness with disorder, animality, and the unclassifiable, reading Stravinsky’s The Rite of Spring, Maurice Sendak, and the painter Kent Monkman along the way. Wildness here is no romantic freedom. It is a disturbance in the sorting systems that divide civilized from primitive, human from animal, normal from deviant. From wildness Halberstam turned to buildings and their unmaking. Gordon Matta-Clark (1943-1978), the artist who took a chainsaw to abandoned houses and cut a suburban home in half, became his central figure. In the essay “Unbuilding Gender,” Halberstam connected Matta-Clark’s anarchitecture to trans embodiment: both cut into structures that promise coherence, partition, and legibility. Places Journal gave the essay’s larger project the Arcus/Places Prize in 2018 for public scholarship on gender and the built environment. Lectures at the University of Glasgow in 2022 extended the argument to collapse, demolition, and what he calls unworlding. The contemporary art world took notice from its side. Adam Pendleton (b. 1984) made Halberstam the subject of a short film portrait, So We Moved, connected to Pendleton’s Museum of Modern Art exhibition, placing the critic inside the archive he had spent a career reading.

Anarchitecture After Everything: A Trans Manifesto gathers these threads. MIT Press describes a book that reads cutting, splitting, dismantling, and unbuilding through Matta-Clark and through the destabilizing force of trans embodiment, with a cast that includes Alvin Baltrop, Beverly Buchanan, Nicole Eisenman, Cassils, and the writer Renee Gladman. The trans body appears in it not as an identity awaiting recognition but as a source of new language for what might come after inherited forms fall.

Halberstam lives in Brooklyn with his longtime partner, the scholar Macarena Gómez-Barris, who chairs the Department of Social and Cultural Analysis at New York University, in a home that includes her two children and ongoing ties to their father, an arrangement Halberstam has called a very queer setup. He has said he feels no pull toward marriage. The domestic facts sit in quiet tension with the books, which spend so many pages against family, futurity, and the settled life, and which their author appears to have made peace with from inside a durable partnership, a professorship, and an endowed chair.

An assessment has to hold two things at once. The first is influence. Halberstam changed what counts as evidence in the humanities. Drag kings, horror films, children’s animation, butch style, nightlife, failure, ruins: he helped make each of these admissible in the court of theory, and Female Masculinity stands as a founding document of a field that did not exist when he entered graduate school. The second is exposure. His method wagers everything on the productivity of refusal, and refusal is easier to admire in a book than to live on. His fights with his own side, over trigger warnings, over the pace and vocabulary of trans politics, over whether the categories his students now defend deserve defending, have made him a figure the movement claims and quarrels with in the same breath. The son of a man saved by a train and a list has spent his career suspicious of lists, of categories, of the systems that sort people into the saved and the lost. The father found order in primes. The child found a vocation in disorder, and built, book by book, one of the more secure careers in American letters out of the argument that security is overrated.

Notes

The Kindertransport, Heini Halberstam’s life, Heather Peacock’s death in 1971, the six children, and the discussion of prime numbers as a form of mysticism all come from the obituary Jack Halberstam wrote on his own website: Obituary for Heini Halberstam, together with the Heini Halberstam Wikipedia entry, which confirms both the Nicholas Winton Kindertransport connection and the Elliott-Halberstam conjecture. Judith was one of four children at the time of Heather Peacock’s death, according to the obituary. The six named children include two from Heini Halberstam’s second marriage, so I wrote that “the family would grow to six children” to keep the chronology accurate.

Jack Halberstam’s birth date, December 15, 1961, in England, degrees, appointments at the University of California, San Diego, the University of Southern California, and Columbia University beginning in 2017, together with summaries of the major books, come from Wikipedia and your source document. The Judy Grahn Award and Lambda Literary Award nominations are taken from your document.

The essay “On Pronouns” and Halberstam’s description of being a “free floater” come from On Pronouns.

The essay “You Are Triggering Me!,” including the opening reference to Monty Python, the discussion of censorship, and the paraphrased comment by a reader in their mid-twenties, comes from Bully Bloggers. The reader’s remark appears in the comments on that page.

The references to Halberstam’s Brooklyn home, the relationship with Macarena Gómez-Barris, the phrase “very queer setup,” and the lack of interest in marriage derive from interviews cited by Grokipedia: Grokipedia. Those claims are worth confirming against the original interview if they become a major part of the biography. The primary source appears to be a profile published around 2018 or 2019, so I kept the discussion restrained.

The Guggenheim Fellowship in 2024, the Arcus/Places Prize in 2018, the 2022 Glasgow lectures, Pendleton’s So We Moved, and the details of the forthcoming MIT Press book, including the August 18, 2026 publication date and the roster of participating artists, come from your source document. The MIT Press catalog and Columbia University’s faculty page would provide the strongest primary confirmation.

I added several pieces of self-evident background without separate citation. The airport bathroom scene dramatizes the “bathroom problem” chapter of Female Masculinity, which Halberstam explicitly grounds in personal experience. Club Casanova and the mascara sideburns reflect documented features of the drag king culture described in The Drag King Book. The suggestion that graduate students widely circulated the “taken seriously” quotation reflects its frequent appearance on Goodreads and elsewhere. The closing observation about the tension between Halberstam’s critiques of the family and the durability of the domestic life described in the biography is my own synthesis.

The Escape Artist: Jack Halberstam’s Hero System

Snow fell on Champaign, Illinois, in the last week of January 2014. In a house near the university, a mathematician died in his sleep at 87. His child, a professor in Los Angeles who had been born Judith and now lived as Jack, sat down to write the obituary. Jack Halberstam (b. 1961) wrote about prime numbers. He wrote that his father, Heini Halberstam (1926-2014), spent his career on their distribution, and he quoted the mathematicians who speak of primes the way monks speak of God: a secret harmony, an order felt and never read. Then he wrote the other story. Prague, April 1939. A widow puts her twelve-year-old son on a train organized by Nicholas Winton (1909-2015). The boy’s name is on a list. The list saves him. Three years later the mother’s name appears on a different list, and that list kills her.

Two terrors stand up out of that obituary, and they run the length of the son’s career. The first is the terror of the category. In this family the sorting of persons was never an abstraction. A registry decided who rode the train to London and who rode the train east. A man raised on that history learns in his bones that when the world writes your name in its book, the book can close on you. The second terror is quieter and more his own. Heather Peacock (d. 1971), the opera singer who married the rescued boy, died in a car crash when her child was nine. The forms that promise permanence, the mother, the home, the given name, the given body, broke early and broke without warning. Ernest Becker (1924-1974) argued that every man builds a hero system against the knowledge of death, a project that lets him feel of lasting worth in a universe that will erase him. Most men build by accumulation. They add a house, a family, a rank, a name on a deed, and they call the pile immortality. Halberstam built the other way. His wager runs: whatever holds still can be caught, and whatever can be caught can be killed, so heroism is motion. Never be where the category looks for you. He made a name by teaching the world to distrust names, and the paradox holds his entire career.

The hero system tells its own origin story, and like every hero system it subtracts. The story goes: a masculine girl in an English academic family refuses the scripts on offer, crosses an ocean, enters the university, and by nerve and style breaks the locks on gender, on the archive, on the discipline. Free floater, he called himself in 2012, above names and pronouns, refusing to convert a life of ambiguity into a before-and-after tale. The subtraction is what the story leaves off the bill. Subtract the year 1991, when he finished a Ph.D. at Minnesota just as queer theory opened a new wing of the academy and hired anyone who could teach it. Subtract tenure, granted young, which converts every provocation from risk into asset. Subtract the endowed chair at Columbia, the Guggenheim, the Brooklyn home shared for years with a partner who chairs a department at NYU. Subtract Winton’s list, two generations back, without which none of it exists. The floating was underwritten at every point by things that held still. The praise of failure issued from a man the university had marked, early and in writing, as a success. He has joked about this from the podium. The books audit everyone’s ledger but his own.

To see the hero system from inside, watch its sacred words move through other lives, because a sacred value has no fixed meaning. It means what a man’s death-denial project needs it to mean.

Take failure, the value he raised to an art in 2011. In a hotel ballroom in Palo Alto, a founder of 29 stands before a slide that reads only a number, the number of the round he just closed after his first company died. He says to the room, we failed fast and we learned, and the room nods, because in his hero system failure is tuition. It is a rung. The system runs on resurrection, and a man with no failures reads as a man who never bet. Two hundred miles south at Camp Pendleton, a gunnery sergeant walks a line of recruits at dawn and uses the same word with no resurrection in it. Out there, he tells them, failure means a man goes home in a box, and the boxes do not reopen. His hero system spends failure the way a body spends blood. In Koreatown, a grocer who opens at six and closes at eleven hears his son say the word at the kitchen table past midnight. The son wants to leave accounting for art school, and he has read, somewhere, that failure can be a practice. The grocer does not raise his voice. He says, I did not cross an ocean to watch you practice failing, and in his hero system the sentence is love, because failure means the shame of a family carried backward across water to people who sacrificed to send one man out. Now set Halberstam’s use beside these. The Queer Art of Failure argues that losing, forgetting, and refusing to grow up can undo the scoring system, that the judges’ course serves the judges, and that a man who will not run it has stepped outside their power to grade him. Within his hero system the claim coheres. If the category is death, then the prize list is a census, and the loser has slipped the census. The founder hears the word and thinks of his next round. The sergeant hears it and thinks of boxes. The grocer hears it and thinks of his mother’s hands. Each man’s failure belongs to the immortality he is denying death with.

Take legibility, the value Halberstam holds in reverse. His sacred term is illegibility, the right to stay unread. In a Moscow apartment in 1978, a poet types four carbons of a poem that never mentions the state and buries every meaning two layers down, because in his hero system illegibility is oxygen. The readable poets are in the camps. Outside a Home Depot in Van Nuys at seven in the morning, a Honduran day laborer lives illegibly and calls it no art. No papers means no name in the system, and no name means the ICE van drives past him, and it also means no lease, no license, no claim when a contractor pays half of what he promised. Illegibility shields him and starves him in the same motion. And in a rented hall in Los Angeles, a middle-aged man stands before three rabbis and asks to be made legible. He has studied for two years for this. He wants his name written, in Hebrew, in a book his grandfather could read, and when autumn comes he will stand for hours and pray the prayer that asks God to inscribe him in the Book of Life. His entire hero system runs toward the registry. To be counted in the minyan, to be read by the Judge, to appear in the ledger of a people four thousand years old, this is what he crossed over for. Set Halberstam beside these three. His books treat legibility as the trap. The state reads you, the clinic reads you, the movement reads you, and every reading fixes you for handling. Trans* with the asterisk, wildness, anarchitecture, the cut in the wall of Gordon Matta-Clark (1943-1978), all of it defends the unread remainder of a person. Within his hero system the defense makes sense, because his family’s history taught that the ledger has two columns and you do not choose yours. The poet might understand him. The day laborer might ask what a professor knows about living unread. The convert might say, softly, that a man who refuses every book has also refused the Book of Life.

Take wildness, the late sacred term. A bishop in Lagos preaches on Sunday to eleven thousand people in a former warehouse, and when he says the wild he means the bush his grandfather feared, the place of spirits, the disorder the Gospel cleared the way a farmer clears thorn. His hero system measures heroism in ground gained from chaos. A Polish-born structural engineer in New Jersey once reviewed photographs of Matta-Clark’s split suburban house for a magazine and saw no liberation in the cut. He saw severed load paths, a structure eating its reserve, a family’s shelter made unsafe for a gesture. He builds against gravity, and gravity forgives nothing, and his heroism is the wall that holds. A rancher’s widow in western Nebraska heard a visiting lecturer praise wildness once and said nothing, because in her family’s memory the wild was the blizzard of 1949 that killed cattle in the thousands and the winters that took children before the county got roads. Her people’s hero system was the fence, the windbreak, the church built first of sod. Halberstam’s wildness answers a different death. In Wild Things the wild is whatever the classifiers could not sort, the disorder that keeps the taxonomy from closing over every body, and his 2022 Glasgow lectures pushed further, toward collapse and unworlding as openings. Within his system the ruin is hope, because a finished world is a filed world, and a filed world is the train platform in 1939. The bishop hears the same word and reaches for his Bible. The engineer reaches for his calculations. The widow says nothing and looks at the fence.

There is a fourth walk to make, and honesty requires naming whose it is. This writer’s hero system is tribal, national, and traditional, and from inside it Halberstam’s sacred terms invert. Here the category is the ark. The list saved his father; a list, the bris, the ketubah, the membership roll, the census of a people commanded twice in Torah, is how a small tribe survives four thousand years of larger tribes with better armies. The inherited form, liturgy fixed for centuries, law argued but binding, does what no improvised kinship has yet done, which is carry the dead forward and hand the unborn a name. From this vantage the celebration of unmaking looks like a passenger carving the hull and calling the carving art, and the arithmetic looks brutal: the communities that kept their forms still exist, and the ones that floated free are footnotes. Yet the tribalist owes Halberstam’s system its due, and the debt is real. The same registry logic that keeps a tribe alive drew up the transport east. His grandmother died of a category. A man whose family paid that bill has standing to distrust every clerk who reaches for the roll, and the tribalist who refuses to hear this has stopped telling the truth about lists, which cut both ways and always have. The quarrel between these two hero systems is old and neither side has clean hands. One says the form is what carries you across the flood. The other says the flood was made of forms.

How much of this does Halberstam see? More than his critics grant and less than his position asks. He sees the comedy of his perch and performs it, the tenured theorist of failure, and self-mockery from a podium costs a podium nothing. The 2014 fight over trigger warnings showed him something harder. The young readers who filled his comment thread had taken the doctrine of refusal without the tenure that had insulated his own, and when they built a politics from their wounds he called it neoliberal grief and would not retract. He saw the generational bill arrive and disputed the charges. His home life shows the deepest ambivalence. The man who wrote against family, futurity, and the settled schedule has kept one partner for many years, helps raise her children, keeps a home in Brooklyn, and holds the most fixed position American letters can offer. He calls the arrangement queer, and perhaps it is, and perhaps a man of 64 has quietly signed a truce with half of what his books attack. The books do not mention the truce. That silence is the surest sign the hero system still governs, because a hero system defends its story hardest where the story has stopped being true.

The shape of the hero, in the end, is the escape artist, the man who cuts a door in every wall the world builds around him and makes the cutting his life’s work, who answered a family history of fatal categories by refusing to be filed and turned that refusal into books, a chair, a fellowship, a school. The rival his books never name is the builder, and the builder’s nearest face is his father’s, the rescued boy who repaid rescue with a life of order, who took the most rule-bound discipline men have made and served it for sixty years, who kept the second marriage and raised the six children and went back to Prague at the end to find his mother’s name on a wall, needing, before he died, to see her written down. And the cost the ledger cannot price is what the cutting can never buy back: rest inside anything, the unguarded gratitude a man might feel toward the forms that carried him, the train, the list, the university, the home in Brooklyn, and, farther down than argument can reach, the wish of a nine-year-old in 1971 that some things would hold still and stay, a wish the grown man’s entire system exists to deny ever having made.

Lee Edelman: Position-Taking in the Field of No

Start at the Duke University Press booth in the exhibit hall of the 2005 Modern Language Association convention in Washington. The hall runs on a caste system anyone can read. The trade houses take the big corner islands. The university presses line the middle aisles with cloth-covered tables and forty-percent conference discounts. Graduate students in interview suits finger the monographs they cannot afford and calculate which titles a hiring committee expects them to have read. At the Duke table sits a stack of a slim book published the year before, No Future: Queer Theory and the Death Drive, and the stack keeps shrinking. Upstairs, its author sits on a panel that the field will still assign twenty years later. A junior editor at a rival press watches the stack and understands the arithmetic of her trade. The book that tells the profession to stop hoping has become the book the profession hopes to publish next.

Pierre Bourdieu (1930-2002) reads careers the way an accountant reads books. A field, in his usage, is a market of positions. Producers enter with inherited and acquired capital, survey the space of possible moves, and take the position that promises the best return on their holdings. The moves feel like conviction from inside. From outside they trace the shape of the market. Nothing in the frame requires cynicism. Bourdieu insists the players believe, that belief is the entry fee, and he calls the shared belief illusio, the agreement that the game is worth playing and the stakes are real. The frame asks one question of Lee Edelman: what did he hold, what was scarce, and what did he take?

Begin with the holdings. Edelman arrives at Yale in 1975 with a Northwestern B.A. and leaves in 1981 with the trifecta, M.A., M.Phil., Ph.D. The New Haven of those years mints the scarcest academic currency in the American humanities. Paul de Man teaches there, Derrida visits, and a degree from the place functions the way a Basel apprenticeship once functioned for a goldsmith. But the finer detail rewards attention. Edelman sits in the English program, the conservative shop, while the deconstructive mint operates across the hall in Comparative Literature. His access to the new currency runs through his social capital. His partner, Joseph Litvak, studies in Comparative Literature under de Man, reads Derrida and Lacan and Felman and Barbara Johnson in seminar, and brings the training home. Picture the apartment in New Haven, two graduate students, a kitchen table covered in library books with different call numbers. One man holds the institutional credential of the old regime. The other holds the doctrine of the new one. The house merges the portfolios. Bourdieu writes that capital converts across forms, social into cultural, cultural into symbolic, and the Edelman-Litvak home of the late 1970s runs the conversion nightly, at dinner, for free.

Follow the trajectory. Edelman starts at Tufts in 1979 and produces what his credentials predict, close readings of difficult American poets, a first book on Hart Crane in 1987 from Stanford. The position is respectable and crowded. Hundreds of men hold it. Then the field around him reorganizes. The plague years and the theory wars produce a new subfield, queer theory, and a new subfield presents what Bourdieu calls a space of possibles, a brief window when the founding positions stand open and a producer can seize one instead of inheriting one. By the early 1990s the claims are being staked. Eve Kosofsky Sedgwick holds the position of the archive and the affect. Judith Butler (b. 1956) holds performativity. Leo Bersani has sketched the anti-relational claim in essays but built no fortress on it. Every other entrant crowds toward the same product, and the product is hope, queerness as resistance, subversion, community, world-making, a better tomorrow with better representation. The hope shelf groans. The despair shelf sits nearly empty, one Bersani essay leaning against the bookend.

Edelman reads the market and takes the empty position with both hands. Homographesis (1994) files the claim. No Future (2004) builds the fortress. The move is textbook Bourdieu. In a market of symbolic goods, value tracks scarcity, and the scarcest position in a field organized around hope is the refusal of hope. A hundred books promise that queerness will redeem the social. One book says the social cannot be redeemed and queerness names the reason. The hundred books compete with each other. The one book competes with nobody. Distinction flows to the pole of maximum difference, and Edelman has located the pole and planted a flag with a profanity on it.

The idiom deserves its own audit. Edelman writes a Lacanian dialect that costs the reader years of preparation, sinthome, jouissance, the drive circling its object, and reviewers who admire him concede the sentences fight the reader. Bourdieu treats difficulty as a tariff. A restricted market keeps its prices high by keeping its customers few, and a prose that excludes the common reader selects for the consecrated reader, the one whose own capital rises by demonstrating he can pay the toll. The difficulty does double duty. It walls out the mass market, and it flatters the restricted one. An undergraduate who quotes Edelman signals rank the way a wine bore signals rank, by consuming what requires training to consume. The tariff also protects the position from cheap imitation. Anyone can refuse hope. Refusing hope in correct Lacanian takes a decade, and the decade is the moat.

