Iliad is a recurring book in the Astral Codex Ten archive, appearing 6 times across 6 issues between March 23, 2021 and December 17, 2024. The archive places it in contexts such as "people have been reading the Iliad for 2500 years"; "stories from the Bible and Homeric epics (the Iliad and Odyssey)"; "High culture, those books that plumb the depths of the human spirit, go from the Iliad". It most often appears alongside Socrates, Aristotle, Christianity.
- Article page
- Iliad
- Mention count
- 6
- Issue count
- 6
- First seen
- March 23, 2021
- Last seen
- December 17, 2024
- Book title
- Iliad
Outbound links
- http://web.archive.org/web/20221104130431/https://stevekirsch.substack.com/p/1m-bet-rules
- http://web.archive.org/web/20221129133112/https://blog.rootclaim.com/rootclaim-accepts-500000-challenge-on-covid-vaccine-safety-efficacy/
- http://web.archive.org/web/20221224061743/https://www.skirsch.com/covid/SaarWilf.pdf
- https://archive.ph/pY4gF#selection-663.103-683.190
- https://web.archive.org/web/20230104080248/https://www.rootclaim.com/
- https://www.astralcodexten.com/p/secrets-of-the-great-families
- https://www.nytimes.com/2020/12/27/business/media/heather-cox-richardson-substack-boston-college.html
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Source context
This was also the section with the famous Lindy Effect: if something doesn't have a specific lifespan like humans do, then we should expect older ones to last longer than new ones. For example, people have been reading the Iliad for 2500 years, but Antifragile for only eight years; probably Antifragile will sink out of the popular imagination before the Iliad does. Or: San Marino has been independent for 1500 years, and South Sudan has been independent for nine years; probably San Marino will outlast South Sudan. Judaism has been around for 3000 years and Scientology for 50; probably Judaism will remain when Scientology is relegated to the history books.
From trivial to rich: the trick What could an intellectually rich elementary school curriculum look like, if we built it on kids’ cognitive strengths? He gives us one suggestion to help us do this: ask where each discipline came from in the first place. What was math before it was math, for example — or science before it was science? Q: How on Earth could that help? That’ll become clear later, when we finally uncover what Egan thinks “education” actually is, and see what job he wants us to give schools. For now, take it as a tantalizing hint… or, y’know, just ignore it. Elementary literature & language What was literature before it was literature? Before people invented writing, they had rich oral traditions: they told simple stories, recited poems, and shared proverbs. Egan suggests that these bits of oral tradition should form the backbone of the elementary literature curriculum. Q: What sorts of stories? As many as we can, and from as many diverse cultures as possible! Folktales are wonderful, as are myths. Think the Aboriginal story of “The Rainbow Serpent”, episodes from the Sumerian “Epic of Gilgamesh”, the Egyptian story of Osiris & Isis, the Greek story of Orpheus & Eurydice, the Chinese Legend of the White Snake, the Japanese Tale of Amaterasu and Susanoo, the Ashanti tales of Anansi, the Aztec myth of Quetzalcoatl, the English legend of King Arthur, the Maori myth of Maui and the Sun, the Roman story of Romulus and Remus, selections from the Indian Mahabharata, the Anglo-Saxon epic of Beowulf, the Inca legend of the Sun and Moon, the Iroquois Myth of the Flying Head (a real thing! look it up!), and the Ojibwe story of Turtle Island. Q: That was a lot of examples. Are you going to keep giving so many? I’ve got a [mumble mumble mumble] to get to. Sorry about that. Sometimes, though, I feel that a limitation of reading Educated Mind is that, in trying to keep his book to a manageable size, Egan skimped on examples in some places that it matters. It’s easy to read his occasional example and assume he intends that it hold some central place in the curriculum — when all he wants to do is display how rich and diverse the curriculum could be. (Also: good God, I didn’t even include an example from Norse mythology!) So from now on, just assume that every category could be filled with oodles of examples. Q: What sorts of poems? Lots of poems, first of all. We shouldn’t steer toward “fancy” poems — rather, we should find poems that appeal to kids immediately — think Shel Silverstein, Mother Goose, Dr. Seuss, Jack Prelutsky, Edward Lear, or Ogden Nash… that sort of thing. In a biting essay, Egan suggests these poets like these appeal to kids precisely because they leverage kids’ cognitive strengths: “we should find, and encourage saying and singing and shouting aloud verse with strong narrative forms, thumping rhymes and rhythms, the