Wednesday, May 13, 2026

TCP Vol 2: Tale X: Counterauthority--rough draft

 To High Priest Yoazar,

I'm afraid I can't reveal my identity to you, but rest assured, you know me. 

What you need to do is firstly assure the people of Israel that this is not a prelude to slavery, no matter what taxes signified in previous civilizations, Rome is Rome. These other civilizations practically took over neighborhoods and blocks compared to Rome's empire spanning the world. Rome is a step up in the progress of the world, and when Rome taxes, the taxes are put to public use, not private enrichment. 

Secondly, the idea that high taxes would be a prelude to the nationalization (internationalization) of all Jewish industries and property is absurd. That will never happen, and once again, just because it happened this way in other occupations does not mean that Rome is the same. 

Rome is the exception to history. Other empires fold by their lack of competence, their lack of organization, their lack of dynamism and adaptability. Rome's rise continues because it has solved the question of how to maintain civilization, and can maintain it ad infinitum should it so choose.

It's true, it is rather concerning that Hillel's school has acceded to the bellicosity of Shammai's, but when the real violence begins (imminently I'm sure), Hillel will regain their tactful composure. However, the continued mistreatment of all the mokhes and gabbais in Rome's employ is a shandous outrage. They are now beaten in the street, or at least spat on, and whenever they report their ill-treatment, Rabbis and Elders dismiss their claims prima facie because the Sanhedrin ruled that the credibility of known Jewish employees in Rome's public sector is so damaged that they cannot testify in court. 

This is a development so beyond unacceptable to Rome that Rome demands action for it and orders you to threaten any such vigilante with excommunication. We and Rome are well aware that the issue of excommunication falls under purview of the Sanhedrin and tribal councils, but Rome is adamant that you claim counterauthority from them and attempt to seize power from the Sanhedrin by claiming their irredeemable corruption. Such a claim is always helped by the fact that the Sanhedrin is just as corrupt as the priesthood, and the more you repeat your accusations, the less their accusations against your administration hold moral credibility to the average Judean. 

This is what Rome bids you do at the moment, and if you have any further questions, they will be conveyed though the couriers of the Roman governate and any written questions or requests will be sent to me, who bears far more detailed instructions from the Emperor's family. 

For the Senate and People of Rome,

Rome's Man in Jerusalem


Sunday, May 10, 2026

The American Sublime 2: Bug-centric Cockatoo


.
So I just got back from West Side Story today--a work I've written about endlessly. It was a pretty great performance, 9/10? A little too busy and unsubtle, but all the leads were great bordering on wonderful. Better than I thought I'd ever see it done. At the beginning scenes and the ending I wiped away a lot of tears as my lip quivered, then I looked over and saw my mom doing the same, then I looked in front of me and there was a woman outright sobbing while her husband consoled her, then I looked next to me and there was a couple younger than me and both the man and the woman were wiping tears. The only person near me who didn't like it was the twelve year old texting on his phone the whole time until I asked him to stop nicely at intermission. He apologized very politely, then kept checking the time during the second half.
What is it about this play that speaks to everybody here so deeply? You can't just explain it rationally. Part of why West Side Story is timeless is because we're still living West Side Story's crisis. and it's basically the same show: still gangs, still poverty, still projects, still racist cops, still misspent youth. It could be set in Baltimore today and all you'd need is David Simon to revamp the script, make the Jets African-American and up the racism of the cops, and it's the same show.
But no, you can't explain it like that, that would just make West Side Story a sociology lesson. It has to provoke deep emotional associations, and it can't just be nostalgia.
No, what we're experiencing is something much deeper. Something almost ecstatic. I come out of West Side Story not just moved, but electrified. Simon Schama talks about that effect in the famous documentary: The Power of Art: "
"In the end, there's only one test that matters. You come into the room, you fix it in your sights. Does it, or does it not attack you in the guts, it does. Does your heart jump? Do your eyes widen? Does your pulse race? Do your feet get a bad attack of lead boots you're so struck down by it?"
There's so much about West Side Story that shouldn't work: the antique slang that probably wasn't even real slang in 1957, the ridiculous love story, the ballet sequence that comes out of nowhere and feels like an ego trip from the choreographer... and yet we buy every bit of it. It's one of those works that moves through our heads in a state of grace. Some works just have that irrational impact on us. It's not many, it's never many, but they exist, and if you're open to it, you usually know it when you see it.
You particularly know it because you keep coming back to them. They marinate in your head like an unfinished dinner in the fridge that gets better overnight, and every time you revisit it, it's a completely different experience. A character may resemble your parent, then 20 years later resemble you, then 20 years after that resemble your child; a place may represent the place you live in, then it becomes the place you grew up in, then it becomes the place it used to be but no longer is. Aristotle called it 'mimesis', but what it means is that we just look at the screen or page or stage and say 'that's me.'
It may not exactly be you, but it's something you know, something you remember, something you love or hate or fear, something you're experiencing right now or expect to experience later, and it goes through a journey into your psyche, and by the time it's done you're not the same person anymore.