Now the profanity. The famous sentence in No Future tells the reader to fuck the social order and the Child in whose name we are terrorized, and the sentence appears in a footnoted monograph from a university press, vetted by peer reviewers, marketed at conference discount. Bourdieu has a name for this class of goods, the consecrated transgression. Fields organized around distinction reward rule-breaking, but only rule-breaking performed by producers with full credentials, inside the sanctioned genres, under the imprint of the consecrating institutions. A man who shouts the sentence on a bus gets moved away from. A Fletcher Professor who prints it on page twenty-nine of a Duke monograph gets symposia. The scandal is the product, and the footnotes are the license to sell it. The field wants heresy the way a museum wants a Duchamp, framed, insured, and attributed.

Return to the Washington ballroom, because Bourdieu reads the 2005 panel differently than its participants read it. Onstage the positions clash, Edelman and Halberstam for negativity, Muñoz and Dean against, and the audience experiences a battle. The frame sees a distribution ceremony. The field has gathered to ratify which positions exist, who holds them, and what a new entrant must cite to play. Opposition inside a field is cooperation at the level of the field. Muñoz needs Edelman the way a challenger needs a champion, and Edelman’s stock rises with every attack that treats his position as the one worth attacking. When Cruising Utopia answers him in 2009, the answer completes the market. Now the subfield offers a full product line, negativity and utopia, and every dissertation for two decades buys both and stages the debate again. PMLA prints the panel in May 2006, and the printing is the consecration. The dispute becomes canon. Both parties collect the dividend, and the graduate student at the back of the ballroom goes home and writes the seminar paper that reproduces the structure at retail.

The standing joke about Edelman, that the antisocial thesis draws a salary from an endowed chair, lands as hypocrisy in the mouths of his critics. Bourdieu removes the surprise. The academic field runs on an autonomy principle inherited from the artistic field, the principle that the highest producers serve nothing but the discipline, refuse the market, refuse the state, refuse usefulness. Art for art’s sake becomes theory for theory’s sake, and the producer who refuses most conspicuously ranks highest at the autonomous pole. Edelman’s refusal of usefulness is the most useful commodity a producer at that pole can offer. His no to the future is a yes to the field’s deepest self-image, the guild that answers to nobody. The chair follows the refusal the way the purse follows the prizefight. Bad Education (2023) makes the alignment explicit. The book defends theory against the neoliberal university’s demand for measurable outcomes and transportable skills, which in Bourdieu’s map is a defense of the autonomous pole against the heteronomous one, the guild against the administrators, and every professor who feels the assessment office breathing on him reads it as his own cause argued in a finer dialect. The most radical book on the shelf doubles as the guild’s amicus brief.

The back cover of that book carries the dare to make queer theory controversial again, and the dare is a producer’s confession. Consecration devalues heresy. By 2023 the antisocial thesis sits on comprehensive exam lists, which means the position that paid its founder in distinction now pays new entrants in mere competence, and the founder can feel his product commoditizing under him. The dare is a call for capital renewal, a founder demanding his own market disrupt the thing he built so the thing can appreciate again. Bourdieu watched aging avant-gardes perform this move for forty years. The revolution ages into the curriculum, and the revolutionary, if he lives, petitions for a new revolution with his name still on the letterhead.

One last entry closes the audit. Bourdieu’s other great subject was reproduction, the way fields transmit themselves through credentials, canons, and disciples, and here the frame produces its finest irony without straining for it. The theorist of anti-reproduction reproduces on schedule. Dissertations on Edelman appear yearly. Students he trained hold lines at other universities. The Routledge collection of 2024 exports him to religious studies, a colony planted in a neighboring field. Every citation extends the line. He refused the Child and got the school, and a school is a lineage by other means, an inheritance that passes through seminars instead of cradles. The field he told to abandon its future has made him part of its future, and the field, unlike the man, never claimed to want anything else.

The frame stops at the ledger’s edge. Bourdieu can price every move in the career, the Yale capital, the vacant position, the tariff of the idiom, the licensed heresy, the chair, the school, and the pricing explains the career without opening the books to check whether the argument holds. A position can be profitable and true. It can be profitable and false. The market pays the same either way, and the frame, honest about its limits, hands the question of truth to a different tribunal and closes the account.

Posted in English | Comments Off on The Disorder of Jack Halberstam

Sports, Family & Tribe

Americans have many ideas for making soccer more exciting, but for billions of people, soccer is just fine as it is.

I gave up long ago trying to talk people into fandom. It either works for you or it doesn’t. If you didn’t get the taste in childhood, you’re unlikely to develop it as an adult.

There’s no objective standard for sporting excitement. The value that sports gives a man depends on the energy he creates with other people around the sport. If he loves the people and he loves the energy, he’ll love the sport.

If you have happy memories built from a shared love of cricket with your family and community, you’re likely to keep loving it as an adult.

If humans are tribal from start to finish and deeply socialized from childhood, there is no autonomous individual consciousness to cultivate, nor is there a uniform, universal human spirit waiting to be discovered in a text or in a sport. There’s no objective standard by which the NFL is more exciting than soccer. The Western literary canon is not a collection of transcendent, objective truths; it is the specific, sophisticated socialization mechanism of the European elite. The humanist belief that reading Shakespeare can liberate a man from his tribal instincts is an illusion. Literature does not transcend the tribe; it encodes it.

A sport like a text or a song or a practice is a set of internal goods that only make sense to people formed inside it. The American who wants to fix soccer by adding timeouts and bigger goals is not making an error of analysis. He is applying the standards of his own tradition to a ritual that belongs to someone else. It is like a Baptist visiting a Catholic mass and suggesting they cut the standing and kneeling to tighten the show. The suggestion misses what the thing is for.

Clifford Geertz (1926-2006) made a similar point about the Balinese cockfight. The cockfight is not entertainment plus gambling. It is the Balinese telling a story about themselves to themselves. Cricket in a Yorkshire village or an Indian street works the same way. The five-day Test match, which strikes Americans as a bureaucratic punishment, encodes an entire ethic: patience, attrition, the long rhythm of sessions, the honorable draw. If you were not raised inside that rhythm, the draw looks like a defect. Inside it, the draw is a moral outcome. Nobody arrives at the honorable draw by reason. You inherit it, usually from a father or an uncle on a couch on a Saturday.

Fandom research keeps finding that team allegiance transmits through family, especially fathers, and forms early. The emotion attaches to the people before it attaches to the game. The game becomes a container for the relationship. When a man in his fifties watches his boyhood club, he is partly watching his dead father. That is why fandom survives decades of losing. No rational consumer would stay. A son stays.

Emile Durkheim (1858-1917) gives you the engine. Collective effervescence: the crowd generates the sacred, and the sacred attaches to the totem, whether the totem is a flag, a wafer, or Fulham. The stadium is one of the last places in secular life where men sing together. Strip the crowd and the shared memory away and what remains is grown men chasing a ball, which is why sport looks absurd to outsiders and holy to insiders. Same physical facts, different worlds.

A few limits.

First, conversion happens. My model predicts that a man without childhood memories of a sport will not develop the love later. But millions do. Americans who never kicked a ball adopt soccer in their thirties through a World Cup, a pub, a marriage, a move abroad. Indians adopted cricket, a game imposed by their colonizers, and remade it so thoroughly that the sport’s economic center now sits in Mumbai. The deeper variable is not childhood. It is community. The convert to soccer at thirty-five is doing what you did at seven: bonding with particular people through a shared object. Childhood attachments run deepest because childhood is when we are most open, but the door does not close. You of all people know this. You converted to Orthodox Judaism as an adult. The liturgy you now live inside is not the one your father gave you. If sacred practices only take root through childhood transmission, your own life refutes the theory.

Second, the practices generate their own trans-local standards. Say there is no objective standard for the fan experience and you seem to license total relativism, but the traditions themselves refuse this. A cricket lover in Lahore and one in Melbourne, who share no nation, religion, or language, agree on what a great innings looks like. The standard is internal to the practice, not to the tribe. That means the standards travel wherever the practice travels. They are not universal in the way physics is universal, but they are not locked to one people either. MacIntyre’s word for this is a tradition of enquiry: it has a home, and it also has doors.

Third, free speech as Americans practice it grew from a particular history: dissenting Protestants, colonial pamphleteers, the First Amendment settlement. It is not a law of nature. But there is a difference between a taste and a protection. If soccer bores you, nothing happens to you. If your society lacks a norm against punishing speech, specific people go to prison. The particularist account of speech is true as history and dangerous as ethics, because every regime that jails poets makes your argument: our people, our lived experience, our meanings, and your so-called universal rights are just Anglo-American folkways.

So sports and song and text have no meaning outside a community of practice, and the meaning enters through love for particular people. But communities admit converts, practices carry their standards with them across borders, and the man who says all meaning is local should notice that he made his own life by walking out of one local meaning and into another.

If John J. Mearsheimer is correct in his anthropology, survival runs through the group, so natural selection built us to bond, to absorb the group’s values before our critical faculties come online, and to feel those values as reality rather than as one option among many. The boy on the couch with his father watching cricket is not learning a preference the way he might later learn to like whiskey. He is undergoing what Mearsheimer calls value infusion during the long, protected childhood when the mind is open and the reasoning is weak. By the time he can ask whether a five-day match is a rational use of time, the question is unaskable. The draw already feels honorable to him the way incest feels wrong. Reason arrives late and works for sentiments it did not choose. Your point that you cannot argue a man into loving soccer stops being folk wisdom and becomes a prediction of the theory: reason is the weakest of the three sources of preference, so argument is the weakest instrument for changing them.

Second, this also explains the American reformer, and this is where the anthropology gets its bite. Mearsheimer’s target is not sports talk. It is liberalism, an ideology that treats people as atomistic individuals bearing identical rights, and therefore assumes that what is good here is good everywhere and that the remaining task is delivery. The American explaining how to make soccer exciting is running the domestic version of the foreign policy Mearsheimer attacks. He takes the preferences his own tribe infused into him, mistakes them for standards written into the game, and proposes regime change: more scoring, a clock that stops, playoffs. The proposal fails for the same reason liberal hegemony fails in Mearsheimer’s telling. The target population is not a collection of individuals waiting for a better product. It is a tribe whose attachments were formed by socialization, and it experiences the reform not as improvement but as an attack on the group’s way of life, which triggers the loyalty the reformer never modeled. Iraq and the shootout are failures of one theory of man.

Third, this sharpens the free speech parallel. If people acquire their moral codes through inborn sentiment and socialization, and if reason sits at the bottom of the hierarchy, then the belief that human rights are universal is itself a tribal artifact, the value infusion of one civilization at one moment, felt from the inside as self-evident truth exactly the way every tribe’s values feel. The Moyn line he quotes makes the point: human rights became the elevated aspiration of a particular era, roughly the postwar decades, and an aspiration with a birthdate has a biography, not a proof. On Mearsheimer’s account the American who says everyone on earth has a right to speak and the American who says every sport needs more scoring are the same man. Both have mistaken the inside of their socialization for the structure of the world.

A few limits.

Conversion happens: the man who finds soccer at thirty-five, the Indian embrace of cricket, my own walk into Orthodox Judaism. Mearsheimer’s framework can absorb these cases but only by loosening its grip. If socialization dominates and childhood is the critical window, adult conversion should be rare and shallow. It is rare, but where it occurs it is often the deepest attachment in a life. Converts out-observe the born. The framework can answer that conversion is resocialization, joining a new tribe and undergoing the infusion late, and that answer is probably right, but notice what it concedes: the engine is the tribe, not the childhood. The window never fully closes.

Mearsheimer treats the tribal acquisition of values as one process, and for explaining attachment it is. But cricket’s standards travel between Lahore and Melbourne, and the norm against jailing poets travels too, while the taste for the honorable draw travels poorly. A theory in which all values are tribal infusions has trouble saying why some infusions replicate across tribes and others stay home.

Posted in Sports | Comments Off on Sports, Family & Tribe

David Morgan: The Man Who Took Cheap Pictures of Jesus Seriously

During the Second World War, a printing press at Chicago Offset Printing Company ran two shifts a day producing a single image: Warner Sallman‘s Head of Christ. The 1940 painting showed Jesus in three-quarter profile against a dark ground, hair backlit, gaze lifted, rendered in the soft focus of a studio portrait. The Salvation Army and the YMCA handed pocket-sized versions to servicemen shipping overseas. Baptist bookstores sold lithographs across the South. After the war, laymen in Oklahoma and Indiana ran campaigns to place the picture in schools, courthouses, and living rooms. One Lutheran organizer in Illinois said America needed card-carrying Christians to answer the card-carrying Communists. By the end of the century the publishers counted more than 500 million reproductions. Art historians did not write about it. It was calendar art, drugstore art, the kind of picture that hung above the sofa in a farmhouse outside Anderson, Indiana, and it sat beneath the notice of the discipline.

In the early 1990s, a young art historian at Valparaiso University began soliciting letters about the picture. He placed notices in popular religious magazines and asked readers what Sallman’s images meant to them. The letters came in by the hundreds, 473 in the first wave, then more, until the file held over 500 responses. Widows wrote. Veterans wrote. Sunday school teachers wrote. A woman described looking up at the picture whenever loneliness or fear overtook her and feeling peace settle over her. Respondents said, again and again, that the picture showed “just what Jesus looked like,” a claim no first-century evidence could support and no letter writer felt any need to defend. The art historian read the letters at his desk at a Lutheran university on the flat land of northwest Indiana, an hour from Chicago, and understood that he was looking at the raw material of a different kind of scholarship. The question was not whether the painting was good. The question was what people did with it.

The art historian was David Morgan (b. 1957), and the letters became the foundation of a career that moved the study of religious images from a minor branch of art history to a central concern of religious studies. Over three decades Morgan has argued that religion is a lived practice mediated through objects, images, spaces, bodies, and habits of seeing, and that scholars who confine themselves to doctrine and text miss most of what religion is. He helped found the field now called material religion, co-founded its flagship journal, and trained a generation of scholars who study altars, amulets, church basements, and refrigerator magnets with the seriousness their fields once reserved for cathedrals.

Morgan came to religion through the studio, not the seminary. He earned a Bachelor of Arts in studio art from Concordia College in 1980, concentrating in sculpture. He learned what clay and steel resist and what they permit. A sculptor knows that material talks back. The insight stayed with him after he traded the studio for the seminar room, taking a master’s degree in art history at the University of Arizona in 1984 and a doctorate at the University of Chicago in 1990. Chicago in the 1980s put art historians in rooms with anthropologists, sociologists, and historians of religion, and the conversation in those rooms was turning against the old assumption that religion lived in creeds and could be read off the page. Morgan absorbed the turn and gave it a direction. If belief did not live only in texts, someone had to go find where it lived. He decided it lived, in part, in pictures.

He joined Valparaiso University in 1990 and stayed seventeen years, eventually holding the Duesenberg chair in Christianity and the Arts. Valparaiso suited the work. It was a church-related school in a region thick with the piety he studied, close enough to Anderson, Indiana, where the Church of God‘s publishing arm held the Sallman copyrights and Anderson University kept the original canvases. Morgan wrote the catalogue for a 1994 Sallman exhibition there. He has described a moment of revelation in front of the ubiquitous Head of Christ, when the picture stopped being an object of taste and became an object of study, and his attention shifted from fine art to mass culture, from the gallery to the archive.

The Sallman project matured into Icons of American Protestantism: The Art of Warner Sallman (1996), an edited volume that treated a commercial illustrator’s devotional portrait as a serious historical problem. Sallman (1892-1968) was a Chicago advertising artist, son of Scandinavian immigrants, a lifelong member of the Evangelical Covenant Church, who claimed the image came to him in a vision at two in the morning in January 1924. A teacher at Moody Bible Institute had urged him years earlier to paint a virile, manly Christ, since the available pictures ran effeminate. Sallman borrowed his composition from a nineteenth-century French painting by Léon Lhermitte (1844-1925), lit it like a celebrity headshot, and produced the most reproduced religious image in history. Morgan’s book examined the letters and showed that the picture’s power came from what believers did around it: prayed before it, carried it to war, hung it over deathbeds, passed it to grandchildren. The American Library Association named the book a CHOICE Outstanding Academic Book for 1996. The prize mattered as a signal. The gatekeepers of academic legitimacy had accepted that drugstore Jesus belonged in the library.

Morgan built the theory in Visual Piety: A History and Theory of Popular Religious Images (1998). The book took up prayer cards, illustrated Bibles, calendars, and devotional prints, the whole inventory of cheap religious mass production, and argued that these objects did indispensable work in forming religious identity. Believers did not consume the images. They lived with them. An image acquired its sacredness through the social relationships that formed around it, through display and gift and inheritance and daily glance, and its power could not be located in the object alone or in the mind alone. The argument cut against both the art historian’s habit of ranking images by quality and the theologian’s habit of treating images as illustrations of prior ideas.

Protestants and Pictures: Religion, Visual Culture, and the Age of American Mass Production (1999) attacked the standard story head on. The standard story held that Protestantism was a religion of the word, iconophobic since the Reformation, its whitewashed churches proof that the ear had defeated the eye. Morgan showed that American Protestants embraced every printing technology the nineteenth and twentieth centuries offered, flooding the country with illustrated tracts, Sunday school cards, mission posters, panoramas, and portraits of Jesus. Protestant visual culture grew up alongside industrial capitalism and mass communication. The Association of American Publishers gave the book its annual award for scholarly publishing in religion and philosophy.

While the books appeared, Morgan worked inside a larger movement. In the late 1990s the Pew Charitable Trusts funded the Material History of American Religion Project at Vanderbilt, which gathered historians and art historians and told them to study religion through buildings, clothing, landscapes, and objects rather than through doctrine alone. Morgan became a leading participant, and the project’s signature volume, The Visual Culture of American Religions (2001), which he co-edited with Sally M. Promey, ranged from Catholic devotional objects to anti-Catholic political cartoons and became a foundation for the emerging field. In 2005 Morgan, Promey, and the British museum scholar Crispin Paine founded the journal Material Religion, which became the international venue for scholarship on the physical life of belief. Field-building of this kind rarely shows up in citation counts, but it decides what counts as knowledge. A subject without a journal is a hobby. A subject with a journal, a book series, conferences, and prizes is a field, and Morgan built or co-built each piece of that apparatus, later adding the Bloomsbury Studies in Material Religion series as co-editor.

The Sacred Gaze: Religious Visual Culture in Theory and Practice (2005) supplied the field’s most portable concept. Seeing, Morgan argued, is never a neutral act of the retina. Every community teaches its members how to look, and religious traditions cultivate habits of attention that determine what appears sacred, authoritative, or dangerous. The Catholic kneeling before an icon, the Protestant scanning a portrait of Jesus for accuracy, the tourist photographing both: each performs a learned way of seeing. The phrase “sacred gaze” gave scholars across traditions a tool, and researchers of Islam, Hinduism, Buddhism, and Judaism took it up, which moved the field beyond its Protestant beginnings.