most vivid images, fun with metaphors, and a rollicking story.” Q: Why proverbs? Proverbs stick in your mind almost effortlessly. (“All’s fair in love and war!” “When in Rome, do as the Romans do!” “You can’t judge a book by its cover!”) They’re also useful; they capture general truths. Kids can apply them to all sorts of situations, but also discuss them — to what extent are they wise or foolish? (I remember my surprise when I realized that they couldn’t all be true — because you can’t follow “look before you leap” and “he who hesitates is lost” at the same time! I’m embarrassed to say that I think I only realized this when I was in college.) Elementary science What was science before it was science? Egan suggests: being immersed in the natural world. We might, he writes, encourage elementary students to “adopt” some feature of the natural world — a patch of grass, a cat, a branch, a stream — and simply observe it at length. To do this, we can use the cognitive strength of reverie. Q: Oh, do you mean like kids sometimes do in science class nowadays — describe a thing to a partner, make notes, draw it, and label its parts? No, the exact opposite! That’s all about squeezing the experience into words and forms that we understand. What we want “is less an attempt to know about nature as to know it in some participatory way, to know it as something we are an intimate part of, not set off from”. Q: That sounds a little… “woo” to me. It did to me, too… until I remembered my childhood climbing tree. I didn’t much like to go outside as a child, but I had this one tree that I’d climb up and read for hours and hours. If I close my eyes I can bring to mind the precise texture of its bark, the roughness of its broken-off branches, the coolness of its leaves, the always-surprising solidness of its trunk… I’m bigger now, but I think if I were back in my parent’s yard, I could still navigate its limbs with my eyes closed. I have, at this point in my life, read a fair number of books about trees, but I’d be surprised if all of them together more than equaled the amount I learned from that tree — my tree. Elementary math What was math before it was math? Egan suggests: counting and logic. We might, then, use rhythms, metaphors, stories, and jokes to help kids become fond of these. Q: Counting is pretty… basic. Could it really be improved? Beware of “the curse of knowledge”: Steven Pinker’s phrase for forgetting that something was once difficult! Egan suggests we should spend time helping kids count wonderfully. We can start early with counting rhymes. (“One, two, buckle my shoe! Three, four, out the door! Five, six…”) But we can also help kids use their fingers as metaphors. There are some pretty cool ways of using your hands as an abacus — and did you know that you can count up to 1,023 using just your fingers on both hands, and a knowledge of binary? Q: Logic — I’m intrigued! Aristotelian, or Boolean? Neither, for the time being — Piaget was presumably onto something when he found that young children couldn’t reason abstractly, but he was looking at logic in a vacuum. When we put logic into the context of stories, we find that kids can deal with logic just fine. There’s an entire worldwide network of educators, in fact, called Philosophy for Children, who have written whole books about how to do this, and Egan loves it all. Sometimes they read stories and ask simple questions: “What is friendship?” or “What does it mean to be brave?” They also pose ethical questions: “Is it ever right to spill a secret?” And they pose paradoxes: “Can you step in the same river twice?” Q: You mentioned “jokes” a moment ago. Care to elaborate? Egan thinks that, to help kids get good at math, you should tell kids jokes. Q: That’s… new. I think so, too — but he backs it up pretty well. To be funny, jokes (or at least most kid jokes) rely on a leap in logic: Why can’t you trust an atom? They make up everything. Knock-knock. Who’s there? Boo. Boo-hoo? Don’t cry, it’s just a joke! To understand the joke, kids have to follow the logic — spotting patterns, making connections, and tracking what their audience expects a word to mean. That’s a lot of cognitive lifting. And Egan goes further, suggesting that we grit our teeth and create methods to help kids invent their own jokes, no matter how horrible they’ll be at first. (The things we do for learning…) Q: Wait wait wait! What about addition facts, and multiplication tables, and fractions? Egan emphasizes that his methods are designed to be add-ons to the standard math curriculum. In general, he’s a don’t-blow-up-the-system sort of guy, and if something seems especially weird, you should probably assume it’s an add-on to the regular curriculum rather than a replacement, even if I forget to say so. Elementary arts What was art before it was art? Egan