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Polemics and Philosophy from a British Contrarian
Roger Scruton’s new works delve deeply into aesthetics, politics, and religion.


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To judge by the output of most writers who fancy themselves deep thinkers, one could be forgiven for concluding that the word “intellectual” in “public intellectual” must operate like “gold” in “fool’s gold.” The works of British philosopher Roger Scruton are a useful corrective. They show that it’s possible to write for a wide audience without sacrificing nuance and insight.

Scruton is a unique figure on the right. After receiving his doctorate at the University of Cambridge, he earned the animus of the academic Left with the publication in 1979 of The Aesthetics of Architecture, which argued, contrary to received wisdom, that modern architectural styles disrupt the aesthetics needed to cultivate a sense of community. Now transplanted across the Atlantic to the American Enterprise Institute and other think tanks, Scruton has written more than 40 books on varied subjects such as music, sex, the environment, wine, and conservatism.

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In the last month, two more books join the ever-expanding list of Scruton titles. The first, Notes from Underground, is a polemical novel released in March. The second is a work of philosophy: The Soul of the World, released in early April. Both deal with the dualities of beauty and ugliness, love and betrayal, freedom and tyranny, piety and sacrilege.

Notes from Underground is mainly set in 1985 in Communist-occupied Prague. Earlier in his career, Scruton covertly visited Prague behind the Iron Curtain, traveling as a lecturer, so the harsh descriptions have an authentic ring to them. Such descriptions allow Scruton to argue against leftist collectivism merely by describing its effects. Sometimes the storyline is coupled with searing polemics, which are most effective when they catch the reader off-guard. For instance, his protagonist observes, “Defenestration is a Czech tradition, the only one that the Communists had retained.”

The story is told in the first person by Jan Reichl, a Czech academic in the United States, who recounts his youth under Communism. Once valued for his past as a dissident writer, he now finds his worth diminishing in the eyes of the academy. Jan writes about his experiences from a meditative distance, full of references to the literature of Kafka, Dostoyevsky, and Zweig, as well as to the music of Schubert and Mahler. The book’s title itself is a reference to Dostoyevsky, whose novella Notes from the Underground is considered one of the first works of existentialist literature. The narrator’s distance from events reduces the emotional immediacy of some scenes, but it also gives the whole story a thoughtful melancholy.

Jan’s father died in a work camp when he was young. His only inheritance is a small box of books, and these books fuel his literary aspirations. His mother finds a minor role in the resistance movement, copying by typewriter dissident texts that are left, sometimes anonymously, at the back door. One day Jan produces an original work, Rumors, for her to copy. His pen name is Soudruh Androš: “Comrade Underground” in Czech.

The opening scene describes the arrest of Jan’s mother. Still reeling from this traumatic event, he meets Betka, a mysterious and well-connected woman who knows his identity as Comrade Underground and wants to agitate for his mother’s release. She introduces him to a circle of fellow dissidents. The most important is Father Pavel, a priest in the underground church who becomes Jan’s unofficial spiritual adviser. The rest of the plot outlines Jan’s troubled romance with Betka, his gentle spiritual awakening, and his growing appreciation of Czech tradition, culture, and identity.

While the description, the polemics, and the prose of Scruton’s novel are all marvelous, it nonetheless comes across as didactic. Chapter 21, which details the visit of a liberal American philosophy professor, is fine polemic, but it is largely irrelevant to the plot, dropped in to advance the author’s point of view. Likewise, the characters remain on a short leash, too frequently voicing the attitudes and opinions of the author. Hence, given Scruton’s well-known revulsion for popular music, it is entirely unsurprising that we find Betka’s face “screwed up in distaste” as she hears a Pink Floyd record.

Ironically, Scruton has written a novel whose content makes the argument for spontaneous order and liberty, but the book overall suffers from authorial central planning. The result is a worthwhile read that doesn’t sustain its best moments.

In The Soul of the World, Scruton is on more familiar ground. The book is supposed to be an exploration of the sacred, but that description fails to convey the bewildering variety of topics covered in fewer than 200 pages. There is not much here that Scruton hasn’t said before, but in no previous work has he woven together so successfully his thoughts on aesthetics, personhood, politics, and religion. 



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