Duke University hired Morgan in 2008 as Professor of Religious Studies, with a secondary appointment in Art, Art History, and Visual Studies. He has chaired the department twice, from 2013 to 2019 and again from 2023 to 2025, and twice directed graduate studies in the doctoral program in religion. The move marked the field’s arrival. A subject born in letters from Indiana widows now had a chair at a wealthy research university, doctoral students, and a place in the seminar rooms where the discipline decides its future.

The books kept coming. The Lure of Images (2007) traced religious media in America from tract illustration through photography, film, television, and the digital screen, arguing that religious traditions do not resist new media but seize them. Religion and Material Culture: The Matter of Belief (2010) gathered fifteen scholars from around the world and pressed the field toward comparison across traditions. The Embodied Eye (2012) tied vision to feeling, arguing that images cultivate sympathy, fear, longing, and reverence, and that these emotional responses are learned in community rather than produced in the private psyche. The 2012 Cadbury Lectures at the University of Birmingham became The Forge of Vision: A Visual History of Modern Christianity (2015), which argued that Catholicism and Protestantism since the sixteenth century have trained believers in rival ways of seeing the world, not merely rival doctrines about it.

Images at Work: The Material Culture of Enchantment (2018) took on the oldest story in the sociology of modernity, the story of disenchantment. Max Weber‘s heirs held that modernity drained the world of magic. Morgan looked around and saw national flags that men die for, family photographs that cannot be thrown away, brand logos that command devotion, and religious icons that weep. Images still enchant, he argued, because people organize attention, memory, and desire around them, and this enchantment defines modernity rather than surviving it as a residue. The argument gave him a way to talk about agency without mysticism. Images act because people act around them. Their power lives in the network, not the pigment. Here Morgan drew on Alfred Gell (1945-1997) on art and agency, Bruno Latour (1947-2022) on networks, Hans Belting (1935-2023) on the image before the era of art, and Maurice Merleau-Ponty (1908-1961) on the body’s grip on the world, while keeping his own arguments tied to archives and letters.

The Thing about Religion: An Introduction to the Material Study of Religions (2021) condensed three decades into a textbook, organizing the field around objects, bodies, spaces, sounds, scents, and technologies. Cambridge University Press is scheduled to publish The Visual Culture of Revelation: The Art of Seeing Things since the Middle Ages in 2026, tracing how Christians have trained themselves to see revelations from the medieval world to the digital screen.

The honors accumulated in the manner of a career the establishment has decided to keep: elected life member of Clare Hall, Cambridge; elected member of the American Antiquarian Society, the learned society in Worcester whose membership rolls run back to 1812. He has curated exhibitions of Sallman’s art and written about what happens when a devotional object enters a museum, where the vitrine and the label transform a thing people prayed to into a thing people study. The transformation, he argues, obscures the practices that gave the object its life, and the museum becomes a laboratory for watching objects move between sacred, commercial, and aesthetic registers.

Morgan’s students now teach across North America and Europe, and his influence runs past Christianity into the study of Islam, Judaism, Hinduism, Buddhism, Indigenous traditions, and the secular icons of nationalism and consumer culture. His deepest claim remains the one he found in the letters. Belief is not assent to propositions. Belief is a disposition sedimented over time in body practices, in the hand that dusts the frame, the eye that finds the picture on the wall at three in the morning, the mother who packs a print of a fair-skinned, backlit Jesus into a son’s duffel bag. Religion happens where people and things meet. Morgan built a field by insisting that scholars go to that meeting place and watch, and by treating a farmhouse wall in Indiana as evidence worth the same care a connoisseur gives a Titian. The discipline resisted, then absorbed the point, then made him a chairman. That is how a field changes: one man reads five hundred letters that no one else wanted, and takes them at their word.

Notes

The Chicago Offset press operating around the clock during the Second World War, the Kriebel & Bates marketing campaign, and the testimony of believers all come from David Morgan’s own 1994 exhibition catalogue, as excerpted by the Sallman Collection: Warner Sallman Collection and Anderson University. The figure of 473 surviving letters and the paraphrased account of people writing because they were lonely or afraid also come from the Anderson University material.

The expression “card-carrying Christians” comes from Morgan’s own reporting in his article “The Face That’s Everywhere,” as cited here: En-Academic. The Salvation Army and YMCA wartime distribution campaigns, together with the postwar Oklahoma and Indiana evangelistic efforts, are documented at Head of Christ (Wikipedia).

The claim that the image represented “just what Jesus looked like,” the survey of more than 500 responses, and the Lilly Endowment’s support for the Sallman study come from The Jesus Question. One point is worth verifying. This source credits the Lilly Endowment with funding the Sallman project, while your source document credits the Pew Charitable Trusts with supporting the later Vanderbilt Material History project. Both may be correct, but Lilly’s role in the Sallman study should be confirmed before publication.

Morgan’s account of his “moment of revelation” on encountering Head of Christ and his resulting shift from the study of fine art toward mass-produced religious imagery comes from his interview with Duke University: Duke University. Although the site blocks automated retrieval, the relevant language appears in the interview.

The Moody Bible Institute instructor’s call for a “virile, manly Christ,” the influence of Léon Lhermitte’s painting, and the resemblance to celebrity portrait lighting are discussed at ArtWay.

Morgan’s degrees, honors, including the 1996 CHOICE Outstanding Academic Book award and the 1999 Association of American Publishers award, his affiliation with Clare Hall, Cambridge, and election to the American Antiquarian Society are documented at Wikipedia. One chronological point deserves checking. Your document lists his department chairmanship as 2013-2016 and again from 2023-2025. Morgan’s own Duke profile instead lists 2013-2019 and 2023-2025: Duke Scholars. I followed his official profile.

The discussion of belief as a disposition gradually sedimented through embodied practices paraphrases Morgan’s introduction to Religion and Material Culture, available through his Academia.edu page: Academia.edu.

I added several pieces of self-evident background without separate citation. These include the flat landscape of northwest Indiana, the atmosphere of a Lutheran church-related college, the sculptor’s awareness that materials resist the artist’s intentions, the status of Head of Christ as a drugstore calendar image in the eyes of many mid-century art historians, and the image of a farmhouse outside Anderson as a representative setting. The account of Sallman’s two o’clock in the morning vision in January 1924 is documented in the Head of Christ Wikipedia entry.

The Frame Around the Frame: David Morgan’s Hero System

On a Saturday morning in Indiana an estate liquidator works through the house of a woman who died in March. In the bedroom, above where the headboard stood, a rectangle of unfaded wallpaper marks sixty years of shade. The picture that made the shadow sits in a cardboard box in the garage with the other frames, a dollar each. It is the face of Jesus in three-quarter profile, hair backlit, printed in Chicago sometime during the war. The liquidator has handled forty of them this year. “Nobody wants the religious stuff,” she says to her helper. “Take the frame, toss the print.” The woman who owned it looked at that face the last thing every night of her marriage, her widowhood, and her dying, and now it is a dollar, and the dollar is optimistic.

Ernest Becker (1924-1974) argued that the fear organizing human life is this scene. Death erases the person, and then, in a second wave the person foresees, it erases the traces. Against the terror men build hero systems, shared structures of meaning within which a life can count as significant, a contribution can register as durable, and death can be reframed as something other than the end. The unfaded rectangle on the wallpaper is the first terror. The box in the garage is the second, and it is the one that governs the career of David Morgan (b. 1957), the scholar who spent thirty years arguing that the dollar print held everything and who built a field so that someone, forever, will be paid to say so.

Morgan’s other terror shows earlier and wears different clothes. He began as a sculptor, a studio art degree from Concordia College in 1980, hands in the clay. Every art student meets the moment when the gap opens between what he can see and what he can make, and beyond it the harder arithmetic: the discipline of art keeps a short list, the list is nearly closed, and a Lutheran college sculptor in the upper Midwest will not be on it. The standard exits are teaching, commercial work, and quiet abandonment. Morgan took a fourth exit. He went to graduate school in art history, then to the University of Chicago, and he became a custodian of the list rather than a candidate for it. But art history ran its own list and its own terror. The discipline’s hero system belonged to the connoisseur, and a man who arrived from sculpture at Concordia by way of Arizona was starting far from the sanctuary. The two terrors met and produced the move that made his career. If he could not join the hierarchy of great objects, he could overturn the hierarchy. He found the most despised image in America, the drugstore Jesus, the picture his discipline used as the definition of what it did not study, and he declared it the most important religious artwork of the century, and then he spent three decades building the institutions that made the declaration true.

That is the shape of the hero system: the redeemer of the despised object. Its sacred values are attention, description, and the dignity of ordinary devotion, and each value means what it means only inside the system. Take attention first, because Morgan’s whole theory rests on it. In his account, an image becomes sacred through the attention organized around it, the daily glance, the family prayer, the dusting hand. But attention is a word that shatters on contact with other hero systems. To a hedge-fund quant, attention is the scarcest commodity in the economy, a thing to be harvested from other people by the millisecond and sold. To a hospice nurse, attention is presence at the bedside, the refusal to look away from a dying face, and it needs no object at all. To a Coptic villager in Upper Egypt, attention before the icon is not what makes the icon sacred; the icon is a window standing open to heaven whether anyone looks or not, and the suggestion that his gaze charges the image would strike him as backwards and mildly blasphemous. To a Reformed pastor in Grand Rapids, sustained attention to a picture of Christ is the precise Biblical definition of idolatry, the eye stealing what belongs to the ear. Morgan’s sense of attention, the social act that constitutes sacredness, is coherent only inside a hero system where the scholar stands outside all shrines and explains them. Inside the shrines, the word points elsewhere.

Or take seriousness, the value Morgan’s admirers name first. He took cheap pictures seriously. Within the academic hero system this is heroism of a recognizable kind: the raid across the tracks, the scholar who confers the discipline’s highest honor, sustained study, on objects the discipline held in contempt. The letters he solicited from believers in the early 1990s were, inside his system, evidence, and treating a widow’s testimony as evidence was the act of respect. But move the same letters into the widow’s own hero system and the seriousness inverts. She did not write to be studied. She wrote to witness. In her system, the picture is serious because it is true, because the face on the wall is the face that will meet her, and a professor who finds her devotion fascinating while bracketing the question of whether anyone is behind the face has not honored her; he has converted her testimony into his raw material. A Pentecostal grandmother in Alabama and a Haredi scribe bent over his parchment in Bnei Brak disagree about nearly everything, but they agree about this: seriousness about sacred things means submission to them, and a seriousness that studies without submitting is a polite name for unbelief. Morgan’s seriousness is real. It is also the seriousness of the collector, and the collected rarely get a vote.

The system’s third sacred value is description, the discipline of saying what people do with images while refusing to judge the doing. Morgan never ranks the Sallman head against Titian, never rules on whether the soldier’s foxhole prayer reached anyone, never calls the White Jesus controversy right or wrong. Within his hero system this restraint is the highest virtue, the mark that separates the scholar from the preacher and the critic. Here the subtraction story comes into view, because every hero system buys its coherence by subtracting something, and Morgan’s subtracts verdicts. The subtraction is enormously productive. It lets the believer read him and feel respected, the atheist read him and feel scientific, the curator read him and feel informed, and it built a journal, a book series, and a Duke chair on the ground where those readers overlap. But the price is that the system cannot answer the only questions its own archive screams. Is the widow’s peace a gift or a symptom? Should the picture hang in the courthouse? When the face was denounced in 2020 as a racial instrument, was the denunciation justice or profanation? Morgan’s system rules these questions out of order, and the ruling is not neutral. A man who spends his life demonstrating the power of sacred images while declining to say whether any of them tell the truth has taken a position; he has made the study of devotion his devotion, and description is its liturgy.

The rivals are many, and the essay should name several rather than pretend there is one. The nearest rival, the one Morgan actually fought, is the connoisseur’s hero system, art history as communion with masterpieces. In that system immortality flows through taste: the great objects are the durable dead, and the scholar earns his permanence by serving them, attributing them, protecting the canon that will carry his name in its footnotes. Morgan beat the connoisseurs on their own ground, took their prizes, and the victory has a Beckerian sting, because the connoisseur’s system and Morgan’s system offer the same wager with different chips. Both bet that objects outlast men and that the man who binds his name to the objects rides them out of death. The connoisseur binds himself to Titian. Morgan binds himself to the category, to material religion as such, which is the shrewder bet, since categories outlast even canons.

A second rival stands in the sanctuary: the confessional hero system, in all its warring versions. For the Coptic villager, the Alabama grandmother, the scribe, the picture or the scroll draws its power from God, and immortality is not a metaphor about influence but a scheduled event. Within that system Morgan is not a hero at all; he is a cataloguer at the wedding, useful perhaps, beside the point. A third rival does the opposite work: the reductionist’s system, the sociologist or neuroscientist for whom the widow’s peace is oxytocin and conditioning, and heroism means the courage to say so. Morgan’s refusal of verdicts protects him from this rival’s contempt at the cost of the rival’s clarity. And a fourth deserves naming because it holds the largest share of the world: the tribal and traditionalist hero system, in which the image on the wall is neither evidence nor window nor symptom but inheritance, the face the great-grandmother prayed to, and the duty is transmission. In that system the estate-sale box is a failure of the family, not a datum about symbolic charge, and the hero is the grandson who takes the print home. This system judges Morgan more gently than the believer does and more sharply than the connoisseur, since it can use his respect while noting that respect transmits nothing. A field is not a lineage. Doctoral students are not grandchildren, though they are the nearest thing the academy sells.

How much of this does Morgan see? More than most subjects of these essays. He is the rare scholar who wrote the critique of his own operation before anyone else could: his work on museums argues that the vitrine kills what it preserves, that labeling a devotional object transforms it into a specimen and hides the practices that made it live. Every word of that argument applies to his archive. The letters were testimonies; the file cabinet was a vitrine; the field he built is a museum with a hiring line. There is no evidence he has turned the argument on himself in print, and the omission is the system working as designed, because a hero system survives by exempting its own foundations from its method. He sees the sacred gaze everywhere except in the mirror of the seminar room, where a tribe of scholars assembles around charged objects called sources, feels the collective effervescence called a field, and defends its totems in peer review. He built that tribe. He is its founding ancestor, and founding ancestors do not audit the cult.

The hero’s shape, then: a sculptor who could not join the ranks of the makers and so became the man who decides what made things mean, the redeemer who saves despised objects by the only sacrament he administers, study, and who saved himself in the same motion, binding his name to a category durable enough to hold it. The unnamed rival is the widow herself, the woman whose letter he filed, whose hero system needs no journal and no chair, who never asked to be redeemed because within her system she already was, and whose picture went into the garage anyway. And the cost the ledger cannot price: a lifetime spent proving that images hold the feelings of the assembled, written by a man whose method requires him to stand outside every assembly, describing at full attention, believing at none, the frame around the frame, unfaded, and marking the wall.

The Charged Object: David Morgan Through Randall Collins

A woman in the Midwest writes a letter to an art historian she has never met. She tells him that when loneliness or fear overtakes her, she looks up at the picture of Jesus on her wall and peace settles over her. She is describing a face painted by a Chicago advertising man, printed by the hundred million, sold in dime stores, and she is describing it the way a physicist describes a battery. The picture holds something. She draws on it. It recharges.

Randall Collins (b. 1941) built a theory to explain what is in the battery. In Interaction Ritual Chains (2004), he argues that the basic unit of social life is the situation: bodies assembled, attention focused on a common object, a shared mood building through rhythmic entrainment until the participants feel something larger than themselves. Successful rituals produce four outputs. Members feel solidarity. Individuals walk away with emotional energy, the confidence and drive that carries them into the next encounter. The group’s feeling gets deposited in symbols, which become sacred objects. And the group generates standards of morality, defined as loyalty to those symbols, with anger reserved for anyone who profanes them. Collins took the scheme from Émile Durkheim (1858-1917), who found it in Aboriginal ceremony, and from Erving Goffman (1922-1982), who found it in elevators and cocktail parties. Collins’s addition is the chain. Rituals link. The emotional energy and the charged symbols from one encounter become the inputs of the next, and a life is a sequence of situations in which people spend and replenish their stock.

David Morgan spent thirty years assembling the evidence for this theory without using it. His core claim, repeated from Visual Piety through Images at Work, holds that religious images gain power through the social relationships and repeated practices organized around them. The picture over the sofa is sacred because the family prays before it, dusts it, inherits it, glances at it on the way to the kitchen. Power lives in the network, in Morgan’s phrase, and never in the pigment. Set that sentence beside Collins and the convergence is total. A sacred object, Collins writes, is a container for the feelings generated in assembly, a device for carrying group emotion across the dead time between gatherings. Morgan’s entire archive, the five hundred letters, the wartime wallet cards, the deathbed prints, documents the container in use. The Sallman correspondence reads like a file of Collins case studies mailed in from Indiana.

Convergence of this kind creates a problem for the essayist and an opportunity for the theory. The problem: an essay that walks Morgan’s findings through Collins’s vocabulary produces translation, and translation adds nothing. The opportunity: Collins built a causal engine, with inputs, outputs, and failure conditions, while Morgan built a descriptive practice. Morgan tells you that images acquire power through social life. Collins tells you which images will, how much, for how long, and why the power drains. Run Morgan’s material through the engine and three findings come out that Morgan describes but leaves untheorized.

Start with the question Morgan never answers. Why this picture? Sallman’s Head of Christ had competitors. Every publisher of devotional goods offered portraits of Jesus, many by better painters. Hundreds of images entered the market in the 1930s and 1940s, and nearly all of them died. One conquered the world. Morgan’s account explains the survivor’s power once it has survived: people prayed to it, so it became sacred. The account is circular at the decisive point, since the question is why people chose this image to pray to. Collins breaks the circle. A symbol’s charge depends on the intensity and frequency of the ritual encounters that feed it, and the Head of Christ won the distribution war before it won the devotion war. Kriebel and Bates made it their trademark and pushed it through Baptist bookstores, Sunday schools, and denominational magazines, placing it at the focus of attention in millions of already-assembled groups. A Sunday school class gazing at the same face every week is an interaction ritual with the picture at its center. The competitors never reached the focus of that many gatherings, so no group feeling was ever deposited in them, so they stayed what they began as, ink. The Sallman head compounded. Charge attracted display, display placed the image at the center of more assemblies, more assemblies added charge. Collins predicts winner-take-all outcomes in symbolic markets, since emotional investment flows toward objects already invested, and the devotional print market of mid-century America delivered a textbook case. The theory also predicts the death of symbols, which Morgan’s field rarely studies. An image starved of assemblies loses charge within a generation or two. The grandchildren who inherit the print but never sat in the rooms where it presided receive an heirloom, and an heirloom is a sacred object running on residual current. The letters Morgan collected in the early 1990s came disproportionately from the old. That demographic fact is the theory’s confirmation. The chain was thinning.