suggests we pop our heads into Paleolithic caves for our inspiration. Whatever the specific meaning of all those charcoal elk and aurochs and mammoths (communication with the spirit world? art for art’s sake? a way to impress babes?), Egan thinks it obvious that they were also an attempt to capture an intense experience that would be difficult to express in words alone. What did it feel like to be near an aurochs, or a saber-toothed tiger? “The arts help us,” Egan writes, “to hear and see afresh, to force our perceptions and sensations to experience again the immediacy and vividness of the world”. If we follow this, then, we don’t want to help kids build “art skills” so they can draw like an adult — rather, we want to help them amass a repository of diverse aesthetic feelings that they’ll want to express. We should provide them with a riot of experiences. Q: That couldn’t be more opaque. Examples, please! Egan writes that we should have children learn to whistle, sing, and click their tongue; we should help them emulate the ways a skunk or a hawk or a stick bug might move through a space. We should expose them to scores of different temperatures and materials. In music, we should help them love Beethoven, yes, but also the Beatles; Tchaikovsky, yes, but also Tuvan throat singers, and also John Cage, whale song, and bird song. Q: That’s a lot of experiences, but what would they be doing? An interesting aspect of Egan’s view of education is that he doesn’t seem to think we should push kids right to the “doing” phase. He wants to help kids cultivate an affective relationship with the world. In any case, he writes that as students get more experienced, we should prompt them to move from merely enjoying these experiences to trying to systematically shape similar experiences. And drawing, painting, and playing music could easily be folded into other parts of the curriculum. Elementary social studies What was social studies before it was social studies? Well. Remember how, just a moment ago, I wrote that you could assume that you should probably assume that Kieran isn’t in favor of junking the curriculum as it currently stands? He suggests we very carefully pick up the elementary social studies curriculum, place it into a trash can, and set the whole mess on fire. He isn’t worried about much of importance being lost. (Remember that the “expanding horizons” model is, to him, the original sin of 20th century educational reform, and he repeatedly quotes student surveys showing that “social studies” regularly wins the title of “most boring subject”.) In its place, he suggests we put history — which, he hints, we should think of as the centerpiece of the elementary curriculum. So the real question is what was history before it was history? His answer, surprisingly, is myth. Q: Egan wants us to teach myths as if they were history? Not at all. What he suggests, though, is that we look at how myths operate as narratives — so we can design an intellectually vivid history curriculum. And myths really are special: each is built on at least one binary (like weak vs. strong, or lies vs. truth, or so on), and uses that to tell the story of the big picture of the world. They’re so powerful that people can understand it, remember it, and love it — even if that thing never happened. We should take that power, Egan says, and apply it to things that really did happen. Q: So what history does he think kids should learn in elementary school? The great struggles of humanity from across the whole. Flippin’. World. We’re still talking about young children, so these should be done as simple stories. The goal isn’t to make them history PhD’s, so we needn’t even try to put them in any sort of order. Egan suggests that, in first grade, we pick a single binary like “freedom against oppression” and tell kids a welter of stories, again from as many cultures as possible, and as many times in history as possible. Q: Can you give examples? Oh, all right — in first grade we can tell kids the stories of the war of the Greek city-states against the Persian empire, and the slave uprising of Spartacus against the Romans. We can tell them about the plight of Jews in medieval Europe, and of the unsuccessful Sepoy Rebellion in India against the British. We can tell the stories of the American, French, and Haitian Revolutions, and about the Chinese Taiping Rebellion against the Qing Dynasty. We can tell them the story of the escaped slave Harriet Tubman returning to the South to rescue her kinsmen, the story of six-year-old Ruby Bridges facing threats to integrate her elementary school, and the story of how the Mau-Mau uprising led to modern-day Kenya. We can tell the stories of Mexican-American union organizer Cesar Chavez and of Malala Yousafzai surviving an assassination attempt to advocate for female