What's a little unique about West Side Story is that for a country with so many choices for entertainment, how few of them seem to have that ecstatic effect on millions of people. Sure, all kinds of musical groups can get a whole stadium to bob their heads and raise their arms in a kind of trance, but that's not the experience I'm talking about. I'm talking about the solitary experience, the experience that when you leave, you know that your life can never be the same after it happened, and you know that if you come back in 50 years, it will have the same effect. Not just because of its effect on your emotions or nerves, but it's affect on your mind. The kind of piece where your thoughts complicate your emotions, and your emotions complicate your thoughts. And between the two, something deeper emerges even than the heart: a soul. The essential part of who we become, and by the end of that process, we don't just feel delighted or deflated, we understand.
Russia devoted 200 years of literature to that effect, Italy had multiple hundreds of years of that art, but we in America? We don't think much of solitary creation. Of course, even the solitary creators have help, but in so much of even our best art, the vision itself comes from collaboration. Collaboration can do all sorts of wonderful things, but collaboration can also mean committee. And when a committee creates a work of art, the result is not a person's original vision. Committees generally don't look at a work and say 'let's get more daring'. It happens, but not that often, and I think it's a little harder to communicate from one heart to another.
So, individual or collaboration, how do these works have that effect on us? Well, I wonder if there are three ways (and I had a little help from ChatGPT on this...): in the works we see the 'concrete America,' the 'mythic America,' and the 'metaphysical America.' In the concrete America, your mind sees sights and concepts just like the ones we know: open landscapes, tall cities, saturated media, money problems. In the mythic America, it speaks to the dreams we have, both when we sleep and when we wake: the freedom to reinvent ourselves, to meet our destiny, to venture into the frontier. The dream that we'll all be free and equal, and the nightmare that we may get only less as time goes on. Metaphysical America is the America of the spirit, where being American stops being a fact and becomes a way of life. Maybe it's a particular American loneliness where we start questioning what all this freedom and prosperity was for. What happens if, when we reinvent ourselves, we lose ourselves or our souls. We're in a country where we're free to believe anything at all, but what happens if we stop believing in anything?
And when you see these three levels of America reflected back at you, it hits you harder than any rational truth would. It doesn't wrestle with things that are true right now, it wrestles with universal values, fundamental moral laws, universal emotions and experiences and conditions.
I think what makes West Side Story so extraordinary is that there aren't all that many pieces in America that unquestionably do that: We have our share, but we are, supposedly, the freest country there's ever been (that's another story...), and yet we haven't used that freedom to make all that much art that probes questions just that deep, and what we do have, even the best of it, feels just a little bit commercial, just a little bit safe. Not everything's supposed to be a 'really good show,' and even in a show like West Side Story, you can feel the audience concessions. The first half-hour of West Side Story is so beautiful, and then you go into America: America is one of the best songs ever written in this country, but it's placed right after Maria and Tonight, two songs so ecstatic that you want to stay in their spell forever, and it yanks you out of that ecstasy so jarringly that you (I) almost resent it. Then, a half hour later, comes One Hand One Heart, another of the most beautiful songs ever written, and West Side Story's built an entirely new head of steam, and you feel yanked back into love and beauty. Then Act 1 ends with deaths on the stage, and Act 2 opens with I Feel Pretty. We were in the world of the The Wire, and then we're yanked into the world of Rodgers and Hammerstein. It's part of West Side Story's greatness that it can be so many things at once, but it's a little bit exhausting, and in the back of your mind, you wonder if they did it because they worried about the ADD of the audience.
But it's true, sometimes commercial considerations make a work better, sometimes populism makes a work better, sometimes 'simpler' is simply better...
In the vast majority of the best American work, that's what we get. For better or worse, artists here usually have to be entertainers first. The unregulated profundities of Dostoevsky and Wagner don't as often happen here. Does that make the work here worse? Maybe a little bit... but it also means that most of our best art is just that entertaining, and you wouldn't just miss out on something that will change you and give you wisdom and a self-transformation, that seems different every time you experience it, but also, you'd miss having a really good time.
I was going to write about which works are on this list and why, but I don't have that kind of time. Here's another f***ing list....
Unnamable, competes with the best of any time and place:
The Simpsons (f*** off it's my list...)
Citizen Kane (a lot more entertaining than you remember)
West Side Story
Moby Dick (under protest)
The Great Gatsby
Death of a Salesman
Leaves of Grass
Our Town
Life on the Mississippi
Alan Lomax Collections
Louis Armstrong Hot Five & Seven
Pinocchio
Emily Dickinson (various)
The Souls of Black Folk
Assassins
Barbecue Cuisine
A Love Supreme
Mad Men
Gershwin Songs
Katz Deli
Invisible Man
Beloved
Duke Ellington: Particularly Blanton-Webster years and assorted longer works
Charlotte's Web
Nashville
Do The Right Thing
Vietnam Veterans Memorial
Gypsy
Grand Central Terminal
Wizard of Oz
The Muppets
The Red Badge of Courage
Levi's Blue Jeans
National Geographic
Let Us Now Praise Famous Men
The Times They Are a'Changin'
It's Alright Ma, I'm Only Bleeding
Chimes of Freedom
A Hard Rain's-a Gonna Fall
Democracy in America
Varieties of Religious Experience
The Last Picture Show
-----------------------
Cosmic. Essential for anyone who cares to experience America:

Mahalia Jackson (Move On Up A Little Higher, How I Got Over, Precious Lord Take My Hand, Come Sunday)
Migrant Mother
The Awakening
To Kill a Mockingbird
Company
Follies
The Education of Henry Adams
An American Tragedy
African American Spirituals
Central Park
Waffle House
Absalom, Absalom!
Creole Cuisine
The Scarlet Letter
Robert Frost (Stopping by the Woods on a Snowy Evening, Mending Wall, The Road Less Traveled, After Apple Picking, Death of the Hired Man, Home Burial)
New Orleans Jazz (generally)
Mardi Gras costumes
Rear Window
Watchmen
Black Boy
Call It Sleep
Peanuts
Calvin and Hobbes
All The King's Men
James Brown: Live at the Apollo
Fun Home
Go Down, Moses (novel)
Thanksgiving Dinner
Civil Rights Movement Songs
Strange Fruit
Bessie Smith (generally)
John Lee Hooker (generally)
Desolation Row
The Godfather Saga (TV version putting both movies in chronological sequence with an hour of restored scenes is best)
Master's of War
Second Line Funerals
How The Other Half Lives
Slouching Towards Bethlehem
Origins of Totalitarianism
Battle Hymn of the Republic
How The Grinch Stole Christmas
Hoop Dreams
The Unanswered Question
Pentacostal Services (generally)
Gone: An Historical Romance of a Civil War as It Occurred b'tween the Dusky Thighs of One Young Negress and Her Heart
Vietnam War Memorial
Apocalypse Now
Fallingwater
Freedom Highway
I've Been Loving You Too Long
The Assistant
Spirit In The Dark
King Heroin
The Atlantic Magazine
Brooklyn Bridge
A Raisin in the Sun
Close Encounters of the Third Kind
Collected Stories of IB Singer
Chinatown
Tangled Up in Blue
The Fire Next Time
Chrysler Building
The Truman Show
The Iceman Cometh
Brokeback Mountain
Porgy and Bess
The Manchurian Candidate
Their Eyes Were Watching God
Blood Meridian
Raging Bull
Narrative of the Life of Frederick Douglass
Civil War Union Songs
Moonlight
Nebraska
Green Eggs and Ham
My Antonia
Lady Soul
Where The Sidewalk Ends
MAD Magazine
Rain Dogs
The Making of the Atomic Bomb
County Fairs
the Zoot Suit
The Fish Fry
Dispatches
The Crawfish Boil
"Chinese Food"
Armies of the Night
The Southern Breakfast
New York Pizza
Autobiography of Malcolm X
Work Boots
The Giving Tree
Sesame Street
-------------------------------------
Gold: a Transcendent Achievement:
Mean Streets (still Scorsese's best...)
A Streetcar Named Desire
The Italian American Dinner
Mullholland Dr.
Goodfellas
The Clambake
The Adventures of Augie March
Sunrise: A Song of Two Humans
Pet Sounds
The Cat in the Hat
Converse Chuck Taylor All-Stars
The New Yorker
Closing Time
Bonnie & Clyde
Bless Me, Ultima (**** off it goes here)
Emily Dickinson (various)
American Pastoral
Native Son
Taxi
Graceland
Las Vegas Strip
Long Day's Journey into Night
Portrait of a Lady
The Night of the Hunter
Blue Velvet
The Power Broker
The Right Stuff
Soul Food
Robert Johnson (generally)
Photo of Allie May Burroughs
Ives 4
New York Bagel
Harlan County, USA
Blue Velvet
Blue Plate Special
His Girl Friday
Appalachian Spring
Angels in America
Blood on the Tracks
The Brothers Ashkenazi
Ace in the Hole (movie)
As I Lay Dying
Creative Orchestra Music 1976
Leather Jacket
Highway 61 Revisited
Show Boat
The Moviegoer
The Conversation
Modern Times
Pacific Overtures
The Glass Menagerie
The Problem We All Live With
The Searchers
The Civil War: A Narrative
The Twilight Zone
The Fog of War
Gumbo
Cole Porter (various)
Deadwood
Seinfeld
Cheers
It's a Man's World
The Sopranos
Twin Peaks
Woody Guthrie (various)
Zodiac
Walden
The Immortal Otis Redding
Duck Soup
ET
The Producers
Catch-22
The Executioner's Song
Staples Singers (various)
Coat of Many Colors
Hank Williams (various)
Woolworth Building
Long Day's Journey into Night
Fargo
Alexander's Ragtime Band
Waffle House Breakfast
The Sweet Smell of Success
As I Lay Dying
Touch of Evil
Seinfeld
The Philadelphia Story
Army Field Jacket
Black Church Hats
Drag
The Man Who Shot Liberty Valance
Jimmie Rodgers (various)
Johnny Cash America Albums
America Today Mural
Carousel
Six Feet Under
The Larry Sanders Show
Chappelle's Show
Bluegrass Jam Sessions
American Gothic
The Americans
Contract With God Trilogy
Roots
Go Tell It On The Mountain
-----------------------------------------------------
Silver: A Great Achievement
The Fixer
Jewish Deli
Gravity's Rainbow
Ah-Um
The Social Network
Herzog
The Turn of the Screw
All The Pretty Horses
Blazing Saddles
Gas
Corn on the Cobb
The Steerage
Randy Newman (album)
Portnoy's Complaint
Everything, Everywhere, All at Once
Christina's World
Kind of Blue
Cat on a Hot Tin Roof
Hippie Fringe and Denim
Disneyland
One Flew Over the Cuckoo's Nest
There's A Riot Goin' On
Suttree
Church Potluck
Guggenheim Museum
Twin Peaks
Gravity's Rainbow
Dreamgirls
Follies
Other Johnnie Cash
King Kong
City Lights
Vertigo
Ebony
Jet
Washington Square
The Deer Hunter
The Sopranos
Sugar Shack
Rolling Stone Magazine
A Good Man is Hard to Find
Diner Pie
Carol Burnett Show
Born to Run
Network
The Wizard of Oz
Into the Woods
American Graffiti
Red-Headed Stranger
Dazed and Confused
Treasure of the Sierra Madre
Sunset Boulevard
Boogie Nights
McCabe & Mrs. Miller
Paris, Texas
M*A*S*H (TV)
Tom Waits (various)
Animal House
Mister Rogers' Neighborhood
The Apartment
Rothko Chapel
Piano Music of Henry Cowell
Rodeo & Billy the Kid
Exciteable Boy
The Iceman Cometh
The Crucible
Fences & The Piano Lesson
Glengarry Glen Ross
Stag at Sharkey's
Carousel
Groundhog Day
Close Encounters & ET
Fargo
Toy Story
What's Goin' On
Double Indemnity
All About Eve
Pudd'nhead Wilson
--------------------------------------------
Bronze: A Mostly Great Achievement:
Nighthawks
The Wire Breaking Bad
The Best Years of Our Lives
Black Saint & Sinner Lady
Sula
Kind of Blue
The Color Purple
Ah Um
Erasure
The Apartment
Playboy
A Face in the Crowd
Friday Night Lights
Flannel Shirt
The Americans (TV show)
Dog Day Afternoon
Macaroni and Cheese
White T-Shirt
Badlands
Magnolia
Tapestry (album)
Apollo Theater
Wise Blood
Koyaansqatsi
Deep Dish Pizza
Twin Peaks
South Park
Some Like It Hot
Singin' In the Rain
Girls
First Reformed
South Bronx Housing Projects
Stagecoach
Easy Rider
Gone with the Wind
Nebraska
Get Out
Air Jordan Sneakers
The Big Lebowski (pinnacle of Western Civilization)
Casablanca
Days of Heaven
----------------------------------
Not my thing but game is game
There Will Be Blood
To Pimp a Butterfly
Autumn Rhythm #30
Walden
The Grapes of Wrath
Howl
The Waste Land
2001
Hamilton
No Country for Old Men
The Tree of Life
Inside Llewyn Davis
Letterman Jacket