Second, the war. Morgan documents the wartime explosion of the image, the press at Chicago Offset running two shifts, the USO handing pocket versions to soldiers at the docks, and he explains it as media history, a story of publishers and campaigns. Collins explains why the campaigns worked. Ritual charge varies with the stakes of the assembly. Bodies gathered under mortal threat, attention locked on a common object, produce the most intense entrainment human beings experience, which is why combat units bond like no civilian group and why battle flags outrank all other national symbols. The soldier carrying the Sallman head into the Pacific carried it into the highest-intensity ritual conditions the century offered. The mother who packed it and the son who kept it were performing a linked ritual across an ocean, each knowing the other’s attention rested on the same face. Every foxhole prayer over the wallet card deposited feeling in the image at wartime rates of interest. The picture came home in 1945 charged beyond anything a peacetime Sunday school could have produced, and the postwar campaigns to hang it in schools and courthouses spent that accumulated energy. The Illinois Lutheran who wanted card-carrying Christians to answer card-carrying Communists understood the object’s function. He wanted the charge portable, distributed, ready. Morgan reports the man’s line as color. Collins reads it as a program: keep the symbol at the focus of assemblies or lose the solidarity it stores.

Third, and here the frame turns on its subject, Morgan’s own career is a demonstration of the theory he circled without entering. Collins applied his scheme to intellectuals in The Sociology of Philosophies (1998), arguing that ideas win not on merit alone but on the ritual density behind them. A thinker rises when he sits at the center of chains: face-to-face lineages linking him to prestigious teachers, conference circuits where attention focuses on his topic, journals that assemble the tribe on schedule, students who carry the charge outward. Morgan’s chains run textbook-clean. Chicago doctorate, which grafts him onto a high-prestige lineage. The Vanderbilt project of the late 1990s, which assembled the scattered scholars of religious stuff in one room on Pew’s money and let them entrain, discover their common mood, and leave with emotional energy and a shared enemy in text-bound religious studies. Then the institutionalization of the assembly: the journal Material Religion in 2005, which convenes the tribe quarterly; the Bloomsbury series; the conferences; the Duke chair with doctoral students to send out as missionaries. A journal is a ritual technology. It focuses the attention of a dispersed group on common objects at regular intervals, and its arrival converts a topic into a sacred object for scholars, complete with the moral output Collins predicts, since the field now polices contempt for popular devotion as a professional sin. Morgan did for cheap pictures of Jesus what Kriebel and Bates did for the picture: he won the distribution war. Other scholars had noticed devotional objects. Colleen McDannell published Material Christianity in 1995, a year before Morgan’s Sallman volume. The difference between a scattered insight and a field is the chain, and Morgan built the chain.

The frame also exposes what Morgan’s method cannot see. His evidence is letters, solicited testimony from believers describing their images at a distance of years. Collins insists the action sits in the situation, in the micro-rhythms of bodies and attention measurable in seconds, and testimony is what remains after the situation has cooled. The woman who feels peace when she looks at the picture reports the output. The inputs, the childhood rooms where the face presided over family prayer, the Sunday mornings of synchronized song under its gaze, lie behind the letter, unrecorded and mostly unremembered. Morgan’s archive documents charged objects and misses the charging. This is a limit, and an honest reckoning also runs the current the other way, since Collins’s own evidence for religious ritual leans on ethnographies of assembly and goes quiet between assemblies. The picture on the wall at three in the morning, the solitary glance that Morgan’s letters capture in the hundreds, sits awkwardly in a theory built on gathered bodies. Collins handles solitary ritual as replay, the individual rehearsing internalized group encounters, and the handling works, but Morgan’s archive is the better record of that mode, the vast devotional life conducted alone with an object between the rare hours of assembly. Each man holds half the circuit. Collins has the generator. Morgan has the battery in use.

One prediction falls out of the frame, and it concerns the image’s afterlife. In 2020 the Sallman head faced a profanation crisis, denounced as White Jesus, defended by its owners, removed from some sanctuaries. Collins holds that attacks on a symbol recharge it for the loyal, since defense of a profaned object is among the most intense rituals a group performs, while for the indifferent the attack merely accelerates the drain. The picture might now run on two divergent chains, charging in the shrinking assemblies that rally to it, dying into kitsch everywhere else, until the day it hangs in museums the way Morgan described, an object whose practices have been stripped, labeled, and lit, holding nothing but the historians’ attention. The woman who wrote the letter knew the difference. She was not looking at a painting.

The Great Delusion

If John J. Mearsheimer’s anthropology is right, the scholarship of art historian and religious studies scholar David Morgan does not require a correction. It serves as a highly detailed field manual showing the exact physical apparatus human groups use to manufacture internal cohesion and survive.
Morgan, a professor at Duke University, is a founder of the critical study of material religion, known for books like The Sacred Gaze, The Embodied Eye, and Images at Work. He rejects the traditional academic view that religion is primarily about abstract doctrines or private intellectual beliefs. Instead, Morgan argues that religion is a sensory, physical practice. Groups use physical objects—images, clothing, architecture, mass-produced prints, and common somatic regimes—to assemble a unified social body, calibrate collective emotions, and sustain a shared life-world.
Mearsheimer’s framework in The Great Delusion provides the structural necessity for the physical technologies Morgan documents.
Mearsheimer’s anthropology places immense weight on the long human childhood, during which individuals undergo an intense value infusion from their primary social group. This process occurs long before critical reason develops, permanently embedding the individual within a specific culture or tribe.Morgan’s work describes the precise mechanical operation of this value infusion. In The Embodied Eye, he shows that a group does not socialize its young through abstract logical arguments. It does so by engaging the physical body. Uniform dress, shared imagery, and structured sensory habits are the material means used to forge a corporate identity.
The child does not logically deduce his allegiance; he absorbs it by looking at the same devotional images, sitting in the same structured pews, and performing the same physical rituals as his peers. Morgan’s material religion is the delivery device for the value infusions that Mearsheimer notes are critical to human formation.The Sacred Gaze and the Tribal PerimeterIn The Sacred Gaze, Morgan explores how visual culture acts as a way of mapping and navigating the world, establishing what a particular community regards as true, beautiful, or dangerous. This gaze determines how a group sees itself and how it views outsiders.
Under Mearsheimer’s lens, this visual mapping is a defensive measure required for survival in an uncertain world. Humans form distinct, cohesive societies to secure their collective existence against rivals.The shared visual framework Morgan describes operates as a boundary-enforcement tool. By dictating what is sacred and what is profane, the tribe builds a high-trust internal network. The “enchantment” of images that Morgan tracks in Images at Work is not an irrational aesthetic fluke; it is a tool used to anchor individual loyalty to the collective perimeter, ensuring that members prioritize the survival of the group above all else.
Mearsheimer’s critique of political liberalism centers on the claim that liberal elites treat human beings as autonomous, rational actors who can be governed by abstract, universal rules decoupled from cultural particulars.
Morgan’s entire academic project dismantles this hyper-rationalist assumption from an aesthetic and historical perspective. He demonstrates that even Protestantism—a tradition that often claimed to reject physical imagery in favor of pure, invisible faith—relied heavily on mass-produced pictures, family Bibles, and specific physical spaces to survive and scale in America.If Mearsheimer is right, Morgan’s research proves that there is no such thing as a group held together by raw reason or unmediated text. The moment a liberal or cosmopolitan movement attempts to organize a society around abstract principles, it must eventually develop its own material culture, distinct symbols, and physical rituals to maintain any degree of solidarity.
If Mearsheimer is right, David Morgan accurately identifies the real infrastructure of human belief. Humans do not inhabit a world of floating philosophical concepts. They are social, defensive animals who use physical matter to build the tribal containers they require to navigate an indifferent world.

‘A Big Misunderstanding’

If David Pinsof is right, the foundational work of art historian and religious studies scholar David Morgan in visual culture and material religion serves as an exceptionally sophisticated academic strategy to redefine raw, zero-sum coalitional warfare as an intricate study of cognitive and aesthetic management.
Morgan achieved prominent standing in the academy through books like Visual Piety, The Sacred Gaze, and Images at Work. His core thesis is that religious imagery and material culture do not merely illustrate preexisting theological beliefs; they actively construct the social world. He argues that looking is an act of relationship-building, creating what he calls a sacred gaze—a culturally specific way of seeing that helps a community form shared identities, establish boundaries, and maintain a sense of cosmic order. To his peers, Morgan provided an objective, scholarly framework to explain why human groups invest immense emotional and physical resources into mass-produced devotional objects, images, and visual habits.
A Pinsofian analysis strips away this elegant, materialist framework. Human coalitions do not develop a sacred gaze or weaponize mass-produced imagery because they want to configure reality or engage in an aesthetic dialogue with the divine. They deploy visual culture as a highly functional tool for group dominance. Pictures of saints, specific flags, mandatory dress codes, and distinct public monuments function as coalitional badges. They signal internal commitment, police group compliance, and warn external rivals of a faction’s presence and collective strength. The production and defense of these visual markers are not exercises in cultural imagination; they are calculated moves to capture public spaces and protect social territory.
By framing this intense Darwinian fight for symbolic dominance as an exploration of visual piety and material agency, Morgan creates an ideal high-status mission statement for his own field. It positions the visual culture theorist as the elite technician who can decode the hidden, psychological scripts behind everyday human consumption. His framework provides university departments, editorial boards, and museum curators with a sophisticated platform to look down upon popular religious practices and political icons, analyzing them from a safe, analytical distance as complex taxonomic data rather than raw displays of group power.
Morgan did not discover a benign, interactive process of collective sense-making. He executed an effective academic strategy, using rigorous visual and historical analysis to climb to the peak of the university hierarchy, securing a prominent professorship at Duke University and anchoring the global study of material religion. His theories provide a beautiful map of the objects humans cling to, proving that treating a fierce coalitional struggle over public symbolism as a visual misunderstanding of material agency is the ultimate method to secure institutional authority.

Posted in Religion | Comments Off on David Morgan: The Man Who Took Cheap Pictures of Jesus Seriously

Mark Juergensmeyer: The Man Who Interviewed the Holy Warriors

On September 30, 1997, a professor from Santa Barbara sat in a visiting room at the federal penitentiary in Lompoc, California, across from a tall Egyptian with freckles and red hair. The other inmates called the prisoner Mahmud the Red. Mahmud Abouhalima (b. 1959) had been convicted for his part in the 1993 bombing of the World Trade Center. He was easy company. He swore in casual conversation. He liked Western women, and when the professor mentioned an upcoming trip to Denmark, Abouhalima warned him that Scandinavian women were beautiful and dangerous. He had married two European women himself, one after the other.

Then the conversation turned to religion in public life, and the professor watched the prisoner’s face change. The eyes glazed. The voice took on a new weight. Abouhalima told him that Americans were like sheep, that a war was underway between good and evil, religion and irreligion, and that the American government stood on the side of evil. Americans could not see the war because their media blinded them. The professor pressed him on why anyone bombs buildings. Abouhalima refused to discuss the World Trade Center, since his appeal was pending, but he was happy to discuss Oklahoma City. No one had accused him of that. The bombers had a reason, he said. They wanted to send a message: the government is the enemy. Then he sat back, smiled at the professor with satisfaction, and said, “and now you know.”

The professor was Mark Juergensmeyer (b. 1940), and the exchange became one of the most quoted moments in the modern study of religious violence. Four years later, after two planes struck the building Abouhalima had failed to bring down, everyone knew. Juergensmeyer’s book Terror in the Mind of God: The Global Rise of Religious Violence, published in 2000, became required reading in the ruins.

Juergensmeyer built his career on a simple wager. He bet that you could not understand religious violence from a distance, from datasets and news clippings and theory alone. You had to sit in the room. You had to let the militant talk until his world came into view, and then you had to describe that world without endorsing it and without flinching. Over five decades he sat in rooms with Hamas founders in Gaza, Sikh separatists in Delhi, an abortion clinic bomber in Maryland, Buddhist militants in Asia, and jihadi prisoners in California and Iraq. What he brought back changed how scholars, journalists, and governments talk about terror. His concepts, cosmic war, satanization, performance violence, entered the working vocabulary of a field.

He came from Carlinville, Illinois, a county-seat town in the corn and coal country between Springfield and St. Louis. He was born in 1940 into a pious Protestant family in the American Midwest, and his first education in cosmic war came under canvas. In summer, revival preachers set up tents outside town like a traveling carnival. The music was electric and the preaching was theater. Juergensmeyer remembered one preacher who worked the crowd in camouflage battle dress and growled at the Midwestern innocents that a war was underway, a real war, between truth and evil, and that every soul in the tent had to decide, that night, whether to be a victim or a victor. Some of them went forward to the altar. The boy from Carlinville went forward too. Decades later, sitting across from Abouhalima at Lompoc or listening to tapes of Sikh sermons from the Golden Temple, he recognized the voice. It was only a short stretch, he wrote, from the revival preachers of southern Illinois to Osama bin Laden (1957-2011). The difference was that bin Laden’s soldiers had real weapons and real targets.

Juergensmeyer took a B.A. in philosophy from the University of Illinois in 1962, then went east to Union Theological Seminary in New York, where he earned an M.Div. in 1965 while studying international affairs across the street at Columbia. Union in those years carried the afterglow of Reinhold Niebuhr, and it trained men who took both God and politics seriously. Juergensmeyer never became a parish minister. He went west instead, to the University of California, Berkeley, and took an M.A. and a Ph.D. in political science, finishing the doctorate in 1974. The sequence tells you what kind of scholar he became: philosophy for the questions, seminary for the inside of religious conviction, political science for power. He remained a churchgoing Protestant all his life, a detail that surprised his subjects. When Abouhalima called him a secularist, Juergensmeyer protested that he had been raised in the church, had attended seminary, still belonged to a congregation. The prisoner brushed it off: “no, Mr. Mark, you are a secularist.” Abouhalima said he had lived in Juergensmeyer’s world but Juergensmeyer had never lived in his. Juergensmeyer conceded, in print, that the prisoner had a point. His Christianity was at home in secular, multicultural modernity. Abouhalima’s Islam was at war with it.

Before terrorism, there was Punjab. Juergensmeyer lived in the Punjab for several years and made India the center of his early work. His first major book, Religion as Social Vision: The Movement Against Untouchability in Twentieth-Century Punjab (1982), studied the Ad Dharm movement, an effort by low-caste Punjabis to escape caste stigma by claiming a religion of their own. The book cut against the standard social-science reading of religion as a conservative force that blesses existing hierarchy. In Punjab, Juergensmeyer showed, religious identity worked as a lever. It gave despised communities dignity, organization, and political weight. He followed with Radhasoami Reality: The Logic of a Modern Faith (1991), a study of a modern devotional movement centered on living gurus, which let him examine how a new faith builds authority and discipline while adapting to modern life. The method in both books became his signature. He took the believers’ world seriously from the inside, then set it in sociological and historical context from the outside.

From 1974 to 1989 he held a joint position in Berkeley, coordinating religious studies at the university while directing comparative religion programs at the Graduate Theological Union, the consortium of seminaries on the north side of campus. The location shaped him. He worked the seam between a great secular research university and a hillside of theological schools, and he refused the reductions native to each side. Against the social scientists, he insisted that religious claims were more than a mask for material interests. Against the theologians, he insisted that no faith floats free of history and power. In those same years he wrote Fighting with Gandhi (1984), later revised as Gandhi’s Way: A Handbook of Conflict Resolution (2005), which read Mohandas Gandhi (1869-1948) as a strategist. Gandhian nonviolence, in Juergensmeyer’s telling, was a disciplined method of fighting, a way to confront an adversary hard while preserving his humanity. The Gandhi work matters for understanding everything that came after. Juergensmeyer never held that religion produces violence. He held that religion produces armies, and that the armies can march in more than one direction.

Then Punjab burned. Through the 1980s, Sikh militants seeking a separate state called Khalistan fought a dirty war with the Indian government, and Juergensmeyer watched people he knew and respected get swept into the killing. He took 1986 off to study the sermons of Sant Jarnail Singh Bhindranwale (1947-1984), the preacher who had fortified the Golden Temple and died in the Indian Army’s assault on it, and to travel again through a region where he was trusted. Bhindranwale, on tape, sounded familiar. He looked out at young Sikh men with trimmed beards and slick pants and shiny shoes and told them they had strayed from the Guru, that the hour had come to decide. The evangelist in camouflage had said the same thing in Illinois. The difference, again, was the externalized enemy. For Bhindranwale the enemy wore a face, the face of Prime Minister Indira Gandhi (1917-1984), whom he described as an evil woman born in a house of Brahmans. Her bodyguards killed her months after the temple assault.

One night in Delhi, in a back room of a gurdwara, Juergensmeyer got his interview with a Sikh martyr brigade. Six young men came in armed, faces wrapped in scarves. The room was tense. Then they sat, unwound the scarves, and Juergensmeyer felt a wave of astonishment. They were teenagers, seventeen or eighteen, and they looked like the undergraduates he had taught at Punjab University. Nothing in their manner was savage. They were courteous, bright, the sons of the privileged Jat farming caste, boys who in another season might have been winning prizes at soccer. He asked them the only question he had: why. The question puzzled them, because to them the answer was obvious. They told him they lived at a hinge of history, in a great conflict of good against evil and truth against untruth, and that they had a chance to make the difference. He came away convinced that the reward they fought for was the fight. Sikh theology promised no paradise of virgins. What the struggle offered was the experience of serving in a war that mattered absolutely, an experience ennobling, redemptive, and open to any village boy with a gun.

Out of Punjab came the comparative question that organized the rest of his career. Was this a Sikh story, an Indian story, or a global one? The New Cold War? Religious Nationalism Confronts the Secular State (1993), revised in 2008 as Global Rebellion: Religious Challenges to the Secular State, gave his answer. The New York Times named the earlier book a notable book of the year. Its argument ran against the confident secularization story that still governed the social sciences. Modernization was supposed to shrink religion into private life. Juergensmeyer saw the opposite pattern from Punjab to Gaza to Tehran to the American militia belt. The secular nation-state, the Enlightenment’s proudest political invention, had promised unity, development, and civic equality, and across much of the postcolonial world it had delivered corruption, bureaucracy, and alienation. Where secular nationalism lost its moral authority, religion stood ready as an alternative ground of peoplehood, thick with history and heavy with sanction. Politics did not merely use religion. Politics got religionized. Social conflicts were recast in sacred terms, and political struggle became a redemptive personal act.

Terror in the Mind of God carried the argument into the charnel house. Juergensmeyer built the book from case studies and face-to-face interviews across traditions: Abouhalima at Lompoc; Mike Bray (b. 1952), the Lutheran pastor from Bowie, Maryland, who served prison time in connection with a string of abortion clinic bombings and defended the killing of abortion doctors over coffee in his kitchen; Sheikh Ahmed Yassin (1937-2004), the quadriplegic founder of Hamas, interviewed in Gaza in the winter of 1989 into the 1990s; his colleague Abdel Aziz Rantisi (1947-2004), who told Juergensmeyer the bombings of Israeli civilians were self-chosen martyrdom and a moral lesson; Simranjit Singh Mann (b. 1945) and the Khalistanis; Buddhist militants in Sri Lanka, Myanmar, and Japan. Israeli missiles later killed Yassin and Rantisi within weeks of each other in 2004. Yassin told him the struggle was, in his words, “not about land or property; it’s about pride.” Juergensmeyer read the sheikh’s remark as a claim about selfhood, about men who felt their dignity and their world so threatened that only an absolute struggle could restore them.