literacy. The world does not lack for stories of oppression and liberation that can capture the attention of a six-year-old. Q: That’s… huh. What stories might they hear in second and third grade? Egan gives examples, but I won’t list them here. He suggests we use a similar approach for each, except that we swap out the binary each year. He thinks “the struggle for security against danger” would work well for year two, and “the struggle for knowledge against ignorance” would work well for year three. (That year could have a lot of overlap with the science curriculum.) Q: Anything else, for history? Yes — they should get a sense of Big History. They should get some simple stories about the ice age, the Cenozoic, the age of dinosaurs, the Paleozoic, the origins of our solar system, and the Big Bang. (Because if the ancient Norse can tell their story of the beginning of the universe, by gum, we can tell ours, too.) To sum up Egan argues that the problem of early schooling is that it’s trivial — and it’s trivial because the dominant theories of educational psychology see children as lesser versions of adults. What else would we teach them, except dumbed-down versions of what adults learn? But children have certain cognitive strengths that schools aren’t making systematic use of. If we rebuild elementary schools on those strengths, we could turn schooling upside down. We could stop seeing the curriculum as a bag of information to impart, and start seeing it as a set of great stories to tell — and invite kids into. Kids could experience (both intellectually and emotionally) the great struggles of humanity and see that they can join in them. Students could experience the story of education as the beginning of a very real adventure. Egan’s elementary school: some skeptical questions Q: I’m not sure I’m understanding what you mean by “mental images”. Care to explain? It’s an interesting fact of human cognition that just a few words can whip up a complex mental experience. Egan doesn’t just mean what we might call “visual imagery” — the ability to hold, say, the image of a bespectacled, spat-wearing duck in your mind without seeing a photograph. He’s also including what psychologists call auditory imagery, olfactory imagery, gustatory imagery, and tactile imagery. Q: How could all of that be helpful in schools? Humanity has a built-in VR system, and we’re not using it! Egan invites us to pretend we’re teaching a class about the humble earthworm. We might list off facts — “earthworms are so many centimeters long, move through soil by means of their something-or-other muscles…” but he suggests we can evoke images, say, “of what it would be like to slither and push through the soil, hesitantly exploring in one direction then another, looking for easier passages, contracting and expanding our sequence of muscles segment by segment, and sensing moisture, scents, grubs, or whatever”. Those facts are now felt by the student; the knowledge has become part of them. And just a few words can spark a complex mental experience, one going beyond literal images to include imagined sounds, smells, tastes, and more. These experiences can feel real and stick with us. (That these mental images are so easy to evoke, and so meaningfully felt, feels something like the proverbial hundred dollar bill on the ground.) Q: How could metaphors be helpful? It really is interesting that so much of the “constructivist” turn in psychology — that is, the notion that children don’t absorb knowledge, but construct it — has continued to focus on logics-mathematical reasoning, when there’s been mounting evidence for decades that metaphors are more central. It’s not just that we use metaphors to better understand things we already know, we also use them to grasp new knowledge. What’s more, psychologists have devised tests to measure the skill at metaphor-making, and have given them to people of different ages. What they found was that eleven-year-olds make more metaphors (and higher quality metaphors) than do undergraduates — and that four-year-olds have both groups beat. Again, hundred dollar bills on the sidewalk. Q: Your talk of “binaries” has me worried — binaries like good/evil and male/female are the source of so many of our most pernicious stereotypes! Isn’t the purpose of education to get us beyond stuff like this? Yes, it is! Education is supposed to complicate our understanding — but that means we’ve gotta start somewhere, and binaries provide us a natural starting place. As an uncontroversial example, think about temperature. We all begin as babies by perceiving two temperatures — hot and cold. Later, we add on intermediate categories — warm and cool. (Note that the human body is the assumed mid-point to temperature. Binaries often work like this; “big” and “small” mean “bigger or smaller than