Saturday, May 9, 2026

Dear Dad #8

 

I just heard every composer in Baltimore will be at my premiere tomorrow to hear the Schnittke, so, of course, this is the time I choose to write the kind of goyisher soft-ass choir shit I always made fun of with other composers.
It doesn't really sound goyish, it sounds like a modern synagogue tune, with a slight dollop of mizrachi intervals. I wanted to do so much more with this piece, but I knew I had to make it user-friendly.
The choir, they... I guess they like it well enough. Like most new composers, they barely mention it, it's just something we all feel the need to do for each other. It overwhelms me with pride that an organization this eminent is doing my piece tomorrow. Hearing them do my music is like soul satisfaction injected into my veins, but I do wish I'd written a different piece: both for them and a different piece in memory of you.
I'm planning on making a recording of all the various choral pieces I've had in my head and am finally jotting down on music software. They're better than the piece we're doing tomorrow, but next to Schnittke and Bernstein they needed an easy piece, so I wasn't about to try to compete with two of my heroes.
Schnittke is, I'm sure, not your thing. He's very much my thing. Long before I met this conductor who did his dissertation on Schnittke, I thought Alfred Schnittke was the greatest composer of the 20th century's second half. He's laughed at now (and oh my god Mom is going to bust a gasket at some of the percussion effects tomorrow. I don't want to spoil it for her because I want the entire chorus watch her cackling), but Schnittke is one of the great artistic moral witnesses, prophets of 20th century horror like Shostakovich, Mahler and Amanda Bynes.
In his own way, he's no different from Leonard Bernstein. Both of them want to combine the high and the low. It's not Schnittke's fault that he was born in a society that had no market forces that would force him to be popular with a mass audience.
We 'artists', if that's even what I fucking am, don't have it easy. You warned me about that so many times, even as your refusal to believe in my path through it made the path still more difficult, but even the ones who 'make it', they don't have it easy. There are all kinds of entertainers who make it, and we call them artists, but real artists don't spend their days touring stadiums or grossing millions every week at the box office. If you get that level of popular acclaim, you haven't challenged your public, you've pandered to them.
So the real thing, the 'artistes', they don't exist to the public. A lucky few do: Dylan, Scorsese, Ellington, they get to evolve and experiment to a large, invested public. The public doesn't always appreciate them, but no matter how weird they get, their audience is interested in what they do, and stays interested over a period of 50 years--and in Dylan's case now, sixty five years. There are others of that level of course, but something does so many of them in before their ends should have been met. Sometimes it's death, sometimes it's drugs, sometimes it's burnout, sometimes it's lack of money or support, sometimes it's even too much money or support. But even among the American artistic gods, there are the pandering fingerprints: is Dylan really a Homer? Is Scorsese really a Dostoevsky? Is Ellington really a Beethoven?

As for the rest of us, we may have publics (I don't...), but even the ones who do, it's basically a monastery. We all have our little scenes, but America doesn't like the vast majority of artists, they don't think they need us. We all have our preferred few we pick and choose, but the problem is that once we pick an artist out of the million choices we have, we stick with them, and as such, they have to provide us with the tried and true stuff that we require from them: even their risks become predictable, because in every scene, there's a set way to be risky, and if you truly break the taboos open of your public, you will alienate them. So even the best of it has the stain of pandering on it. Where is the risk in talking about racism and misogyny to an audience composed entirely of antiracists and feminists? Where is the risk in addressing the plight of the poor to an audience of progressives and socialists? Where is the risk in the artistic avant garde in a generation raised on critical theory?
At least among the boomers: the rock gods, the New Hollywood film brats, there was a mass audience, and the paradox was that because there was a mass audience, the audience knew that they wouldn't like everything the artist gave them because they shared this artist with people very different from them. So the audience always expected to be challenged. This is the paradox of mass culture: mass culture was a community, and within the community, it allowed everybody a certain degree of individuality.
But over time, the market mastered us, watered down our products to a point past even vanilla until it's all just water. Supposedly, we have the freedom to choose whatever sort of music, movie, book we want, but we seem more imprisoned by our choices than we ever were by what we were forced to consume together.
There's plenty of great stuff now, but who sees it? Who even knows about it? In a fairer artistic world, the biggest names wouldn't be Taylor Swift or Ryan Coogler. It would be names like Anthony Braxton, Esperanza Spaulding, James McMurtry, John Darnielle, Kelly Reichardt, Charles Burnett, Kara Walker, Marilynne Robinson (at least Obama's a fan of her...), Colson Whitehead. Artists like this deserve to be as famous as Leonard Bernstein, Tennessee Williams, Orson Welles, JD Salinger, but we don't care anymore. It's gone so far beyond that we don't care about so-called classical music or so-called literature. Now, there isn't even a new generation whose recognition would replace the great popular artists. When Alfred Hitchcock retired, Spielberg was there to take his place in the public imagination: who will take Spielberg's place? When Dylan and Springsteen go, will any singer-songwriter take their place in the public eye? Norm MacDonald and Robin Williams are dead, Louis CK and Dave Chapelle might as well be, let's hope Taylor Tomlinson can get to the summit because otherwise, it's just more 'microcomedians' that we occasionally see a reel of on facebook.
Nobody needs to be a celebrity, but the modern arts are sadly dependent on that kind of attention seeking because that level of exposure raises all boats in their fields. The more excitement the mass market generates, the more revenue streams there are for everyone in the same field. Columbia and RCA knew that with their hits, they could pay to record the entire music scene, and whatever lost money, the mass sales would recoup the costs. Corporations are never great, but back then they knew that the ultimate purpose was the legacy, not the profit margins. But now that the profit margins are everything, and somehow, there's less profit! Relatively speaking, artists are making less money than ever in living memory, and it's because of the moneymen. A few products like Taylor Swift and Marvel make more money than anyone's ever seen, and instead of paying the investment forward to create the new generation of Taylor Swifts and Stan Lees, it lines the pockets just a few artists and executives, and everybody else has to fend for themselves in a business which now roots for them to fail.
Each of the artists I mentioned has an appreciative public, but compared to the public for something that challenging when you were twenty years younger than I am now, it's a miniscule thing. What is the point of all those gains in self-expression and identity if we have have no idea what to express? We wonder how our country is in such crisis: but there are, literally, millions of works of art which are there for us to use as moral instruction, waiting for us to pick them up either in hard copy or online, and instead, we just doomscroll and share more memes that either make us mad or emotionally deaden us. Literally, the cultural riches of the world are there to make us better understand everything we see and the crises we live, and 99.9% of it we completely ignore.