The book’s central concept is cosmic war. A cosmic war is a worldly conflict reimagined as a battle beyond history, a fight between ultimate good and ultimate evil in which the combatant serves God’s side. Ordinary war permits bargaining, compromise, partial victory, and defeat. Cosmic war permits none of these. Time horizons stretch toward eternity; a struggle can be lost for a century and still be won. And since the enemy in a cosmic war is evil itself, negotiation becomes betrayal. Alongside the concept sits what Juergensmeyer calls satanization, the moral work that must be done before pious men can kill. The enemy is redescribed until he stops being a rival with interests and becomes a demon, an infidel, an agent of Satan, or, in Abouhalima’s idiom, a soulless body moving through the world already dead. Satanization is more than insult. It is moral engineering. It dismantles the inhibitions that keep ordinary believers from murder and lets the killer understand his act as defense, sacrifice, or duty. None of his subjects accepted the word terrorist. As Abouhalima put it from prison: “We’re not terrorists! We’re soldiers for God!”

The third concept, performance violence, may be the most cited. Terrorist acts, Juergensmeyer argued, are staged. They are theater performed at once for the enemy, for the faithful, for the wavering, and for the cameras. The 1993 and 2001 attacks made his case for him. The World Trade Center was the tallest symbol of American economic power in an age of globalization; the Pentagon was its military twin. No communiqué was needed. The targets were the message, and the message ran on CNN and Al Jazeera alike. Al Qaeda, he judged, was performing as much for the Muslim world as for the American one, demonstrating to its own potential recruits that a war was on and that the great power could bleed. The insight moved terrorism studies past narrow strategic models. An attack that gains no ground and wins no concession can still succeed as ritual, as drama, as proof to the believers that the cosmic war is real.

After September 11, Juergensmeyer became one of the interpreters the country reached for. He appeared on BBC, CNN, and NPR, and his line was steady and unfashionable in both directions. Take the religion in religious violence seriously, he said; the militants are not faking their faith, and poverty and madness explain little. And refuse the militants’ framing, he said; there is no clash of civilizations, and a government that declares a war on terror hands the holy warriors the cosmic script they wrote for themselves. The passions of religious war, he liked to point out, blow through like summer storms. He had walked Punjab villages in the early 1990s after the Khalistan insurgency collapsed, villages with a hurricane-swept look, and a former militant had told him the movement was over. Public support had drained away, and the feared gunmen the villagers called the boys had become boys again. Hamas’s popular support, he noted, sank whenever a negotiated peace looked possible. Northern Ireland wound down. The lesson he drew for governments: respond to terror without adopting the terrorist’s rhetoric, and the spiral can unwind.

His institutional life tracked his intellectual one. From 1989 to 1993 he served as founding dean of the School of Hawaiian, Asian, and Pacific Studies at the University of Hawaii. In 1993 he moved to the University of California, Santa Barbara, into a campus whose religious studies department Ninian Smart (1927-2001) had made famous, and there he built a second field. He founded UCSB’s Global and International Studies program and the Orfalea Center for Global and International Studies, arguing that globalization could not be reduced to markets and technology, that religion, migration, media, and violence crossed borders too and needed their own field of study. His edited volumes, The Oxford Handbook of Global Religions, Thinking Globally, and The Oxford Handbook of Global Studies (2018), gave the young discipline its reference shelf. With Craig Calhoun (b. 1952) and Jonathan VanAntwerpen he co-edited Rethinking Secularism (2011), which treated secularism as a contingent political formation with a history rather than the neutral endpoint of progress. The honors accumulated: the Grawemeyer Award in Religion in 2003, the Silver Medal of Spain’s Queen Sofia Center for the Study of Violence in 2004, the presidency of the American Academy of Religion, honorary doctorates from Lehigh, Roskilde in Denmark, and Dayalbagh in India, fellowships from the Wilson Center, the Harry Frank Guggenheim Foundation, and the U.S. Institute of Peace.

He kept working the problem from new angles into his eighties. God in the Tumult of the Global Square (2015), with Dinah Griego and John Soboslai, examined religion in global civil society. God at War: A Meditation on Religion and Warfare (2020) pressed his darkest thesis, that war is the central image in the worldview of nearly every violent religious movement, and that religion and warfare feed each other because both construct alternative realities that give death meaning. When God Stops Fighting: How Religious Violence Ends (2022) reversed the field’s usual question, studying how movements such as ISIS in Iraq, Islamists in Mindanao, and the Sikh insurgency lost their sacred charge. In April 2025, at eighty-four, he published Why God Needs War and War Needs God with Oxford University Press, a revised and re-prefaced version of the meditation, opening with Patriarch Kirill blessing Russia’s invasion of Ukraine as a conflict of metaphysical significance and with Yahya Sinwar (1962-2024) casting himself as a new Saladin. He retired to emeritus status in 2021 but hardly slowed. Interviewers over the years found him in a home office perched on a cliff above the Pacific; his blog, Religion and Social Change in a Global World, still carries commentary on Gaza, Ukraine, American authoritarianism, and, in a recent entry, a photograph of his sister-in-law feeding a goat at his Santa Barbara ranch. He has written or edited some thirty books and more than three hundred articles.

The criticism of his work follows predictable lines, and he has heard all of it. Political scientists of a rational-choice bent say he overweights symbol and drama and underweights strategy, organization, and money; groups such as Hamas, they note, calibrate violence to negotiations with a precision that looks more like chess than liturgy. Historians complain that cosmic war stretches to cover movements whose situations differ sharply, flattening Sikh separatists, Christian militias, and Salafi jihadists into one type. Some secular critics think he grants religion too much causal force; some believers think he chains their faith to its worst practitioners. His fieldwork draws a subtler objection: a handful of prison interviews, conducted through translators, with men performing for a Western professor, may reveal less than the vivid anecdotes suggest, and Juergensmeyer himself has conceded that a deeper study might have required knowing Arabic, Punjabi, Hebrew, and Burmese and staying longer in every place. The objections have weight. They also measure the size of the target. Before Juergensmeyer, the academic mainstream treated religious violence as either aberration or camouflage. After him, the field had to reckon with militants as religious actors whose faith did explanatory work.

His durable contribution is a discipline of attention. He listened to killers describe their moral universe, reconstructed that universe with care, and returned with a warning addressed to both sides of the war on terror. To the militants’ apologists he said that the violence was real, patterned, and sanctified, and could not be explained away as politics in costume. To the counterterrorists he said that the surest way to feed a cosmic war is to fight one. The boy who answered the altar call in a revival tent in southern Illinois spent his career studying men who answered the same call with rifles, and he never pretended the two summonses came from different places in the human heart. That refusal, to exoticize the holy warrior or to excuse him, is why his books remain on the syllabus, and why, a generation after a prisoner in Lompoc smiled and told him that now he knew, the knowing still runs through Juergensmeyer’s terms.

Notes

The Lompoc scenes, the revival tent preacher in camouflage, the Delhi gurdwara martyr brigade, the Bhindranwale sermon material, and the visit to a Punjab village after the conflict, where a resident remarks that “the movement is over,” all come from Mark Juergensmeyer’s own 2004 lecture, “From Bhindranwale to Bin Laden”: eScholarship. This is the richest single source for the narrative scenes, and because it is Juergensmeyer’s own account, the dialogue is based on his published recollections. One chronological point is worth noting. His interview footnote dates the meeting with Mahmud Abouhalima to September 30, 1997. Other sources refer to August 1997 and mention two meetings. I followed Juergensmeyer’s own footnoted date for the opening scene.

The exchange in which Abouhalima tells Juergensmeyer, “You are a secularist,” together with Juergensmeyer’s later acknowledgment that Abouhalima had a point, comes from his 2015 article, “Entering the Mindset of Violent Religious Activists,” published in Religions: MDPI.

The declaration, “We’re not terrorists! We’re soldiers for God!” is quoted from Terror in the Mind of God and is reproduced here: Goodreads.

The quotation from Sheikh Ahmed Yassin expressing pride and the discussion of Abdel Aziz al-Rantisi’s “moral lesson” come from WebSage and America magazine.

The description of Juergensmeyer’s cliff-top home office comes from his interview with The Immanent Frame: The Immanent Frame.

Information about his ranch, the photograph with his goat, his 2025 book, his discussion of Patriarch Kirill and Yahya Sinwar, and his current blogging activity comes from his own website: Juergensmeyer.org and About Mark Juergensmeyer.

Details of the 2025 Oxford edition of Why God Needs War and War Needs God come from Oxford University Press: Oxford University Press.

I added a few pieces of self-evident background without separate citation. These include describing Carlinville as corn and coal country between Springfield and St. Louis, reflecting its actual geography, referring to the lingering influence of Reinhold Niebuhr at Union Theological Seminary in the early 1960s, since Juergensmeyer arrived only a year after Niebuhr’s retirement, and mentioning Michael Bray’s kitchen-table hospitality and his location in Bowie, Maryland. The hospitality is a familiar element of Juergensmeyer’s account in Terror in the Mind of God, though it would be worth checking against your copy before publication.

Mark Juergensmeyer: The Man Who Interviewed the Holy Warriors

On September 30, 1997, a professor from Santa Barbara sat in a visiting room at the federal penitentiary in Lompoc, California, across from a tall Egyptian with freckles and red hair. The other inmates called the prisoner Mahmud the Red. Mahmud Abouhalima (b. 1959) had been convicted for his part in the 1993 bombing of the World Trade Center. He was easy company. He swore in casual conversation. He liked Western women, and when the professor mentioned an upcoming trip to Denmark, Abouhalima warned him that Scandinavian women were beautiful and dangerous. He had married two European women himself, one after the other.

Then the conversation turned to religion in public life, and the professor watched the prisoner’s face change. The eyes glazed. The voice took on a new weight. Abouhalima told him that Americans were like sheep, that a war was underway between good and evil, religion and irreligion, and that the American government stood on the side of evil. Americans could not see the war because their media blinded them. The professor pressed him on why anyone bombs buildings. Abouhalima refused to discuss the World Trade Center, since his appeal was pending, but he was happy to discuss Oklahoma City. No one had accused him of that. The bombers had a reason, he said. They wanted to send a message: the government is the enemy. Then he sat back, smiled at the professor with satisfaction, and said, “and now you know.”

The professor was Mark Juergensmeyer, and the exchange became one of the most quoted moments in the modern study of religious violence. Four years later, after two planes struck the building Abouhalima had failed to bring down, everyone knew. Juergensmeyer’s book Terror in the Mind of God: The Global Rise of Religious Violence, published in 2000, became required reading in the ruins.

Juergensmeyer built his career on a simple wager. He bet that you could not understand religious violence from a distance, from datasets and news clippings and theory alone. You had to sit in the room. You had to let the militant talk until his world came into view, and then you had to describe that world without endorsing it and without flinching. Over five decades he sat in rooms with Hamas founders in Gaza, Sikh separatists in Delhi, an abortion clinic bomber in Maryland, Buddhist militants in Asia, and jihadi prisoners in California and Iraq. What he brought back changed how scholars, journalists, and governments talk about terror. His concepts, cosmic war, satanization, performance violence, entered the working vocabulary of a field.

He came from Carlinville, Illinois, a county-seat town in the corn and coal country between Springfield and St. Louis. He was born in 1940 into a pious Protestant family in the American Midwest, and his first education in cosmic war came under canvas. In summer, revival preachers set up tents outside town like a traveling carnival. The music was electric and the preaching was theater. Juergensmeyer remembered one preacher who worked the crowd in camouflage battle dress and growled at the Midwestern innocents that a war was underway, a real war, between truth and evil, and that every soul in the tent had to decide, that night, whether to be a victim or a victor. Some of them went forward to the altar. The boy from Carlinville went forward too. Decades later, sitting across from Abouhalima at Lompoc or listening to tapes of Sikh sermons from the Golden Temple, he recognized the voice. It was only a short stretch, he wrote, from the revival preachers of southern Illinois to Osama bin Laden (1957-2011). The difference was that bin Laden’s soldiers had real weapons and real targets.

Juergensmeyer took a B.A. in philosophy from the University of Illinois in 1962, then went east to Union Theological Seminary in New York, where he earned an M.Div. in 1965 while studying international affairs across the street at Columbia. Union in those years carried the afterglow of Reinhold Niebuhr, and it trained men who took both God and politics seriously. Juergensmeyer never became a parish minister. He went west instead, to the University of California, Berkeley, and took an M.A. and a Ph.D. in political science, finishing the doctorate in 1974. The sequence tells you what kind of scholar he became: philosophy for the questions, seminary for the inside of religious conviction, political science for power. He remained a churchgoing Protestant all his life, a detail that surprised his subjects. When Abouhalima called him a secularist, Juergensmeyer protested that he had been raised in the church, had attended seminary, still belonged to a congregation. The prisoner brushed it off: “no, Mr. Mark, you are a secularist.” Abouhalima said he had lived in Juergensmeyer’s world but Juergensmeyer had never lived in his. Juergensmeyer conceded, in print, that the prisoner had a point. His Christianity was at home in secular, multicultural modernity. Abouhalima’s Islam was at war with it.

Before terrorism, there was Punjab. Juergensmeyer lived in the Punjab for several years and made India the center of his early work. His first major book, Religion as Social Vision: The Movement Against Untouchability in Twentieth-Century Punjab (1982), studied the Ad Dharm movement, an effort by low-caste Punjabis to escape caste stigma by claiming a religion of their own. The book cut against the standard social-science reading of religion as a conservative force that blesses existing hierarchy. In Punjab, Juergensmeyer showed, religious identity worked as a lever. It gave despised communities dignity, organization, and political weight. He followed with Radhasoami Reality: The Logic of a Modern Faith (1991), a study of a modern devotional movement centered on living gurus, which let him examine how a new faith builds authority and discipline while adapting to modern life. The method in both books became his signature. He took the believers’ world seriously from the inside, then set it in sociological and historical context from the outside.

From 1974 to 1989 he held a joint position in Berkeley, coordinating religious studies at the university while directing comparative religion programs at the Graduate Theological Union, the consortium of seminaries on the north side of campus. The location shaped him. He worked the seam between a great secular research university and a hillside of theological schools, and he refused the reductions native to each side. Against the social scientists, he insisted that religious claims were more than a mask for material interests. Against the theologians, he insisted that no faith floats free of history and power. In those same years he wrote Fighting with Gandhi (1984), later revised as Gandhi’s Way: A Handbook of Conflict Resolution (2005), which read Mohandas Gandhi (1869-1948) as a strategist. Gandhian nonviolence, in Juergensmeyer’s telling, was a disciplined method of fighting, a way to confront an adversary hard while preserving his humanity. The Gandhi work matters for understanding everything that came after. Juergensmeyer never held that religion produces violence. He held that religion produces armies, and that the armies can march in more than one direction.

Then Punjab burned. Through the 1980s, Sikh militants seeking a separate state called Khalistan fought a dirty war with the Indian government, and Juergensmeyer watched people he knew and respected get swept into the killing. He took 1986 off to study the sermons of Sant Jarnail Singh Bhindranwale (1947-1984), the preacher who had fortified the Golden Temple and died in the Indian Army’s assault on it, and to travel again through a region where he was trusted. Bhindranwale, on tape, sounded familiar. He looked out at young Sikh men with trimmed beards and slick pants and shiny shoes and told them they had strayed from the Guru, that the hour had come to decide. The evangelist in camouflage had said the same thing in Illinois. The difference, again, was the externalized enemy. For Bhindranwale the enemy wore a face, the face of Prime Minister Indira Gandhi (1917-1984), whom he described as an evil woman born in a house of Brahmans. Her bodyguards killed her months after the temple assault.

One night in Delhi, in a back room of a gurdwara, Juergensmeyer got his interview with a Sikh martyr brigade. Six young men came in armed, faces wrapped in scarves. The room was tense. Then they sat, unwound the scarves, and Juergensmeyer felt a wave of astonishment. They were teenagers, seventeen or eighteen, and they looked like the undergraduates he had taught at Punjab University. Nothing in their manner was savage. They were courteous, bright, the sons of the privileged Jat farming caste, boys who in another season might have been winning prizes at soccer. He asked them the only question he had: why. The question puzzled them, because to them the answer was obvious. They told him they lived at a hinge of history, in a great conflict of good against evil and truth against untruth, and that they had a chance to make the difference. He came away convinced that the reward they fought for was the fight. Sikh theology promised no paradise of virgins. What the struggle offered was the experience of serving in a war that mattered absolutely, an experience ennobling, redemptive, and open to any village boy with a gun.

Out of Punjab came the comparative question that organized the rest of his career. Was this a Sikh story, an Indian story, or a global one? The New Cold War? Religious Nationalism Confronts the Secular State (1993), revised in 2008 as Global Rebellion: Religious Challenges to the Secular State, gave his answer. The New York Times named the earlier book a notable book of the year. Its argument ran against the confident secularization story that still governed the social sciences. Modernization was supposed to shrink religion into private life. Juergensmeyer saw the opposite pattern from Punjab to Gaza to Tehran to the American militia belt. The secular nation-state, the Enlightenment’s proudest political invention, had promised unity, development, and civic equality, and across much of the postcolonial world it had delivered corruption, bureaucracy, and alienation. Where secular nationalism lost its moral authority, religion stood ready as an alternative ground of peoplehood, thick with history and heavy with sanction. Politics did not merely use religion. Politics got religionized. Social conflicts were recast in sacred terms, and political struggle became a redemptive personal act.

Terror in the Mind of God carried the argument into the charnel house. Juergensmeyer built the book from case studies and face-to-face interviews across traditions: Abouhalima at Lompoc; Mike Bray (b. 1952), the Lutheran pastor from Bowie, Maryland, who served prison time in connection with a string of abortion clinic bombings and defended the killing of abortion doctors over coffee in his kitchen; Sheikh Ahmed Yassin (1937-2004), the quadriplegic founder of Hamas, interviewed in Gaza in the winter of 1989 into the 1990s; his colleague Abdel Aziz Rantisi (1947-2004), who told Juergensmeyer the bombings of Israeli civilians were self-chosen martyrdom and a moral lesson; Simranjit Singh Mann (b. 1945) and the Khalistanis; Buddhist militants in Sri Lanka, Myanmar, and Japan. Israeli missiles later killed Yassin and Rantisi within weeks of each other in 2004. Yassin told him the struggle was, in his words, “not about land or property; it’s about pride.” Juergensmeyer read the sheikh’s remark as a claim about selfhood, about men who felt their dignity and their world so threatened that only an absolute struggle could restore them.

The book’s central concept is cosmic war. A cosmic war is a worldly conflict reimagined as a battle beyond history, a fight between ultimate good and ultimate evil in which the combatant serves God’s side. Ordinary war permits bargaining, compromise, partial victory, and defeat. Cosmic war permits none of these. Time horizons stretch toward eternity; a struggle can be lost for a century and still be won. And since the enemy in a cosmic war is evil itself, negotiation becomes betrayal. Alongside the concept sits what Juergensmeyer calls satanization, the moral work that must be done before pious men can kill. The enemy is redescribed until he stops being a rival with interests and becomes a demon, an infidel, an agent of Satan, or, in Abouhalima’s idiom, a soulless body moving through the world already dead. Satanization is more than insult. It is moral engineering. It dismantles the inhibitions that keep ordinary believers from murder and lets the killer understand his act as defense, sacrifice, or duty. None of his subjects accepted the word terrorist. As Abouhalima put it from prison: “We’re not terrorists! We’re soldiers for God!”