me”, “nasty” and “kind” mean “nastier or kinder than I am, except when my brother is really asking for it”, and so on.) A good story (and an Egan-inspired elementary curriculum is, in a sense, nothing but good stories) will go further, and transform the binary. Toy Story is grounded in the binary of abandonment/belonging: at the beginning, the toy cowboy Woody belongs to his owner, and has his affection. Then a rival comes who threatens his belonging. In trying to get back to belonging, Woody is entirely lost — and to save the day, he has to come to a deeper understanding of what belonging means. Now, all lessons can’t be Pixar movies. But the good stories (especially in literature and history) will challenge and subvert the binaries they begin with. Q: I see the pattern of Egan drawing from “as many cultures as possible”. Why so many? Is this a political correctness thing? If it helps to think of it as such, then, sure! I don’t think Egan would have had a problem with that. But his ultimate reason for including so much diversity goes deeper. For Egan, including such world-wide diversity isn’t optional, and the answer to why is bound up in his definition of education. (Keep reading.) His answer also insists that we, whenever possible, also include stories from the Bible and Homeric epics (the Iliad and Odyssey). Q: Mmm, stories from the Bible aren’t going to fly in my local school! So be it! Egan doesn’t spend much time obsessing over the practicalities of… His interest is in describing what an ideal education might look like, if it were possible. Every lesson, every classroom, and every school is necessarily a compromise. Q: You make a big deal of poems. But isn’t poetry dead? An interesting contrast can be made to classical education, which also has kids read a lot of poems — they see knowing great poems as one of the marks of an educated person; again, for an academicist, it’s the information that transforms. Egan begs to disagree. Poems are important because they’re a wonderful way to train their cognitive strengths, like rhythm (poems are language fueling by thumping). We want to help kids learn to use this tool better, and a great way to do that is to help them recite poems that they’ve learned by heart. Q: “Learn by heart” — is that code for “memorize”?! It is! Egan is actually quite big on memorization — he points out that all the knowledge in the world can do nothing for a person once they’ve forgotten it. He didn’t, however, appreciate the academicist focus on memorizing without understanding (or at least enjoyment). Q: I’m still worried about the science curriculum, as you’re describing it. Can you allay my fears? Honestly, while I feel there’s something profoundly right to how Egan is describing early experiences of nature, I feel the same way. Note that there’s more science coming in the social studies curriculum. But if that’s still not enough, one could bring down aspects of the middle school science stage. Q: Anything else that Egan suggests we do in elementary school literature and language? He suggests that we help kids learn a second language! This is so obviously true (why do American schools typically wait until kids lose the ability to naturally absorb languages to start teaching languages?) he doesn’t belabor it, though. Q: You had mentioned that Egan’s vision seems more internal-focused. Should we be worried about that? While I strongly suspect that his curriculum would make kids more creative in any way you’d like to measure it, Egan wasn’t particularly interested in “creativity” — he was more about helping kids find the world interesting. I get the sense that he thinks kids will do things with minimal prompting once they’re loaded up with complex internal experiences. Q: I think I’m beginning to understand Egan — is he basically saying “make learning fun”? “Fun”, applied to education, is a dangerous word. Egan worries about the dangers of an emotionally unserious curriculum producing emotionally stunted adults. That doesn’t mean we need to tell students only “serious” stories — only that we treat the world honestly. “Disney-esque sentimentality is the exact emotional equivalent to intellectual contempt”. Q: But aren't some of these stories too dark for children who have themselves experienced oppression and disaster? Egan argues that these stories may be especially helpful to them — they can help them understand their struggles better, and give voice to them. Q: At the very start of this, you promised us “rationality”… but I’m not seeing rationality here! All this talk of “adventure” almost seems to go the opposite direction. What gives? Wait for it. But for a hint right now — Egan is fond of citing his fellow educational theorist Jerome Bruner, who claimed “any subject can be taught effectively in some intellectually honest form