So it's a shame nobody gets the music of guys like Schnittke. Schnittke is one of the great cultural role models, not because he wants to be important, but because he doesn't. He doesn't want to be a prophet, he wants to just combine seriousness and fun, just like you taught me to try to do, and which you did with such effortlessness for as long as the 43 years I knew you.
Schnittke didn't need the love of the world the way Lenny Bernstein did. He was content to be himself and challenge his listeners, knowing that through music he could bear witness and still make it fun. It's not necessarily pleasant to listen to, but it's enjoyable even when it disturbs you.
There are so many coincidences about tomorrow's performance I don't know where to begin. It's not just saying a Requiem for you nine months after you died (I've said Kaddish to myself for you every day for at least the last month, not that I need credit, but I just need you to know that in my own way I'm trying), it's that after my piece, we're doing the Chichester Psalms. We're singing the 23rd Psalm, which every Jew chants upon the death of a loved one. We're singing Psalm 2, which I set in my hardest core ever piece ten years ago. And then the Chichester Psalms ends with, of all things, Hineh Ma Tov, which Eli's gone around Bubbie's house singing every day for at least the last month. I told him I'm singing it in public, he wants to go, but I told him it won't be the melody he knows. I don't think Eli is ready for Schnittke, even though if any 5-year-old would be...
I'll try to get through Chichester without crying--once I had to excuse myself from rehearsal right before they rehearsed my piece because all I could think of was you, and the memories were so thick I couldn't bear it. It's gonna be rough, but I've got a lot of friends coming whom I would prefer not see me in that compromised state.
You will be with me tomorrow Dad. In some ways it's just a concert like any other concert. I tried to write something people would like, but ultimately it's just another piece of new music that everybody's going to shrug at, but at the same time, it's so different from any other concert. Not just because I'm getting premiered by a major musical organization, but because there are so many connections between us and that program. Schnittke and Bernstein both lived the kind of century you lived. Bernstein is us in America, Schnittke is us in Europe. We got over here, a lot of our family wasn't so lucky. But whether or not you ever wanted me in the arts, the art is there, bearing witness to everything Bubbie and Zaydie endured, everything they hoped for by coming here, and hopefully, fulfilling just a small piece of that hope in getting my music played.
I love you.
Amen

Thursday, May 7, 2026

TCP: Vol 2 Tale IX: Grace of Mars

   Caesar Augustus: Now see here Coponius, here is the ultimate evidence we take this matter of the gravest seriousness. You know your counterpart in Syria, Publius Sulpicius Quirinius, and he's sailed all the way to Rome. You'll sail back together and Quirinius will tell you everything you conceivably need to know. 

Coponius: Thank you Caesar. 

Caesar: You know my wife, Livia, from whom I hide no matter of state. 

Coponius: Of course, Domina. 

Livia: I wish you all the very best of luck in that impossible province. May you succeed where everyone else fails. 

Caesar: Now now Matronia, we don't want to prejudice our worthy appointee toward failure. Coponius my confidence in you is infinitum. 

Coponius: Thank you Caesar.

Caesar: And this man, of course, needs no introduction. My new adopted son, Tiberius. 

Coponius: I was so sorry to hear of the loss of your grandchildren Caesar. 

Caesar: And you may not know him by sight but all Rome knows the reputation of Gaius Cilnius Maecenus. 

Coponius: Of course. It is an honor 

Caesar: Yes, well, all of us sacrifice for Rome don't we? They were good boys and would have been fine Emperors. 

(pause) 

Coponius: Yes, Caesar. 

Caesar: Fortunately, this one is here to pick up the affairs of state while we wait for young Postumus over there to mature into the head of state we know he can be. 

(Gestures at Marcus Agrippa Postumus playing with two dogs in the corner of the office. Empress Livia scowls.) 

Coponius: Yes, Caesar. 

Caesar: And you may not know him by face, but all Rome knows Gaius Cilnius Maecenus by reputation. 

Coponius: Of course. Magister, it is an honor. 

Maecenus: Yes I'm sure it is. 

Caesar: And Tiberius, no mere focaccia today, correct? 

Tiberius: No, Caesar. (Livia looks at him sharply, Tiberius clicks heels and bows) a six-course meal including roast peacock, flamingo tongue, sow's womb and stuffed doormice. 

Caesar: Ah yes, I do love stuffed doormice but can you go to the kitchen and make sure they're serving Patina de Pisciculis? If I'm not mistaken that's known as your favorite dish, is it not Coponius?

Coponius: I'm sure whatever Caesar serves us cannot help but be delicious. 

Caesar: Nonsense, you're our hero setting off to the privations of the East, you must leave us with the taste of Rome in you!

Coponius: Thank you Caesar. 

Caesar: Jacobus!

Flavius Jacobus: Yes, Caesar. 

Caesar: Can you please tell the valet on the other side of the hall that we're ready to be served?

Jacobus: With pleasure Caesar. 

Caesar: Yes. Hurry please, you still have to give your briefing. 

Jacobus: Of course, Caesar (bows). 

Caesar: (waits a moment) Now that he's off, let me tell you to mind what he says. He's very clever that Jacobus but he's bound to tell us things that are half-truths. 

Coponius: So he's a liar?

Caesar: Not exactly. He tells things that are true without being entirely true. That's what I find so clever about these Jews. They're always called liars, but I've never caught one directly in a lie. They merely omit from the truth what they don't wish you to know. 

Coponius: (misses the moment when Caesar thinks he should answer, then he snaps to) Astonishing, Caesar! 

Caesar: Your job is to study them. 

Coponius: To know what they're omitting?

Caesar: Yes, but also to emulate them! There is more utility in their way of telling the truth than a million Roman lies. 

Coponius: Truly fascinating, Caesar. 

Caesar: Here he comes. Pay close mind to what he says, if you read between his words, you will be overwhelmed with his cleverness. 

(The text cuts off here. Presumably the disappeared segment is Flavius Jacobus's presentation upon the state of Judea, in both senses, and what is required for its maintenance. - Dr. Richard Westenbach, Free University of Berlin, 1954) 

Jacobus: Therefore my recommendation is for a census that will account for every citizen of Judea who then can be watched vigilantly, and as, again, the middle class is mostly pharisee, a tax rate of one third on all middle class households: merchants, guildmen, scribes, landowners, large commercial farmers. These are the people most likely to donate to revolutionary causes, and therefore we have to deplete their income base. 

Caesar: (claps) Splendid! Absolutely magnificent! Coponius, Postumus, I hope you were taking great care to hear everything he said. 

Coponius: Yes, Caesar. 

Caesar: I particularly liked what he had to say abo(ut)....

(The text cuts off here yet again) 

Caesar: So we simply can't impose a census on the Jews without imposing it on the whole Empire. We don't want to seem antisemitic after all Maecenus. 

Maecenus: Indeed Caesar, who could doubt that?

Caesar: I understand your concern that the census might set off rebellions all throughout the empire but it would be a wonderful chance to flex the full might of those legions you seem so eager to demonstrate at the first sign of any rebellion at all. 

Maecenus: I apologize again for that Caesar. 

Caesar: No, perhaps you're right. Perhaps this empire needs some rebellions to show what happens when you cross the justice of Rome. 