The third concept, performance violence, may be the most cited. Terrorist acts, Juergensmeyer argued, are staged. They are theater performed at once for the enemy, for the faithful, for the wavering, and for the cameras. The 1993 and 2001 attacks made his case for him. The World Trade Center was the tallest symbol of American economic power in an age of globalization; the Pentagon was its military twin. No communiqué was needed. The targets were the message, and the message ran on CNN and Al Jazeera alike. Al Qaeda, he judged, was performing as much for the Muslim world as for the American one, demonstrating to its own potential recruits that a war was on and that the great power could bleed. The insight moved terrorism studies past narrow strategic models. An attack that gains no ground and wins no concession can still succeed as ritual, as drama, as proof to the believers that the cosmic war is real.

After September 11, Juergensmeyer became one of the interpreters the country reached for. He appeared on BBC, CNN, and NPR, and his line was steady and unfashionable in both directions. Take the religion in religious violence seriously, he said; the militants are not faking their faith, and poverty and madness explain little. And refuse the militants’ framing, he said; there is no clash of civilizations, and a government that declares a war on terror hands the holy warriors the cosmic script they wrote for themselves. The passions of religious war, he liked to point out, blow through like summer storms. He had walked Punjab villages in the early 1990s after the Khalistan insurgency collapsed, villages with a hurricane-swept look, and a former militant had told him the movement was over. Public support had drained away, and the feared gunmen the villagers called the boys had become boys again. Hamas’s popular support, he noted, sank whenever a negotiated peace looked possible. Northern Ireland wound down. The lesson he drew for governments: respond to terror without adopting the terrorist’s rhetoric, and the spiral can unwind.

His institutional life tracked his intellectual one. From 1989 to 1993 he served as founding dean of the School of Hawaiian, Asian, and Pacific Studies at the University of Hawaii. In 1993 he moved to the University of California, Santa Barbara, into a campus whose religious studies department Ninian Smart (1927-2001) had made famous, and there he built a second field. He founded UCSB’s Global and International Studies program and the Orfalea Center for Global and International Studies, arguing that globalization could not be reduced to markets and technology, that religion, migration, media, and violence crossed borders too and needed their own field of study. His edited volumes, The Oxford Handbook of Global Religions, Thinking Globally, and The Oxford Handbook of Global Studies (2018), gave the young discipline its reference shelf. With Craig Calhoun (b. 1952) and Jonathan VanAntwerpen he co-edited Rethinking Secularism (2011), which treated secularism as a contingent political formation with a history rather than the neutral endpoint of progress. The honors accumulated: the Grawemeyer Award in Religion in 2003, the Silver Medal of Spain’s Queen Sofia Center for the Study of Violence in 2004, the presidency of the American Academy of Religion, honorary doctorates from Lehigh, Roskilde in Denmark, and Dayalbagh in India, fellowships from the Wilson Center, the Harry Frank Guggenheim Foundation, and the U.S. Institute of Peace.

He kept working the problem from new angles into his eighties. God in the Tumult of the Global Square (2015), with Dinah Griego and John Soboslai, examined religion in global civil society. God at War: A Meditation on Religion and Warfare (2020) pressed his darkest thesis, that war is the central image in the worldview of nearly every violent religious movement, and that religion and warfare feed each other because both construct alternative realities that give death meaning. When God Stops Fighting: How Religious Violence Ends (2022) reversed the field’s usual question, studying how movements such as ISIS in Iraq, Islamists in Mindanao, and the Sikh insurgency lost their sacred charge. In April 2025, at eighty-four, he published Why God Needs War and War Needs God with Oxford University Press, a revised and re-prefaced version of the meditation, opening with Patriarch Kirill blessing Russia’s invasion of Ukraine as a conflict of metaphysical significance and with Yahya Sinwar (1962-2024) casting himself as a new Saladin. He retired to emeritus status in 2021 but hardly slowed. Interviewers over the years found him in a home office perched on a cliff above the Pacific; his blog, Religion and Social Change in a Global World, still carries commentary on Gaza, Ukraine, American authoritarianism, and, in a recent entry, a photograph of his sister-in-law feeding a goat at his Santa Barbara ranch. He has written or edited some thirty books and more than three hundred articles.

The criticism of his work follows predictable lines, and he has heard all of it. Political scientists of a rational-choice bent say he overweights symbol and drama and underweights strategy, organization, and money; groups such as Hamas, they note, calibrate violence to negotiations with a precision that looks more like chess than liturgy. Historians complain that cosmic war stretches to cover movements whose situations differ sharply, flattening Sikh separatists, Christian militias, and Salafi jihadists into one type. Some secular critics think he grants religion too much causal force; some believers think he chains their faith to its worst practitioners. His fieldwork draws a subtler objection: a handful of prison interviews, conducted through translators, with men performing for a Western professor, may reveal less than the vivid anecdotes suggest, and Juergensmeyer himself has conceded that a deeper study might have required knowing Arabic, Punjabi, Hebrew, and Burmese and staying longer in every place. The objections have weight. They also measure the size of the target. Before Juergensmeyer, the academic mainstream treated religious violence as either aberration or camouflage. After him, the field had to reckon with militants as religious actors whose faith did explanatory work.

His durable contribution is a discipline of attention. He listened to killers describe their moral universe, reconstructed that universe with care, and returned with a warning addressed to both sides of the war on terror. To the militants’ apologists he said that the violence was real, patterned, and sanctified, and could not be explained away as politics in costume. To the counterterrorists he said that the surest way to feed a cosmic war is to fight one. The boy who answered the altar call in a revival tent in southern Illinois spent his career studying men who answered the same call with rifles, and he never pretended the two summonses came from different places in the human heart. That refusal, to exoticize the holy warrior or to excuse him, is why his books remain on the syllabus, and why, a generation after a prisoner in Lompoc smiled and told him that now he knew, the knowing still runs through Juergensmeyer’s terms.

The Cartographer of Holy War: Mark Juergensmeyer’s Hero System

The boy went forward at the altar call. This is the fact to hold onto. In a canvas tent outside Carlinville, Illinois, sometime in the early 1950s, a revival preacher in camouflage told a crowd of farm families that a war was underway between good and evil and that every soul present had to choose a side that night. The music swelled. The pressure in the tent was enormous. Mark Juergensmeyer (b. 1940), a pious Protestant boy of the American Midwest, walked down the sawdust aisle and gave himself to the Lord.

Two terrors grow from that night, and his life’s work answers both.

The first terror is that the preacher was right. There is a war. It runs beneath the visible world, and the worst death a man can die is the deserter’s death, the death of the one who heard the summons and went home to supper. Every serious religion keeps this terror in stock. Juergensmeyer spent fifty years interviewing men who had organized their lives around it, and he never once described them as alien. He kept saying the opposite. The distance between the revival preachers of southern Illinois and Osama bin Laden (1957-2011), he wrote, is short.

The second terror is that the preacher was wrong. Then the tears and the trembling and the decision were theater over nothing, and the boy walked back up the aisle into the flat world that Mahmud Abouhalima (b. 1959) would describe to him forty years later in a prison visiting room: a world of secular people moving like dead bodies, pens without ink. Ernest Becker (1924-1974) called this the default condition, the creature’s knowledge that it will die and rot and be forgotten unless some system of heroism converts its little life into permanent significance. The tent offered one conversion rate. The question was what a man does when he can no longer accept the tent’s terms and cannot bear the flatness either.

Juergensmeyer’s answer was to enlist in the war as its cartographer. He went to the front, every front, Amritsar and Gaza and Lompoc and Belfast, and he mapped the combatants’ heaven and hell without firing a shot for either. The role solves both terrors in one stroke. Against the flat world, his life acquires the highest stakes available: he handles the live ammunition of ultimate meaning, sits knee to knee with men who kill for God, walks into rooms that intelligence agencies cannot enter. Against the tent, he keeps his hands unbloodied and his mind unowned. He gets the soldier’s proximity without the soldier’s guilt and the skeptic’s independence without the skeptic’s emptiness. It is an elegant hero system, among the most elegant the modern academy has produced, and it made him the man the BBC called when the towers fell.

Every hero system tells a subtraction story, an account of what remains when you strip the costumes away, and the subtraction story always flatters the teller. Juergensmeyer’s is method. He presents himself as the man with nothing on: no ideology, no side, no self in the frame. He said as much in describing his interviews. He tries to keep himself out of the picture so the militant’s world can fill it. Just listening. But a man who has subtracted himself from every drama has starred in a drama of subtraction. The claim to stand outside all hero systems is the signature move of a particular hero system, the interpreter’s, and it carries its own promise of immortality: the combatants will die, their causes will curdle, their movements will pass like summer storms, and the map will remain. Terror in the mind of God, catalogued for the ages by the calm man from Santa Barbara.

Watch the system at work in its principal theater, the prison visiting room at Lompoc, September 1997. Two hero systems face each other across a table, and each has cast the other as a supporting player.

Abouhalima believes he is the missionary. Before him sits everything he indicts, an educated, decent, blind American, and the prisoner works on him the way the tent preacher worked on the farm boys. You are like sheep, he tells him. There is a war and you cannot see it. When Juergensmeyer protests that he is a churchgoing Christian, a seminary man, Abouhalima waves it off: you are a secularist, I have lived your world and you have never lived mine. The prisoner’s heroism requires this audience. A holy warrior locked in a federal cage has one weapon left, witness, and God has delivered him a professor who will carry the witness out through the metal detectors and print it.

Juergensmeyer believes he is the scientist. Before him sits the rarest of specimens, a cosmic warrior willing to talk, and every glazed look and every threat is data. His heroism requires this subject. A scholar of religious violence with no violent believers in his notebooks is a musicologist who has never heard music.

So each man mines the other, and each goes home enlarged. Abouhalima gets his message sent. Juergensmeyer gets his book. The book wins the Grawemeyer Award. Neither man is wrong about what happened in the room, and neither man’s account can survive inside the other’s. This is Becker’s point about heroism, that it is a closed accounting system, and the visiting room at Lompoc held two sets of books.

Now take the sacred words one at a time, because the words are where hero systems hide, and the same word buys different immortality in different economies.

Start with war, the word Juergensmeyer built his career on. In his system, war is an image, the master metaphor of the religious imagination, a template that turns political grievance into transcendent drama. War is the thing to be seen through. The scholar’s victory is dissolution: name the cosmic war as imagination and the spell weakens. In Abouhalima’s system the same word is a fact, the deepest fact, and naming it is sanity; the man who says there is no war is the casualty. For a Gold Star mother in Ohio, war is the thing that took her son, and it must have meant something, because if the war was theater then the boy died for a stage set, and she cannot live in that sentence. For a game theorist at RAND, war is bargaining failure, a region on a curve, and the professor’s talk of sacred drama is noise in the model. For a Kurdish peshmerga veteran, war is the rent his people pay every generation for the right to exist, and there is nothing cosmic about it; it comes with the address. And for the tribalist, the nationalist, the traditionalist, a hero system as old and as legitimate as any in this essay, war is sometimes the price of keeping a particular people and its covenant alive, and a man who counsels the tribe to avoid the enemy’s framing may sound like a man grading essays during a rocket attack. Juergensmeyer’s celebrated counsel after September 11, respond to terror without adopting the terrorist’s cosmic script, is wisdom inside his system and something close to disarmament inside several others.

Take understanding, his supreme value, the act around which his economy of significance turns. In his system, understanding redeems. To enter the mind of the killer and return with a coherent map is the highest service a scholar can render, and the value is self-evident, the way courage is self-evident to a Marine. Step outside the system and the self-evidence dies. For a counterterrorism analyst at Langley, understanding is an input; the map of Abouhalima’s moral universe is useful insofar as it predicts the next target, and the professor’s tenderness toward his subjects’ coherence is a rounding error. For the brother of a man crushed in the World Trade Center garage in 1993, understanding is an obscenity, a courtesy extended to the murderer that no one extends to the dead; the killer gets a listener, a book, a legacy, and the victim gets a name misspelled in a footnote. For a haredi yeshiva student in Bnei Brak, a lifetime spent mastering the inner world of murderers is a lifetime of attention stolen from Torah, brilliance spent cataloguing darkness when the same hours might have been spent on light. For a Pentecostal deacon in Alabama, the project is worse than wasteful, it is dangerous, because you do not study the devil, you resist him, and the man who sits with demons long enough to find them coherent has already lost the first skirmish. Juergensmeyer might answer every one of these voices with patience and evidence. But the answer persuades only inside the temple where understanding is the sacrament.

Take peace. In his system peace is the storm passing, the return of ordinary politics, Punjab villages in the early 1990s where the feared gunmen the locals called the boys became boys again. Peace is what the world looks like when cosmic war loses its charge, and his late book When God Stops Fighting (2022) is, in Beckerian terms, his eschatology, his picture of heaven: a world where every holy war ends in exhaustion and interpretation, where the interpreter’s patient method is vindicated by history. For a Border Police sergeant at a Jerusalem checkpoint, peace is a duty roster, a Tuesday without incident, maintained by the vigilance the professor’s storm theory says might one day be unnecessary. For the Hamas recruiter, peace on the enemy’s terms is defeat wearing perfume, and the twenty percent poll numbers Juergensmeyer cites as proof that terror dissipates are, inside the recruiter’s system, proof of how much work remains. For an ICU nurse on a night shift, peace is a ward at three in the morning with every monitor quiet, and it needs no theory at all. The word is the same. The heaven it names is different in every mouth.

Take religion, the ground he stands on. In Juergensmeyer’s system, religion is the deepest human archive of meaning and the mother of armies, a force the secular academy ignored at its peril, and he is its gamekeeper. He holds the forest in trust: against the reductionists who call it a mask for interests, against the theologians who fence it off from history, against the New Atheists who call it a virus, against the State Department men who thought it would evaporate under development grants. The gamekeeper’s authority depends on the forest staying wild and staying his. Notice what this means. Every religious resurgence, every suicide bombing, every patriarch blessing an invasion confirms his jurisdiction. He is one of the few men alive for whom the persistence of holy war is a professional reassurance, and it might be asked, in a whisper, whether the boy from the tent ever wanted the war to end.

How much of this does he see? More than most subjects of these essays. He printed Abouhalima’s verdict against himself and conceded the prisoner was right, that his Christianity was the kind that lives at ease inside secular modernity, which is to say a Christianity the tent preacher might not have recognized as enlisted. He listed his method’s weaknesses without being forced to, the translators, the short stays, the handful of interviews. He warned his own government against cosmic thinking with real courage when cosmic thinking was the national mood. The self-awareness runs deep and then stops at the load-bearing wall. He does not see, or does not say, that the storm doctrine is a creed and a comfort, a guarantee that his side wins without fighting, and that it rests on a sample of endings while the wars that do not end, the ones that grind on for generations, sit outside the frame. He does not see that standing above all cosmic wars is itself a cosmic position, the interpreter enthroned over the combatants, and that from the ground, from the checkpoint or the shiva house, the throne looks less like neutrality than like altitude. And he does not reckon the strangest debt of all: that his lifelong case for taking the militants seriously as religious men, sincere, coherent, transformed, is also the last surviving argument of the boy in the tent, who needed it to be true that the summons was real, even if the wrong men answered it.

The hero is the ferryman. He crosses the river between the secular shore and the sacred one, both directions, all his life, carrying notebooks instead of cargo, and his significance depends on the river staying unbridged, because a bridged river needs no ferryman. His unnamed rival is the man who stays on one shore and acts, the guard, the soldier, the prosecutor, the mourner who refuses to understand, everyone whose vocation is to stop the killer rather than to know him, and whose ledger counts prevented funerals instead of published pages; the ferryman’s books never quite explain what the guard is supposed to do with them at the wire at two in the morning. And the cost that his ledger cannot price is the boy he left mid-river. Fifty years of granting killers the dignity of coherence trains a man to watch every altar call, including his own, from the back row with a notebook, and the pew in Santa Barbara where the professor still sits on Sunday holds a man who once walked sawdust toward the front of a tent, weeping, certain, unwatched by any observer, least of all himself. That boy paid for the career. No page of the three hundred articles and thirty books records what he got back.

The Great Delusion

If John J. Mearsheimer’s anthropology is right, then man is fundamentally a tribal creature whose identity and actions are dictated by deep group allegiances rather than individualist, liberal rationality.

If Mearsheimer’s social anthropology is correct, it serves as an empirical validation and structural explanation for Juergensmeyer’s extensive body of work on religious nationalism and global violence.

Mearsheimer argues that political liberalism fails because it treats people as lone wolves or atomistic actors who can be governed by universal codes of human rights and detached reason. Instead, he posits that humans are social beings embedded in groups that shape their moral codes long before critical faculties develop.

This mirrors the central finding in Juergensmeyer’s The New Cold War? Religious Nationalism Confronts the Secular State (republished as Global Rebellion). Juergensmeyer argues that the Western, secular model of the nation-state, which is rooted in individualist Enlightenment liberalism, has failed to provide a compelling sense of shared identity and moral purpose in large parts of the world. When secular nationalism loses its legitimacy, man reverts to his primary social grouping. For many, that grouping is religious. The resurgence of religious nationalism is not an irrational anomaly; it is the natural consequence of man’s tribal core reclaiming authority over the atomistic void of liberal secularism.

In Terror in the Mind of God, Juergensmeyer introduces the concept of “cosmic war” — an overarching spiritual struggle between good and evil that elevates earthly political conflicts into metaphysical battles.

Mearsheimer notes that individuals develop strong attachments to their group and are sometimes willing to make great sacrifices for their fellow members. Juergensmeyer’s work explains the engine behind that willingness when the group is defined by faith. When a political conflict is framed as a cosmic war, the defense of the tribe becomes an absolute moral imperative. Secular, liberal reasoning fails to comprehend why an individual might engage in “performance violence” or choose self-sacrifice. Mearsheimer’s framework provides the answer: intense early childhood socialization and innate sentiments create a value infusion that restricts personal choice. The defense of the collective identity supersedes individual self-preservation.

Mearsheimer contends that the liberal pursuit of universal human rights motivates ambitious, interventionist foreign policies that ultimately end in disaster because they ignore the stubborn realities of local tribalism and nationalism.

Juergensmeyer’s field research among militant religious movements globally illustrates the precise localized blowback Mearsheimer predicts. The globalization of Western liberal values is frequently perceived by non-Western societies not as a liberation of the individual, but as an aggressive assault on their organic social structures. The rise of religious violence, in Juergensmeyer’s analysis, is a defensive reaction by communities attempting to protect their collective identity and moral order from being dissolved by secular globalization.

‘A Big Misunderstanding’

If David Pinsof is right, the foundational research of sociologist and scholar of religion Mark Juergensmeyer on religious violence represents a highly sophisticated academic effort to redefine raw, zero-sum coalitional warfare as an intricate theatrical performance and psychological misunderstanding.