to any child at any stage of development”. Bruner was criticized for that; his critics charged that he was ignoring learning differences and socio-economic realities. Egan thinks he was profoundly right. Part 3: A new kind of middle school What’s the matter with middle school? What was middle school like for you? In math, I recall a jumble of barely-related topics. In literature, I remember reading great literature — Frankenstein, Romeo and Juliet — only in their dumbed-down summary formats. In social studies, I remember teachers proclaiming on the first day of class that unlike all of our previous history classes, this class wouldn’t be about names and dates… and then going on to memorize names and dates. And in science, I remember being forced to dissect a frog only to discover that frogs are — you guessed it — made of slimy frog parts. Your mileage may vary, but for a lot of us, middle school feels like getting booted out of the (in retrospect) Eden of elementary school, and like marking time before the serious studying of high school. It feels meaningless. In my favorite of his books, Egan calls so much middle school curricula “human deserts”, noting “we have created a system in which the importance of human emotions for meaning seems barely noticed”. Why so meaningless? If our dominant approaches to educational psychology fundamentally misinterpret younger children, Egan suggests, they basically throw up their hands when faced with pre-teens and teenagers. Mainstream schools begin to introduce vocational training to help lighten the load, and Maria Montessori famously suggests that adolescents should be sent to go run a farm. Egan is sympathetic to those responses, but points out that they don’t do much to lighten the load that the academic curriculum often becomes at this age. This feeling of meaninglessness, he argues, is utterly tragic — it comes just when a hunger for meaning blossoms in adolescents! We can see that hunger for meaning in their lives outside the classroom, where their interests ramp up into veritable obsessions. What are adolescents obsessed with? What might we see, if we become Jane Goodalls of early adolescence? First, teens are obsessed with gossip. The motivations of others — why did he do that? and what was he THINKING? — are hypothesized and talked to death. Second, that they’re pulled toward idealism. Many feel a dissatisfaction with the world as it is, and feel a romantic urge to make it a better place. They’re often lured into simplistic beliefs that promise to help them do that. Third, they love extremes: they want to find limits, and test them. Obviously, this can show up as risky behavior, but we can also see it in their love for the bizarre — note adolescents’ fascination in things like aliens, cryptids, and ghosts. (Egan loves pointing out that The Guinness Book of World Records is a perennial bestseller among kids at this age. How else would they find out who had the world’s longest fingernails?) Fourth, they gravitate toward heroes — people who push the edges of those limits. By celebrating heroes, they can vicariously share in their transcendence. Look for the posts hanging up in a teenager’s bedroom to guess what boundaries they feel most hemmed in by: athletes push against physical limits; a death metal guitarist might push against authority and conventional morality. An activist or entrepreneur might push against our dulled morality or our sense of what’s possible. Finally, we might spot teens taking up hobbies and making collections. Hobbies can be a way to identify yourself as part of a group against the rest of the world (“I’m the sort of person who goes bird-watching!”), and collections can be a way to climb the status ladder inside the community. Egan points out that a collection can also be a way to feel like you have control over what you’re discovering is a very big and complex world of detailed information (“I’ve spotted every one of the fifty most common birds of Texas — even the black-capped vireo!”) Egan’s insight is that these obsessions give teenagers a sense of meaning, and that we can use them as tools to make middle schools that overflow with meaning. From meaningless to meaning-soaked Again, Egan sketches out a new kind of curriculum subject-by-subject. Before, his trick was to ask where the subject first evolved out of; now, it’s to ask who first discovered or created the specific content we’re teaching. “All knowledge”, he writes, “is human knowledge. Everything we know is knowable through the lives of its inventors, discoverers, or users, and we can have access to that knowledge through the hopes, fears, or intentions that drove them”. Middle school math Who first discovered the concepts students learn in math? The answer, of course, is a wide diversity of curious men and women living across