Livia: Pardon me, Caesar mea amor? 

Caesar: Yes, amor of my life? 

Livia: Isn't the whole point of having this magnificent army that we never have to use it?

Maecenus: Forgive me Domina, but what is the point of that?

Livia: Isn't the power of our army implied? Don't our subjects look on its mighty brutality and think there but for the grace of Mars go I?

Caesar: Yes, but not enough. 

Livia: What is enough, then? 

Caesar: Dearest Domina, we occasionally have to show that we're willing to use this army. 

Livia: Use it? Once we use it we will never stop using it! 

Tiberius: What in Hera's name do you mean, Mother?

Livia: Just this: fear is a motivator that can be conquered. Rage is never conquered, and the more subjects we murder the more rage we inspire, the more we'll have to kill again and the more rage we'll again provoke. 

Caesar: I'm sorry I brought this up. Let's go back to taxes. We'll at least have to impose a tax on all Judea, we can't simply tax the middle class without taxing the wealthy. 

Livia: Why not?

Caesar: What sort of idiot robs the coiffeurs of the people who work and preserves the indolent rich? We have enough of those in Rome.

Livia: So you would tax the wealthy class who's loyal to you and turn a class of layabouts with nothing to do into revolutionaries? 

Caesar: Oh by Jove, Livia they're Judeans, even the wastrels are more sensible than that. 

Livia: When has a subject been sensible in this entire Empire? All this time and wasted effort in Judea and you're still determined to make Judea your light unto the empire!

Caesar: That's not true Domina. 

Livia: Why do you love the Jews so?

Caesar: Divine Julius loved the Jews and they bankrolled his ascendance.

Livia: We already have their money! They wouldn't dare not cross us now. Jacobus you wouldn't dare cross us, would you?

Jacobus: Never, Domina. 

Coponius: HE'S LYING!

(everybody freezes and stays quiet) 

Caesar: Go on?...

(awkward pause)

Coponius: Forgive me Domina, I didn't mean to interrupt you. 

Caesar: Very well. No Jacobus, you're not lying, and yet if a new coming man arose, not from the Julio-Claudians, would you be so resolute? 

Jacobus: Surely there's no coming man other than in this room (gestures to Tiberius and Postumus). 

Caesar: You see? He knows exactly what to say in all situations! 

Livia: And you're telling us all Jews are that skilled?  

Caesar: We won't know unless we have records of them. 

Livia: Then why aren't getting a census only of the Jews and WHY OF THE ENTIRE EMPIRE? 

(text cuts off here) 

Tale IX: just a little more

  Caesar Augustus: Now see here Coponius, here is the ultimate evidence we take this matter of the gravest seriousness. You know your counterpart in Syria, Publius Sulpicius Quirinius, and he's sailed all the way to Rome. You'll sail back together and Quirinius will tell you everything you conceivably need to know. 

Coponius: Thank you Caesar. 

Caesar: You know my wife, Livia, from whom I hide no matter of state. 

Coponius: Of course, Domina. 

Livia: I wish you all the very best of luck in that impossible province. May you succeed where everyone else fails. 

Caesar: Now now Matronia, we don't want to prejudice our worthy appointee toward failure. Coponius my confidence in you is infinitum. 

Coponius: Thank you Caesar.

Caesar: And this man, of course, needs no introduction. My new adopted son, Tiberius. 

Coponius: I was so sorry to hear of the loss of your grandchildren Caesar. 

Caesar: And you may not know him by sight but all Rome knows the reputation of Gaius Cilnius Maecenus. 

Coponius: Of course. It is an honor 

Caesar: Yes, well, all of us sacrifice for Rome don't we? They were good boys and would have been fine Emperors. 

(pause) 

Coponius: Yes, Caesar. 

Caesar: Fortunately, this one is here to pick up the affairs of state while we wait for young Postumus over there to mature into the head of state we know he can be. 

(Gestures at Marcus Agrippa Postumus playing with two dogs in the corner of the office. Empress Livia scowls.) 

Coponius: Yes, Caesar. 

Caesar: And you may not know him by face, but all Rome knows Gaius Cilnius Maecenus by reputation. 

Coponius: Of course. Magister, it is an honor. 

Maecenus: Yes I'm sure it is. 

Caesar: And Tiberius, no mere focaccia today, correct? 

Tiberius: No, Caesar. (Livia looks at him sharply, Tiberius clicks heels and bows) a six-course meal including roast peacock, flamingo tongue, sow's womb and stuffed doormice. 

Caesar: Ah yes, I do love stuffed doormice but can you go to the kitchen and make sure they're serving Patina de Pisciculis? If I'm not mistaken that's known as your favorite dish, is it not Coponius?

Coponius: I'm sure whatever Caesar serves us cannot help but be delicious. 

Caesar: Nonsense, you're our hero setting off to the privations of the East, you must leave us with the taste of Rome in you!

Coponius: Thank you Caesar. 

Caesar: Jacobus!

Flavius Jacobus: Yes, Caesar. 

Caesar: Can you please tell the valet on the other side of the hall that we're ready to be served?

Jacobus: With pleasure Caesar. 

Caesar: Yes. Hurry please, you still have to give your briefing. 

Jacobus: Of course, Caesar (bows). 

Caesar: (waits a moment) Now that he's off, let me tell you to mind what he says. He's very clever that Jacobus but he's bound to tell us things that are half-truths. 

Coponius: So he's a liar?

Caesar: Not exactly. He tells things that are true without being entirely true. That's what I find so clever about these Jews. They're always called liars, but I've never caught one directly in a lie. They merely omit from the truth what they don't wish you to know. 

Coponius: (misses the moment when Caesar thinks he should answer, then he snaps to) Astonishing, Caesar! 

Caesar: Your job is to study them. 

Coponius: To know what they're omitting?

Caesar: Yes, but also to emulate them! There is more utility in their way of telling the truth than a million Roman lies. 

Coponius: Truly fascinating, Caesar. 

Caesar: Here he comes. Pay close mind to what he says, if you read between his words, you will be overwhelmed with his cleverness. 


 

Monday, May 4, 2026

Tales of Classical Perversion: Vol. II Tale 9--With Pleasure--Beginning

 Caesar Augustus: Now see here Coponius, here is the ultimate evidence we take this matter of the gravest seriousness. You know your counterpart in Syria, Publius Sulpicius Quirinius, and he's sailed all the way to Rome. You'll sail back together and Quirinius will tell you everything you conceivably need to know. 