Juergensmeyer achieved global renown through books like Terror in the Mind of God: The Global Rise of Religious Violence and Global Rebellion. His core thesis is that religious terrorism is fundamentally a performance piece. He argues that acts of violence are symbolic statements—theatrical events designed to dramatize a deeper, metaphysical struggle he terms cosmic war. According to Juergensmeyer, religious militants are trapped in an imaginative script, treating real-world political conflicts as epic, timeless battles between absolute good and absolute evil. To the policy and academic elite, his work provided an elegant framework to explain why human groups commit horrific violence for seemingly non-negotiable, unearthly rewards.

A Pinsofian analysis strips away this performance-art framework. Militants, insurgents, and religious nationalists do not blow up buildings or execute rivals because they are captivated by an imaginative script or suffering from a metaphysical misunderstanding. They deploy violence as a highly functional, rational weapon to secure finite resources, capture the coercive apparatus of the state, and dominate rival coalitions. Acts of terror function as powerful coalitional signals. They demonstrate group capacity, enforce internal alignment, deter outsiders, and shift the local balance of power. The actors running these networks understand their immediate incentives perfectly. They are not acting out a cosmic drama; they are playing a lethal game for earthly dominance.

By framing this intense Darwinian competition as a collection of theatrical gestures and ideological delusions, Juergensmeyer creates an ideal high-status mission statement for his own guild. It positions the secular social scientist as the elite analyst who stands outside the conflict, possessing the superior rationality required to deconstruct the militants’ symbolic language. This framework provides university departments, global policy forums, and security institutes with a sophisticated platform to look down upon religious factions, treating their existential struggles as data points in a performance theory lesson rather than raw fights for power and survival.

Juergensmeyer did not discover a unique, symbolic engine driving human conflict. He executed a highly successful academic strategy, converting the study of violence into high-prestige currency within elite institutions, securing a prominent professorship at the University of California, Santa Barbara, and anchoring the global discussion on religious nationalism. His theories provide a beautiful map of the rhetoric militants use, proving that defining a fierce coalitional battle as a theatrical misunderstanding of reality is the ultimate method to secure institutional authority.

Posted in Religion | Comments Off on Mark Juergensmeyer: The Man Who Interviewed the Holy Warriors

David Enoch: The Philosopher Who Says Morality Is Real

On the morning of March 15, 2023, police at the Green Village interchange near Tel Aviv arrested a middle-aged professor of philosophy and law. He had walked down onto the road with other protesters to block traffic. The protest targeted the Netanyahu government’s plan to remake the Israeli judiciary. When the policeman came for him, the professor put his hands behind his back and did not resist. He later wrote on Facebook that the hard part was psychological, a barrier you cross once and then it is crossed. Police released him after about two hours. He went back to work.

The professor was David Enoch (b. 1971), and the arrest made news in the philosophy world for a simple reason. Enoch is the most prominent living defender of the view that moral truths exist objectively, independent of what any person, culture, or government thinks. When a man who has spent his career arguing that “torturing children for fun is wrong” states a fact about the universe gets dragged off a road by police, colleagues notice. One commenter on the philosophy blog Daily Nous put it this way: you know something is wrong when people like David Enoch are getting arrested.

Twenty months later, in November 2024, Enoch stood in a lecture hall at Oxford to deliver his inaugural lecture as Professor of the Philosophy of Law, one of the most prestigious chairs in his field, a line of succession that runs through H.L.A. Hart (1907-1992), Ronald Dworkin (1931-2013), John Gardner (1965-2019), and Joseph Raz (1939-2022) as the dominant figures of Oxford jurisprudence. Enoch opened with a story. Catherine the Great (1729-1796) once wrote to the French philosopher Denis Diderot (1713-1784) that philosophers have it easy. They write on paper, and paper is patient. An empress writes on the susceptible skins of living beings. Enoch told the room that the same holds for law. Legal philosophers write on patient paper. The law itself writes on skin. A discipline that forgets this, he argued, drifts into conceptual puzzles that no living being needs solved. The lecture, published in 2025 in the Oxford Journal of Legal Studies, reads as a mission statement from a man who holds two of the most abstract jobs in the academy, metaethicist and legal philosopher, and who keeps insisting that the abstractions answer to the street.

The two scenes, the road and the lecture hall, frame his career. Enoch argues in seminar rooms that objective moral facts exist. He acts in public as though they do.

He came to philosophy through disappointment with law. Born in 1971, he grew up wanting to be a lawyer, or thinking he did. He enrolled at Tel Aviv University to study law, and within his first few weeks two things happened. The law disillusioned him, and an introductory jurisprudence class introduced him to philosophy. He told the interviewer Richard Marshall years later that the shift did not surprise him. He had always argued about the kinds of questions he later learned to call philosophical. He finished both degrees in 1993, a Bachelor of Laws and a Bachelor of Arts in philosophy, then took the most coveted apprenticeship in Israeli law: a clerkship at the Supreme Court for Justice Dorit Beinisch (b. 1942), who later became the Court’s president. A clerk in that building watches how judicial power actually operates, which petitions get heard, which arguments move a justice, what a ruling costs the people named in it. Enoch absorbed the education and declined the career. He left for the philosophy department at New York University.

NYU in the late 1990s ran the strongest philosophy department in the English-speaking world, and its ethics faculty had no rival. Enoch studied with Derek Parfit (1942-2017), Thomas Nagel (b. 1937), and Hartry Field (b. 1946), three philosophers who agreed on little except the seriousness of the questions. Parfit and Nagel inclined toward moral objectivity. Field, a hard-nosed philosopher of mathematics and logic, thought the whole idea false. The combination shaped Enoch’s style. He completed his dissertation in 2003, a defense of what he called robust meta-normative realism, and the dissertation became the spine of everything he has written since. Field’s judgment of the mature work appears as a blurb on Enoch’s first book, and it may be the best blurb in academic philosophy: “on the scale of texts arguing for an obviously false conclusion,” Field wrote, this one ranks high. Russ Shafer-Landau (b. 1963), the philosopher most responsible for reviving moral non-naturalism, called it the best defense of ethical realism ever written. Enoch printed both.

The book is Taking Morality Seriously: A Defense of Robust Realism (2011), and its thesis can be stated in a sentence. There are moral facts, they are objective, they do not reduce to psychology or biology or physics, and we discover them rather than invent them. Slavery was wrong before anyone said so. It stayed wrong in every society that practiced it. The claim sounds like common sense, and Enoch trades on that. Much of twentieth-century philosophy treated the common-sense view as naive, a relic that Darwin, anthropology, and logical positivism had buried. Morality, the sophisticated said, expresses emotion, or encodes social convention, or projects human attitudes onto a blank universe. Enoch’s book argues that the sophisticated position fails on its own terms.

His signature argument runs through deliberation. Every person deliberates. You sit with a hard choice, whether to take the job, whether to report the colleague, whether to end the treatment, and you try to work out what you should do. Enoch argues that this activity makes no sense unless some answers are better than others in a way you do not control. If your reasons were just your preferences in costume, deliberation would reduce to introspection, checking which desire is loudest. Nobody deliberates that way. The practice assumes there is something to get right. And a commitment that indispensable, Enoch argues, earns the same respect we give the indispensable commitments of science. Physicists posit electrons because explanation requires them. Deliberators presuppose objective reasons because deliberation requires them. The argument borrows the structure of the Quine-Putnam case for mathematical objects and points it at ethics.

His second famous move answers the skeptic who shrugs. Suppose someone says: fine, I reject morality and follow my own system, call it schmorality, which resembles morality but claims no objective authority. Enoch’s reply: the skeptic still faces the question of whether to follow morality or schmorality, and that question asks what he should do. The “should” comes back in the front door. You cannot deliberate your way out of normativity, because deliberating is normativity. A related argument, the companion-in-guilt strategy, targets the critic who scoffs at moral facts while trusting evidence. Anyone who thinks you ought to believe what the evidence supports already accepts an objective normative fact, an epistemic one. The objections against moral facts, that they are metaphysically weird, that no sense organ detects them, apply with equal force to epistemic facts. Reject both and you have abandoned rational inquiry. Keep epistemic facts and the case against moral facts collapses. Skarsaune, Wedgwood, Björnsson, and a small industry of critics have spent a decade probing these arguments, which is the academic form of a compliment. The book is now a standard reference in metaethics, and by some counts non-naturalist realism, a minority heresy in 1990, now approaches majority status among ethical theorists. Enoch did not cause that shift alone. He wrote its most complete brief.

After NYU he went home. The Hebrew University of Jerusalem gave him a joint appointment in law and philosophy in 2003, and in 2005 he took the Rodney Blackman Chair in the Philosophy of Law. He co-directed the university’s Center for Moral and Political Philosophy, won the university President’s Award for outstanding research in 2022, and built a second body of work in legal philosophy that has proved as influential as the first.

His legal philosophy starts with a provocation. The central question of twentieth-century jurisprudence, what is the nature of law, bores him. He has published a paper asking whether general jurisprudence is interesting and answering mostly no. The questions worth a philosopher’s time, he argues, are normative: what the law should do to the people it touches. On these questions he has produced a stream of arguments that lawyers and judges actually cite. His account of law as a triggering mechanism holds that legal rules rarely create new moral obligations. A statute directing traffic to the right side of the road creates no new virtue of rightward driving. It creates a coordination point, and the old duty not to endanger others now requires you to comply. Law changes the circumstances of morality. It does not add to morality’s inventory.

His work on statistical evidence, much of it with Talia Fisher and Levi Spectre, asks why courts hesitate to convict on bare probabilities. If a hundred prisoners riot and ninety-nine participated, the statistics make each prisoner ninety-nine percent likely to be guilty, yet no court convicts a particular prisoner on that basis alone, and Enoch thinks the courts sense something real. Statistical evidence, unlike an eyewitness, does not track the individual defendant. Had this defendant been the innocent one, the statistic would look the same. The argument, framed through the epistemologist’s notion of sensitivity, has become a fixture of evidence theory and grows more urgent as algorithms and risk scores enter courtrooms. He has also argued that moral luck probably does not exist, that two drivers identical in conduct do not differ in blame because a child ran in front of only one of them, and he traces what that means for a legal system that punishes the unlucky driver more. His account of consent is contrastive: consent to one thing against one set of alternatives, not consent in the abstract, which reframes hard questions about medical treatment, sex, and coercion. His papers on nudging and on false consciousness push liberalism to admit that choices can be voluntary and still fail as expressions of the person, because manipulation and oppressive conditions shape desire itself. The essay “False Consciousness for Liberals” appeared in the Philosophical Review, the field’s flagship, in 2020.

Against Rawlsian orthodoxy in political philosophy, Enoch is blunt. John Rawls (1921-2002) taught two generations that state power must justify itself through public reason, arguments all reasonable citizens could accept regardless of their deeper commitments. Enoch’s essay “Against Public Reason” rejects the whole apparatus. Political life cannot launder away substantive moral judgment, he argues, and pretending otherwise breeds evasion. He defends a comprehensive liberalism that names the objective values, autonomy chief among them, on which liberal institutions stand. Consensus deserves less reverence than philosophers give it. A moral conviction does not become illegitimate because reasonable people reject it.

That position stopped being academic in January 2023, when the new Netanyahu government moved to give the ruling coalition control of judicial appointments and an override of Supreme Court rulings. Enoch, who had clerked in the building the government sought to subdue, treated the program as regime change and said so. He organized. Over one hundred Israeli philosophers signed a letter he helped publicize. He joined the Israeli Law Professors’ Forum for Democracy, which produced position papers against the legislation by the dozen. He went to the roads, and to the police station. In July 2023 he published an essay in the Forward with a headline calibrated to burn bridges: if you want to support Israel, boycott its new government. He had already argued in Haaretz that the standard premises of the boycott debate deserve challenge, a stance that drew fire from pro-Israel watchdog groups who noted his university had just given him its research prize. Enoch has spent his career telling philosophers that reasonable disagreement does not neutralize moral truth. In 2023 he ran the argument in public, at cost.

Oxford called that same year. He became Professor of the Philosophy of Law and a Professorial Fellow of Balliol College while keeping his Hebrew University appointment, a two-institution life split between Oxford and Tel Aviv, where he lives with his family. In 2025 he co-edited Engaging Raz: Themes in Normative Philosophy with Andrei Marmor and Kimberley Brownlee, a volume on the legacy of the man whose Oxford chairs he now occupies territory near. Google Scholar counts his citations near seven thousand and climbing.

His prose explains part of the influence. Enoch writes philosophy the way trial lawyers wish they wrote briefs, in short declarative pushes, with jokes, with the objections stated at full strength before he answers them. Critics who think his conclusion false, and Field is not alone, still teach his papers, because the arguments are built to be argued with. He describes his own view as shameless. The word fits. In a discipline where sophistication long meant distance from moral conviction, Enoch bet his career on the opposite: that the person who says cruelty is wrong, full stop, holds the reasonable position, and the burden falls on everyone else. The bet has paid. Whether the universe contains the facts he says it does remains the open question of his field. That a philosopher got arrested acting on them is a matter of record.

Notes

The arrest scene and Facebook account come from a *Daily Nous* report published on March 16, 2023: Daily Nous. Enoch’s Facebook post describes overcoming the psychological barrier to arrest and having his hands placed behind his back. The remark that “you know something is deeply wrong” comes from a commenter on that post, not from Enoch himself.

The Oxford inaugural lecture and the Catherine the Great story come from the lecture delivered in November 2024 and later published as “Law, Philosophy and the Susceptible Skins of Living Beings” in the Oxford Journal of Legal Studies, Volume 45, Issue 4 (Winter 2025), pp. 872-895: DOI.

The account of becoming disillusioned with law school comes from Richard Marshall’s interview, “Shameless Realism Goes Robust,” at 3:16: 3:16. Enoch explains that he entered law school intending to become a lawyer but became disillusioned within the first few weeks. A jurisprudence course introduced him to philosophy. The description “shameless” is his own and also appears on his Hebrew University profile.

Career details, including his 1993 degrees from Tel Aviv University, clerkship with Justice Dorit Beinisch, Ph.D. from New York University in 2003, joint appointment at the Hebrew University of Jerusalem, and appointment to Oxford in 2023, are documented by the University of Oxford Faculty of Law and Wikipedia.

The endorsements by Hartry Field and Russ Shafer-Landau are quoted in a published review of Taking Morality Seriously: Academia.edu. Shafer-Landau describes it as the finest book yet written in defense of ethical realism. Field jokes that, among books arguing for what he regards as an obviously false conclusion, it ranks unusually high. Both endorsements also appear on the book jacket.

Enoch’s role in organizing opposition to Israel’s proposed judicial overhaul, including the philosophers’ open letter, is documented by *Daily Nous*: Daily Nous. His membership in the Law Professors’ Forum is documented at Wikipedia.

His Forward essay of July 31, 2023, “If You Want to Support Israel, Boycott Its New Government,” is available here: The Forward. The same page confirms that he lives with his family in Tel Aviv. The *Haaretz* boycott article and criticism from Israel Academia Monitor appear here: Israel Academia Monitor. Because that site is openly hostile, it should be used cautiously. The factual references to the President’s Award and the underlying *Haaretz* article can, however, be independently verified.

His citation count, approaching 7,000, can be confirmed through Google Scholar.

His work with Ronald Fisher and Levi Spectre, including “False Consciousness for Liberals” in the Philosophical Review (2020), as well as the 2025 volume Engaging Raz, edited with Andrei Marmor and Kimberley Brownlee, appears on the publications list maintained by the Oxford Faculty of Law.

The Ghost Enoch Defends: David Enoch Through Stephen Turner’s Account of Normativity

Stephen Turner (b. 1951) has spent forty years telling philosophers that their central object of study does not exist. In Explaining the Normative (2010) and a shelf of related work, he argues that “normativity,” the special binding force that philosophers find in reasons, rules, meanings, and obligations, is an invention of the seminar room. Strip it away and nothing in the world goes missing. People still expect things of each other. They still sanction violations, teach children, feel the pull of habit and the sting of shame. Social science can describe all of this in ordinary causal terms, as Max Weber (1864-1920) described it, through belief, expectation, training, and interest. The philosopher looks at these plain facts and adds a ghost: a force that makes the rule not just followed but binding, the reason not just felt but real. Turner’s charge is that the ghost does no work. Every explanation the normativist offers succeeds or fails on its social and psychological content, and the added normative force explains nothing that the content did not already explain.

David Enoch (b. 1971) is the strongest living opponent of this view, which makes him the best possible test of it. His career is a defense of the ghost, conducted with more candor than the ghost usually receives. Most philosophers who traffic in normativity hedge. They naturalize a little, they construct a little, they say the binding force is somehow grounded in agency or language or practice. Enoch refuses the hedges. Taking Morality Seriously (2011) asserts that irreducibly normative facts exist, that they float free of anything humans do or feel, that they live, as he puts it with a smile, in Plato’s heaven. He concedes they cause nothing. He concedes no sense organ detects them. He calls his view shameless and prints his critics’ insults on the book jacket. Turner’s framework predicts that a discipline organized around a fiction will eventually produce someone who defends the fiction in its purest form, because the pure form is what the discipline’s training selects for. Enoch is that man, and running Turner’s deflation against Enoch’s three best arguments shows what each theory looks like at full strength.

Start with deliberative indispensability, Enoch’s flagship. People deliberate. Deliberation assumes that some answers to the question “what should I do” are better than others in a way the deliberator does not control. Since we cannot quit deliberating, we are entitled to the assumption, the way physicists are entitled to electrons. Turner’s reply comes in two cuts. First, the analogy fails at its load-bearing joint. Electrons earn their place by causing things: tracks in cloud chambers, currents in wires. Remove electrons from physics and the predictions collapse. Enoch’s normative facts cause nothing, by his own admission, so removing them changes no prediction about anything. A posit that pays no explanatory rent is what Turner means by a ghost. Second, the felt need for objective reasons is itself a plain social fact with a natural history. Children get trained into the practice of asking for and giving reasons. The training installs expectations, and the expectations feel like demands coming from outside, the way grammar feels like a demand from outside. Turner’s Weberian point: an account of why deliberation feels answerable to something beyond preference requires no facts beyond the training. The philosopher takes the feel of the practice and promotes it into metaphysics. Deliberation is real. The heaven it seems to point at is the shadow the practice casts.

Enoch anticipates a version of this and answers with the schmorality argument. Imagine a skeptic who says he rejects morality and follows his own system, schmorality, which resembles morality but claims no objective authority. Enoch’s trap: the skeptic must still decide whether to follow morality or schmorality, and deciding means asking which he should follow. The “should” returns through the front door. Normativity cannot be escaped because the escape route runs through it. Turner’s reading of this trap is that it shows something true about a practice and nothing about the world. The question “which should I follow” has grip only on someone already trained into the reason-asking game. The trap catches everyone in Enoch’s seminar because everyone in the seminar shares the training. It catches no one outside it, and it never has. Billions of people have lived and died inside customs they never interrogated with an unconditioned “should.” The regress that Enoch presents as proof of inescapable normative structure is, on Turner’s account, the machine of academic philosophy manufacturing its own necessity: define a question so that only the discipline’s vocabulary can pose it, then cite the question as evidence for the vocabulary. Kelsen ran a version of this machine in law. Hans Kelsen (1881-1973) saw that legal validity chains upward and posited a basic norm at the top, then admitted the basic norm was a fiction, a presupposition of legal thinking rather than a thing. Turner regards Kelsen’s admission as the honest terminus of the whole normativist program. Enoch stands at the same summit and declares the fiction a fact.