the world over the last few thousand years. Egan says: bring those people into how we teach math. If we used gossip and heroes to help students find it meaningful, what kind of math would result? When we teach the Pythagorean theorem, we should give a sense of who Pythagoras was — a cult-founder who worshiped numbers to find God, whose followers (according to a piece of ancient gossip) murdered one of their members who discovered irrational numbers! Q: Well, sure, that works for Pythagoras, but he’s a known nut job; surely most math doesn’t come from such interesting roots? When we teach the Cartesian coordinate system, students should meet Rene Descartes, the Calvinist French polymath who saw the possibility that math could decipher the world, if only we could unite algebra and geometry… and invented the xy-plane to do exactly that. When we teach scientific notation, we should call our students’ attention to the importance of the number zero, and tell them the story of the Pope who tried to introduce Arabic numerals to Christian Europe and may have been assassinated because of it. When we teach algebra, we should ask students why “algebra” is Arabic for “the fixing of bones”, and tell the story of what Muhammad ibn Musa al-Khwarizmi was up to. We could do this all day. Literally everything students learn in school was first invented or discovered by some interesting person who was struggling to accomplish something hard. To learn is to connect with those people, whether we know it or not. Egan says: help kids know it. Math has been dehumanized: re-humanize it. Q: So the math curriculum needs to become a history of math curriculum, and math teachers need to become history teachers? No, the content needn’t change. But with surprisingly little work, we can bring in the gossipy stories of heroes, and their obsessions can spread to students. Middle school science Who first discovered the things students learn about in science? If you’re thinking “scientists”, you’re only partially right. Most of the big-picture ideas that we now think of as “science” were discovered before the word “scientist” was invented, or the discipline was professionalized. Frequently, they were hatched by true amateurs, working in their free time, hungry to unlock the secrets of nature. We can use gossip and heroes to spread their obsessions to students just as we taught math, but Egan points out two twists. The first is that the content itself can take on heroic qualities: everything is impressive, when you look at it in a certain light. In an interview, Egan once said: “My book is an attempt to show that, indeed, everything in the world is wonderful, but that schools are designed almost to disguise this slightly shameful fact. We represent the world to children as mostly known and rather dull. The opposite is the case: we are surrounded by mystery, and what we know is fascinating”. What would even the most boring subjects look like, if we emphasized their heroic qualities? Well: What’s a tooth? Bone, wrapped in rock, surrounding tiny cells that your body feeds with blood. What’s a bar of chocolate? A crystal of jellyfish-shaped fat molecules stacked together; when you put it in your mouth you shake them apart into a writhing confusion. What’s the air around you? The bottom of a 10-mile-deep ocean; when you put your tongue over a soda straw and your Pepsi stops leaking out, it’s not because a “vacuum” is “sucking” it up, but because that ocean is squeezing it into your face. Again, we could do this all day! And in middle school science, we can. Everything in the world is wonderful; we can help students see this again and again. The second twist is that science is a subject rich in extremes. Here Egan introduces a concept that we’ll see crop up again: “15-minute segments”. To help us fit as much wonder as possible into a school day, he suggests we supplement the usual school subjects with a few quick lessons. To infuse science with extremes, he suggests we add on three: “human & natural records”, “extremes of animals & plants”, and “cosmology”. Middle school history Who first made the things students learn about in history? Why, the historical characters themselves! Since we’ve given kids a grounding in history in elementary school, now we can build on that, going through many of the same events as before, but in more depth, and more vividly. We’ll leverage the interest with other people’s inner lives to tell stories focusing on the perspectives of the people who made history — zooming in, when possible, on scandalous details. We’ll leverage the tool of idealism to choose historical characters who chafed against their surroundings, and understand what they were trying to accomplish. What was their vision of the world? What did they hope for, and what did they fear? Q: Isn’t the “great