Coponius: Thank you Caesar. 

Caesar: You know my wife, Livia, from whom I hide no matter of state. 

Coponius: Of course, Domina. 

Livia: I wish you all the very best of luck in that impossible province. May you succeed where everyone else fails. 

Caesar: Now now Matronia, we don't want to prejudice our worthy appointee toward failure. Coponius my confidence in you is infinitum. 

Coponius: Thank you Caesar.

Caesar: And this man, of course, needs no introduction. My new adopted son, Tiberius. 

Coponius: I was so sorry to hear of the loss of your grandchildren Caesar. 

Caesar: And you may not know him by sight but all Rome knows the reputation of Gaius Cilnius Maecenus. 

Coponius: Of course. It is an honor 

Caesar: Yes, well, all of us sacrifice for Rome don't we? They were good boys and would have been fine Emperors. 

(pause) 

Coponius: Yes, Caesar. 

Caesar: Fortunately, this one is here to pick up the affairs of state while we wait for young Postumus over there to mature into the head of state we know he can be. 

(Gestures at Marcus Agrippa Postumus playing with two dogs in the corner of the office. Empress Livia scowls.) 

Coponius: Yes, Caesar. 

Caesar: And you may not know him by face, but all Rome knows Gaius Cilnius Maecenus by reputation. 

Coponius: Of course. Magister, it is an honor. 

Maecenus: Yes I'm sure it is. 

Caesar: And Tiberius, no mere focaccia today, correct? 

Tiberius: No, Caesar. (Livia looks at him sharply, Tiberius clicks heels and bows) a six-course meal including roast peacock, flamingo tongue, sow's womb and stuffed doormice. 

Caesar: Ah yes, I do love stuffed doormice but can you go to the kitchen and make sure they're serving Patina de Pisciculis? If I'm not mistaken that's known as your favorite dish, is it not Coponius?

Coponius: I'm sure whatever Caesar serves us cannot help but be delicious. 

Caesar: Nonsense, you're our hero setting off to the privations of the East, you must leave us with the taste of Rome in you!

Coponius: Thank you Caesar. 

Caesar: Jacobus!

Flavius Jacobus: Yes, Caesar. 

Caesar: Can you please tell the valet on the other side of the hall that we're ready to be served?

Jacobus: With pleasure Caesar. 

Caesar: Yes. Hurry please, you still have to give your briefing. 

Jacobus: Of course, Caesar (bows). 

 

Friday, May 1, 2026

Tales of Classical Perversion Vol. 2: Tale 8: Buta ben Baba

 Mr. Princeps Caesar Augustus and Domina Livia,

I know we have not communicated before, but immediately upon my release from jail my contact ordered me to send all future reports to directly to you, Revered One and Mater Patriae. To say the least, I am flabergasted to be reporting directly to the masters of the Roman world after my life hung in the balance for eighteen months on end. 

I am told that Caesar is not a man for fawning, so that is the last reference shall make to the reverence in which I have always held you both. 

The Sanhedrin has determined to make its President an hereditary post, and but for Shammai's brief sojourn as its head, the position now falls to Shimon ben Hillel: yes, of that line, and he was approved by unanimous consent, clearly by order of Shammai. 

The first order of business was that the Shammaian party, lead by one Buta ben Baba, proposed a ruling on going to war on the Sabbath. One would expect that the School of Shammai, due to their strict interpretation of Jewish law, would stand by the injunction, but the School of Shammai has long since dropped all pretense to neutrality--at least for the moment, and is willing to entertain any and all measures to fight what they refer to as 'the Occupation.' They point to the example of your General Pompey who used that prohibition to attack Jerusalem on Sabbath (sometimes called Shabbos) and since then they've never gotten rid of Rome (please note: your new man in Judea says that with approval).

 However, the School of Hillel, holding an equal number of seats, did not let the motion pass, the vote was tied 35-35. It is quite probable that the Hillelians held strict instructions from their master that any resolution about war would rightly be seen by Rome as a provocation. 

The entire Shammaian party left the Sanhedrin chamber and walked out en masse to the Temple Courtyard, perhaps it was all planned and the entire meeting of the Sanhedrin was a kind of procedural theater. The Shammaians are lead by one Buta ben Baba, who mounted the Temple's western wall and made a frankly magnificent speech to all those assembled in the public courtyard about not appeasing Rome (I refer to its quality merely so Caesar can understand the jubilant effect it had on the public), however, the peroration of his speech was interrupted by the entrance from the Chain Gate by one Zadok, whom my contact assures me Caesar is familiar with some hundred twenty followers. He refers to his followers as Zealots or Kanna'im in the Hebrew tongue. Zadok explained that they are there to rebel against what they believe is Hillel's appeasement and collaboration and they demand the lives of every Sanhedrin Rabbi from the School of Hillel be forfeit. To the perhaps shock of these Zealots, it was the Shammaians who blocked the door to the Sanhedrin chamber and the unsuspecting party of liberality. Buta ben Baba made a second brief speech entreating the citizens of Jerusalem to defend the Sanhedrin. What followed was a terribly bloody melee in which were killed no less than seventeen Shammaian rabbis and yet another one wounded. The Shammaians covered themselves in valor defending these more progressive Rabbis whose deaths they would entirely welcome in the right circumstances. 

This had the further result that the Hillelians have actually expanded the Sanhedrin to 71; fully allowing the Shammaians an extra seat so that the 17 empty seats may be replenished by the School of Shammai, and the surviving Rabbi too may reclaim his seat upon return from convalescence. 

The Shammaians have eminently earned this seat, but there is no future plan for parity, so while Hillel rules in figure, Shammai rules indeed. 

Reverentur Summito, 

Your Man in Jerusalem


Beginnings of A Lifetime Library for Eli and Joel and anyone else of a newer generation: Realistic: Stage 1

Stage 1: Learn How to See: 


 How Power Distorts Reality: Language can be manipulated and powerful people do it all the time in ways you're not even conscious of how they affect you. What we perceive as the truth can be socially controlled and we have to vigilantly look for how it's being controlled. Everything we see in any public space whether real or virtual is part of a system, and even among the smartest of us, systems shape how we see everything. Try to recognize propaganda wherever you see it, from whatever direction it comes, and resist what it wants you to believe.  