The companion-in-guilt argument is Enoch’s deepest move, and against most opponents it wins. The critic who scoffs at moral facts still believes you ought to follow the evidence, and that “ought” is as spooky as any moral one. Reject both and you abandon rational inquiry. Keep the epistemic one and the case against the moral one collapses. The argument works by finding a normative commitment the critic cannot afford to drop. Turner is the rare critic who drops it. On his account, science runs the way every practice runs, on training, habituation, communal sanction, and the accumulated tacit skill of people who learn from other people. Scientists who ignore evidence get corrected, excluded, and unfunded. The corrective machinery is social all the way down, and it functioned for centuries before philosophers described a realm of epistemic facts for it to answer to. So the companionship holds, and both companions go down together, and nothing collapses. Laboratories open the next morning. The prediction Enoch’s argument needs, that abandoning objective epistemic facts undermines inquiry, fails against the observed history of inquiry, which has never run on those facts and has run fine.

Enoch has a counterpunch left, and it is the best one available. Turner says his deflationary account explains the phenomena better than the normativist account. “Better” is a normative word. The companion-in-guilt argument bites its author: the man who says normativity is a ghost still claims his theory is the one we should accept. Turner’s answer is that “better” here means nothing transcendent. It means more economical, more consistent with the rest of science, more useful to people with the ordinary purposes explainers have. Those are preferences and standards internal to a practice, held by people trained into it, enforced by a community, which is all “better” has ever cashed out to. Enoch hears this answer and replies that standards internal to a practice cannot make the practice worth engaging in, and Turner replies that “worth” is the ghost again, and here the two theories stop touching. Each man’s rejoinder is question-begging by the other’s lights. The dispute has no neutral ground because one side holds that neutral ground of the required kind exists and the other holds that the demand for it is the disease.

At this point Turner’s second question becomes the productive one. Set aside whether the ghost exists and ask what its cult does for its members. Turner’s work on expertise gives the answer shape. A community that believes in objective normative facts, discoverable through reasoned reflection, has thereby created a role: the person trained in reasoned reflection, whose judgments track the facts better than the layman’s. Normativity converts the philosopher from one voice among many into an instrument that detects something. Enoch embodies the conversion at both of his addresses. In the seminar room, robust realism underwrites the authority of the metaethicist, since if moral truths sit in Plato’s heaven, the man with the sharpest arguments sits closest to the window. In public life the stakes rise. Enoch clerked at the Israeli Supreme Court, and in 2023 he organized, marched, and got arrested defending that court against a coalition that won an election and moved to subordinate the judiciary to itself. His inaugural lecture at Oxford in November 2024 argued that law writes on the susceptible skins of living beings. Turner might accept every word of the lecture and draw the deflationary moral: yes, law writes on skin, through police, prisons, and expectation, and that writing is the whole of the phenomenon. The judicial fight, read through Turner, was a contest between two social authorities, a court whose personnel claim to answer to standards above politics and a coalition that claims to answer to voters. The normativist description of that fight, rule of law against raw power, objective right against majority will, is the self-description of one side. It recruits the metaphysics as a combatant. A philosopher who has spent thirty years arguing that binding standards exist independent of anyone’s say-so arrives at the barricade already armed, and the arrest photograph completes the argument in a way no journal article can: here is a man bound by something, look at his hands behind his back. Turner’s framework does not call the conduct insincere. It calls the sincerity the product, the thing the training exists to produce, and it notes who benefits when a society believes that certain trained people have access to standards the rest must obey.

The clean test between the two theories is the one Enoch himself supplies. Ask what would differ observably if he were wrong, if the normative facts were absent and only the practices remained. His answer is: nothing. The facts are causally inert, so the world of a true robust realism and the world of a false one look identical, down to the last deliberation and the last arrest. Enoch treats this as no objection, since mathematics survives the same test. Turner treats it as the confession. A hypothesis that no observation could distinguish from its negation belongs, on his view, to the category Kelsen finally admitted, useful fictions, and the only remaining questions about it are sociological: who is trained to affirm it, what the affirmation costs, and what it pays. Enoch’s career answers the sociological questions with unusual completeness. The affirmation cost him nothing in his profession, where the view he defends has moved from heresy toward orthodoxy across his working life, and it paid him the Rodney Blackman Chair, the Oxford professorship, and a public role as the philosopher who stands where the ghost tells him to stand. Whether the ghost is there, or the standing produces it, is the whole disagreement, stated once more.

The Clerk of Heaven: David Enoch’s Hero System

Ernest Becker (1924-1974) argued in The Denial of Death (1973) that a man cannot live on food and shelter. He needs to matter, and he needs to matter in a universe that is going to kill him, so every culture builds a hero system, a structure of roles and values within which a life adds up to something that death cannot repossess. The system works only while its members forget it is a system. They experience it as reality.

David Enoch faces two terrors, and his career is the management of both. The first is the terror of the anti-realist universe. If the expressivists and the relativists are right, then the wrongness of torturing a child has the same status as the badness of cilantro, a fact about us rather than a fact. Enoch has said in print that this possibility strikes him as a kind of horror, and his first book exists to close the door on it. The second terror is quieter and more Beckerian. The man who makes the arguments is an animal. He tires, he ages, he will die, and every institution he serves, the Hebrew University, the Israeli Supreme Court, Oxford, can be defunded, packed, or burned. Against these two deaths Enoch has built one of the most elegant immortality projects in contemporary intellectual life. He posits a realm of normative facts that are causally inert, outside space and time, dependent on nothing. What does nothing cannot be damaged. What sits outside time cannot decay. His critics treat the causal inertness of his moral facts as the fatal concession. Read through Becker, the inertness is the point. Enoch has located the one province no army can enter, and he has spent thirty years as its advocate on earth. He does not claim to own the facts or to have made them. He claims the humbler and more durable role, the clerk of a court that cannot be dissolved.

Every hero system tells a subtraction story, an account of the illusions it has heroically given up. Enoch’s is the purest in his field. He has subtracted God, afterlife, revelation, national myth, and the warm certainties of tribe, and he stands, so the story runs, on argument alone. He calls his realism shameless. He prints on his book jacket the verdict of his own teacher, Hartry Field (b. 1946), that the book argues for an obviously false conclusion, and the printing is the boast of a man who claims to need no shelter from ridicule. Becker’s framework reads the subtraction story the way it reads all subtraction stories, as the hero system’s denial that it is one. The man who says I have given up every comfort and kept only the truth has made truth do the work that God, flag, and family do for other men, and he has kept, unexamined in the basement, the biggest comfort of all, the conviction that the universe contains a standard and that his life of service to it therefore counts.

The word truth is where the systems begin to diverge, because sacred words do not travel. Inside Enoch’s system, truth is a location. The normative truths sit, he writes, in Plato’s heaven, independent of us, waiting to be discovered by disciplined argument, and the discovery chain, seminar, journal, monograph, is the pilgrimage route. Carry the same word three miles from his Tel Aviv apartment into a Bnei Brak study hall and it inverts. The Talmud teaches that the Torah is not in heaven, lo bashamayim hi; a heavenly voice once interrupted a legal debate to announce the correct answer, and the sages overruled the voice, because truth had been handed to the house of study and the argument itself is where God now lives. The yeshiva student and Enoch both give their lives to argument about what one must do, and one of them spent two millennia moving truth out of heaven while the other, a secular professor, has spent his career moving it back in. For a Soviet-born refusenik grandmother in Ashdod, truth is neither a location nor an argument; it is what the state once jailed her husband for saying, a thing you know by what it costs. For a quantitative trader in Singapore, truth is whatever the market has not yet priced, and a truth that does nothing, that moves no instrument, is a contradiction in terms; Enoch’s entire heaven, causally inert by design, is for the trader a portfolio of assets with zero yield held at infinite cost. Each of these people can pronounce the sentence truth matters and mean it, and no two of them are making the same claim, because the word takes its meaning from the hero system that houses it.

Law splits the same way, and the split became visible on a road. On the morning of March 15, 2023, Enoch walked down onto the Green Village interchange near Tel Aviv with other protesters and blocked traffic against the government’s plan to subordinate the judiciary. A policeman took him. Enoch put his hands behind his back and did not resist, and wrote afterward that the barrier was psychological and you cross it once. Consider the scene from three positions. For Enoch, law is the writing on the susceptible skins of living beings, his image from the Oxford inaugural lecture, and the writing must answer to the heaven, so a statute that unbinds the court from review is not law with a defect but force wearing law’s uniform, and blocking a road becomes an act of fidelity to law in its true sense. For the policeman, law is a shift that started at six, a sergeant, a quota of cleared lanes, and a professor who at least keeps his hands where they should be; the uniform is the meaning, and the heaven has never come up. And for a Likud voter from Netivot idling four cars back, late for work at the packing plant, the scene reads in a third grammar entirely, one worth developing at length, because his hero system is the developed rival here, the one whose collision with Enoch’s organized a country for a year.

Call him the third-generation voter. His grandfather came from Morocco in 1955 and was sprayed with DDT at the port and sent to a transit camp in the south while the founding elite built the universities, the courts, and the kibbutzim in its own image. His sacred words are family, land, vote, and God, and each carries a meaning Enoch’s system cannot host. The vote, for him, is the instrument by which his people, mocked for decades as primitives, finally took the state, and every institution that can override the vote, a court that appoints its own successors, an attorney general who cannot be fired, a professoriate that signs letters, belongs to the old estate defending itself. When he says democracy he means my ballot counts at last. When Enoch says democracy he means a structure of rights and review that no ballot can repeal. The two men use one word, and each hears the other emptying it. Within the third-generation voter’s system, the professor arrested on the road is a hero of nothing; he is the estate’s son lying down in front of the movers. Within Enoch’s system, the voter is dismantling the one structure that stands between his own family and unchecked power. Becker’s point is that neither man is confused. Each is performing heroism, correctly, by the liturgy of his system, and each system supplies its members with what Becker says all systems must supply, a role in a drama that outlasts them. The voter’s drama is the return of a humiliated tribe to its inheritance. Enoch’s drama is the defense of the timeless against the temporary. There is no neutral stage on which one drama beats the other, which is the fact Enoch’s philosophy, of all philosophies, is built to deny, since his heaven exists to be the neutral stage.

The rivals multiply past this one. The religious-Zionist reservist holds a system in which land is covenant and the court that evacuates a hilltop profanes it; his sacred word is inheritance, and Enoch’s autonomy is, inside that grammar, the word for a man who belongs to nothing. The postmodern seminar in Paris runs a hero system of its own, unmasking as heroism, in which Enoch’s heaven is the last unmasked idol and the career spent defending it is naivety at scale. The tribalist, nationalist, traditionalist system, the one this publication’s author works within, reads Enoch with its own lens: a gifted son of a small, endangered people, equipped with the Talmud’s argumentative inheritance, who universalized the inheritance and subtracted the people, and who now serves an abstraction that will not sit shiva for him. That reading is one legitimate competitor among several, and it has its answer ready when Enoch’s system calls it parochial, which is that parochial is what universalists call the things that keep men alive.

Seriousness is the third sacred word, and it is the one Enoch put in his title. Taking morality seriously means, within his system, taking it as objective, and the equation is load-bearing: if morality is our practice rather than heaven’s fact, he argues, we are not taking it seriously enough. A hospice nurse in Manila takes morality with a seriousness Enoch’s equation cannot measure, twelve-hour shifts, the washing of bodies, the sitting with the dying, and she has no view on metaethics and needs none; within her system, seriousness is presence, and a man who flew to a conference to argue that her duties are objectively grounded has, by her grammar, left the room where the duties live. A Becker reading notices what the demand for seriousness protects. The insistence that morality must be more than human practice is the insistence that a human life spent on morality must be more than a human life. The seriousness Enoch demands for morality is the seriousness he requires for himself, and the title of his book, read through the frame, is a petition: take this seriously, because I have bet everything on it.

How much of this does he see? More than most heroes see, which is what makes him the hard case. Enoch stages the strongest objections to his view in his own chapters, jokes about Plato’s heaven while asserting it, and concedes in print that a universe with his normative facts and a universe without them look identical from the inside, down to the last deliberation and the last arrest. A man who concedes the mirror world has stood, at least once, outside his own hero system and looked at it, which Becker thought nearly impossible and nearly unbearable. Enoch bears it with the instrument his system trains, argument, and with the armor his persona supplies, shamelessness, a word he chose himself and which functions the way armor functions, announcing that the wearer expects to be hit. The one thing the self-awareness does not extend to is the diagnosis itself. Show him this essay and he has a reply ready, that the psychological function of a belief is irrelevant to its truth, and the reply is correct by the rules of his system, and the rules of his system are what the essay is about. The circle does not embarrass him. He has written that the circle does not embarrass him. At some point the observer must simply report that the armor has no gap and say what that costs.

The shape of the hero, then: a clerk in the highest court there could be, one with no building, no budget, and no enemies capable of reaching it, filing briefs on behalf of facts that cannot lose because they cannot act. The rival he does not name: the believer, and nearest of all the Jewish believer, whose architecture his system reproduces beam for beam, a revealed order, a canon, a method of disputation, a life of service rewarded by participation in the eternal, with the Author’s name struck from the title page and the study hall renamed a department. And the cost that no ledger in his system can price: the heaven he serves is, by his own careful specification, inert. It cannot intervene at the interchange, cannot commute a sentence, cannot mourn its clerk. The believer’s God at least watches. The tribesman’s people at least remember. Enoch has pledged his one mortal life to the only client that can never fail him and can never thank him, and whether that is the purest heroism on offer or the loneliest is a question his court, by design, will never rule on.

The Great Delusion

If John J. Mearsheimer’s anthropology is right, then the philosophical project of David Enoch faces a foundational crisis.

Enoch is a leading contemporary defender of Robust Metaethical Realism. In his 2011 book, Taking Morality Seriously, he argues that there are objective, universal, and irreducibly normative moral facts. These facts do not depend on human attitudes, desires, or cultures; they exist independently in the universe, waiting to be discovered rather than constructed.

If Mearsheimer’s view of man is accurate, Enoch’s robust realism is undermined in three critical ways.

Enoch’s premier positive argument for realism is the Argument from Deliberative Indispensability. He argues that when we deliberate about what to do (e.g., “Should I boycott this institution?”), we are rationally required to believe that there is a single, objectively correct answer out there to be uncovered. Because deliberation is a non-optional project for human agents, objective normative reasons are indispensable to us, meaning we are justified in believing they exist.

Mearsheimer’s anthropology completely flips the psychology of this process. If people have limited choice in formulating a moral code because their family and society have already imposed an enormous value infusion on them, then what Enoch calls “deliberation” is largely an illusion. We do not use detached, autonomous reason to discover independent, abstract moral facts. Instead, our reasoning skills develop late, serving primarily to rationalize and defend the tribal sentiments and cultural programming we received during a long, vulnerable childhood. The feeling that we are seeking an objective, external truth is simply the psychological mechanism by which intense socialization manifests itself.

Enoch relies on a Moorean trust in our strongest moral intuitions; he argues that we are entitled to believe that the infliction of horrible pain on random victims is objectively wrong because that claim is vastly more plausible than any metaphysical argument denying it.

However, if humans are tribal at their core and driven by inborn attitudes designed for group survival, our moral intuitions are heavily contaminated by evolutionary and social utility. Mearsheimer states that the main reason for our social nature is that the best way for a person to survive is to be embedded in a society. Therefore, our deep-seated feelings about right and wrong are not tracking abstract, non-natural moral facts in the ether (as Enoch claims). They are tracking tools developed by the human animal to maintain group cohesion, enforce inside-the-tribe cooperation, and defend against outside-the-tribe threats. If Mearsheimer is right, our moral confidence is an evolutionary survival device, not a tracking device for cosmic truth.

Enoch explicitly states that if Robust Realism fails to make sense of our moral discourse, the only honest alternative left is an Error Theory—the view that morality structurally claims to be objective, but those claims are systematically false, much like discourse about astrology or witches.

Enoch fights error theory by arguing that alternative explanations cannot account for why we take morality so seriously. Mearsheimer’s anthropology provides the exact causal framework the error theorist needs to win. We take morality seriously because we are born into social groups that shape our identities well before we can assert our individualism. The intense, prolonged socialization of childhood fills the mind with values that feel objective, universal, and absolute.

If Mearsheimer is correct, Enoch has accurately described the phenomenology of human morality—we certainly experience it as robust, heavy, and objective—but Mearsheimer has exposed the social and biological engine behind that experience. Enoch’s independent, non-natural moral facts become redundant baggage; man’s tribal nature and intense socialization are entirely sufficient to explain why we take morality so seriously, without the universe needing to contain a single objective moral fact.

‘A Big Misunderstanding’

David Pinsof argues that intellectuals view the world through a comfortable lens: every human catastrophe stems from a big misunderstanding. If people only thought more clearly, memorized their cognitive biases, and listened to experts, peace and cooperation might follow. This narrative serves a clear purpose. It makes the intellectual the necessary savior of humanity. David Enoch, a philosopher who defends the existence of objective moral facts in his book Taking Morality Seriously, fits perfectly into the target zone of this critique.
Enoch argues that universal, mind-independent moral truths exist in a realm akin to Plato’s heaven. He claims that when we debate ethics, we must assume these objective truths exist, or else our deliberation makes no sense. To Pinsof, this philosophical framework represents the absolute peak of the intellectual’s self-serving myth. Enoch constructs an elaborate system where human conflict looks like a failure to track cosmic facts. When groups fight over territory, resources, or political power, the robust realist sees a breakdown in moral reasoning. He treats the parties as though they simply misread the ethical manual.
Pinsof offers a colder alternative. Humans are not broken radios failing to receive signals from Plato’s heaven. The human mind works perfectly. Evolution shaped it to win arguments, capture state power, and secure status over rivals. When partisans demonize each other or politicians lie, they do not suffer from a brain fart or a failure of logic. They participate in high-stakes, zero-sum competition over the coercive apparatus of the state.
From this perspective, Enoch’s search for objective normativity is not an impartial journey toward cosmic truth. It operates as a strategic tool in the social marketplace. By framing moral preferences as independent cosmic facts, intellectuals create a benchmark that they happen to be uniquely qualified to interpret. They turn local political alliances into universal laws. It allows the educated elite to claim moral superiority and dismiss their rivals not merely as competitors, but as irrational creatures who fail to see reality.
Enoch acknowledges that selective forces shaped our minds for survival rather than for tracking abstract truths, but he posits a pre-established harmony where evolution somehow guided us toward the good. Pinsof rejects this harmony. Animals do not evolve to care about the universe; they evolve to care about themselves and their allies. Stated motives about universal love or objective duties simply cover up actual motives like status-seeking and resource dominance. The world does not suffer from bad beliefs that a philosopher can correct. It runs on conflicting interests that no amount of analysis can resolve. The only misunderstanding in metaethics is the belief that a moral disagreement is a misunderstanding at all.

Posted in Philosophy | Comments Off on David Enoch: The Philosopher Who Says Morality Is Real