Animal Farm by George Orwell

1984 by George Orwell


How To Morally Read Human Beings: Before you go off to college and any theories you learn bend your sense of reality in their own directions, learn how to empathize with people. Try to empathize with them, but try also not to be naive about how they can exploit your empathy. Do not let decent people off the hook for how they neglect societal problems, but also realize that decent people fail all the time: their courage, their perceptions, their virtue itself. That does not make them indecent, it makes them people. People, even decent people, will go to any length to not see how they belittle others if it's unflattering to their quality of life. They will pressure you to do the same. Value us, revere us for what we do right, don't fall into what we do wrong. 

To Kill a Mockingbird by Harper Lee


What Suffering Actually Looks Like: Suffering isn't just something that happens to far off people, it's very, very real, and however much you're suffering, someone is probably suffering worse just a couple miles away. Whenever a person is suffering they will be tempted to abandon everything they once valued, because it could not protect them from suffering. But even in those moments, maybe especially in those moments, you learn what you can hang onto, what is real, what is meaningful, and what can carry you through until those moments pass and life starts blessing you a bit again. 

Night by Elie Wiesel

Man's Search for Meaning by Victor Frankel 


How Identity Shapes Perception: There is such a thing as 'lived experience.' You may think you can imagine your way into other people, but the real experience of what it's like to be them is different in a million ways, and things you think you know they come to know with far greater weight and consequence. A person has two identities: one is their own identity and their capacity to think and act and choose, and the identity which the world assigns them: race, gender, class, etc. It is inevitable then that other people will see the same occurrences completely differently, and a narrow majority of the time, they will see it from the vantage of their societal position. People will trust 'their own' long before they trust someone different, and inevitably privileges accumulate more in some circles rather than others. This does not mean that people without privileges are victims, but it does mean that life often presents more frequent challenges for them. People are shaped by their circumstances, not determined by them, but if we want to make that more apparent to those who incur more frequent challenges, it may help to occasionally give them a helping hand. Most people acknowledge that, but they define 'help' very very differently. 

The Souls of Black Folk by W. E. B. du Bois

Narrative of the Life of Frederick Douglass


How to Think Without Locking Into Ideology: Being unsure is not a weakness, and it's not the same as 'standing for nothing.' It's normal to see contradictions in what people believe, it's normal to see hypocrisies in people's actions. They generally do the best they can, and the people who have an entirely consistent belief system we generally call 'crazy' because their beliefs are alien to common sense. The point of any form of inquiry is not to find the right answer, but to find the 'most right' answer until new evidence presents itself that changes your perceptions yet again. You do the best you can with the information you're given, forgive yourself if you get it wrong, but admit you were wrong. 

Essays by Michel de Montaigne: Of the Education of Children, Of Experience, Of Cannibals, Of Custom, That to Study Philosophy is to Learn to Die, Of Solitude, Of the Inconsistency of Our Actions,  Of Three Kinds of Association, Of Presumption, Of Repentance (advanced) 


Why People Disagree: Perception is not a matter of the head. We want to think we're rational beings, but the rationality is just the top layer. Before we're rational, we are a bunch of nerves, responsive to stimulus, and different nerves are responsive to different stimuli. Our responses to most things in life are pre-rational, I could give a hundred examples but you'll be reading this rather than the books. And not only are our responses rational, but also the conclusions we draw from our responses. Our beliefs are not particularly rational either, and it is only with education and learning that we begin to form responses more cognitively reasonable. This is why when emotionally fraught topics are brought up, people who disagree become viscerally angry so frequently, their minds are changed so seldomly, and ostensible conversation turns into combat. There is no such thing as an entirely rational exchange of ideas. Ideas only exist on a plateau we can't see, when they come down to earth, they are bound up in emotions, sensations, memories and desires. 

The Righteous Mind by Jonathan Haidt 


How Systems Fail Even When Intentions Are Good: 'Lived experience' is real, and the best evidence of that is that every plan that looks great on paper works differently when tested in reality. Reality is the study of the tension between expectations and the unexpected. Planners will inevitably simplify the problems: if they factored in every potential problem, the plan would never get done. Nothing is guaranteed to behave the way we will assume it will, and there will always be side effects, and those side effects can sometimes be more harmful than the solution ever was. 

What matters more than the plan itself is the problem, and what matters within the problem is the people who live those problems. They are the ones who know how communities function: what their unwritten rules and codes are, how problems usually get solved, the history and context which created the problem and may influence the solution. The more orderly and streamlined the solution, the less adaptive it is likely to be, and the more its solutions can collapse and create consequences that are harder to solve than the original problem. The people living the problem don't understand the new rules and long for the way things were in the initial system that created the problem everybody's trying to solve. Meanwhile, the planners believe that all which is needed is to apply the solution more strictly and drastically--thereby turning potential problems into disasters. 

Some people will tell you to trust traditional solutions and that reform isn't necessary, others will tell you to put your trust in the solution and forget how things already worked. Depending on the problem, people will tell you either/or from any ideological orientation, but any solution that pre-supposes it fully understands the problem is a solution unlikely to work. 

Seeing Like a State by James C. Scott


What It Feels Like to be Alienated from the World: Communities will tell you you're supposed to feel a certain way about some particular person, place, thing or situation. People generally assume that their lives have a prescribed meaning: perhaps people need their lives to have a prescribed meaning in order to function properly: but what happens in those moments when you no longer feel that way? Sometimes it can feel like the walls of reality coming apart, and sometimes it just seems funny, and it always feels like everybody who buys into those meanings is just putting on a show. Many adolescents feel that way: they don't feel invested in communities that did not understand or invest in them, and when communities feel a certain way at a certain event, they don't share that same feeling.

Not only do adolescents feel that way often, so do highly intelligent people, so do people dealing with depression and anxiety, so do regular people under stress. If you feel that way, it doesn't mean anything is wrong with you, and it doesn't mean that anything is wrong with anybody else. It's just another part of being human. We all have to learn to relate within communities, but we also have to learn to be individuals within those communities with our own perceptions of what they believe are true and false, moral and immoral, and still not feel the need to reject the whole thing. 


The Stranger by Albert Camus 


Don't worry about being informed. Just be hard to fool, slow to judge, able to sit with complicated situations without judging them. Question authority and their language, but recognize that authorities are usually in situations that are more complicated than they may look. Suffering is very real, but not all solutions solve suffering, and you have to be able to wait until a workable solution presents itself that corresponds with all available information: both data and context. Whatever your conclusions, whatever your uncertainties, other people will disagree with you and doubt you, whether or not they can tolerate complexity, your goal should be to do exactly that regardless of them.