man” approach to history out of fashion? Egan’s approach doesn’t say that “great men” made history — it’s just leveraging gossip to help kids see history as something meaningful that can expand their own possibilities. “Early adolescence is commonly a time of intense and vivid emotional life, and also a time of deepest boredom and depression… [We] can give shape to the intermediate curriculum and offer the students a world that is rich, complex, varied, and as intense and vivid as their own emotional lives”. We also should add on another “15-minute segment” just to pump in as many biographies as possible, and from people who don’t always fit into the normal history curriculum. Call it “Brief Lives”, and throw in anyone who’s struggled to push some limit — Mary Wollstonecraft, Jesse Owen, Dietrich Bonhoeffer, one of the students’ great-aunts, whoever. As students get older, this can transition to “People and Their Ideas”. Here, we’d focus less on the details of the person’s life, and use it as a backdrop to showing how meaningful some of history’s most important ideas could be. Think Aristotle and syllogisms, Edward Said and orientalism, Confucius and propriety, Cornel West and race, Buddha on the four noble truths, Muhammad and the five pillars, Karl Marx and communism, Adam Smith and the invisible hand, Thomas Hobbes and the state of nature, John Locke and natural rights, Jeremy Bentham and utilitarianism, Thomas Aquinas on the sacraments, Martin Luther on faith, Voltaire on the freedom of speech… you get the idea. Q: Can you really get a profound understanding of utilitarianism in 15 minutes? Yes! The point of this segment isn’t to develop a systematic understanding of any one idea, it’s to introduce students to the exciting possibilities of human thought. (As a bonus, this might make them less likely to fall for the first ideology that they encounter later in life.) Diversity is important for this — as it is with culture. Throughout this, we should also be trying to expose students to as much cultural diversity as possible, because in high school, we’ll be trying to make sense of our society, and it’s impossible to do that unless we have something to compare it against. Middle school literature & language You might think that this subject would be easy — that middle school literature is already filled with “strong and clear narratives”, that it deals with “transcendent human qualities such as courage, love, and persistence”, that it focuses on “extremes of human experience”, that it examines “something strange and exotic”. You’d be right! Egan’s pretty happy with a bog-standard middle school literature curriculum, done well. In this part of the book, his spends most of his limited space suggesting three rather odd activities which could also be useful — especially for increasing students’ awareness of language, so they can use it better. The first is etymology — not, however, memorizing lists of roots, but in being told the entertaining backstories of specific words. Take the word “berserk”, for example — we now use it to mean something relatively mild (“if my mom catches me coming home late, she’ll go berserk”), but it comes from an old Norse word meaning “a raging warrior of superhuman strength”. And that’s because ber meant “bear” and serk meant “shirt”: soldiers of the bear cult would don the skin of a bear to, in their minds, transform into one — howling, foaming at the mouth, and gnawing the rims of their shields. (Most adults walk through life with little understanding that the words falling out of their mouths are entities, with their own back-stories. Communication is, at the very least, more interesting when we become aware of this.) The second is to add on another language to learn — not, this time, to become fluent in it, but just to become aware of how very different human languages can be. (For native English speakers, Sanskrit might work well, or Cantonese, or perhaps even ancient Egyptian. Again, the point isn’t for this language to be useful — it’s to explore diversity.) The final one is to study humor — not just jokes anymore, but comedy at its finest. Egan cites (at length!) Monty Python as a group of people who were particularly brilliant in their use of the English language. Examining their skits can lead us into not just an appreciation of semantics (the study of how meaning is made from smaller pieces, like etymology) but also pragmatics (the study of how meaning is made in social situations). Pretty heady stuff, for a conversation about a dead parrot. Part 4: A new kind of high school I’ll confess — I loved parts of high school… and among nerdy folks, I suspect I’m not alone. For some of us, this was a golden time. Even at my local public high school, I had access to academically thrilling classes — especially, in my last two years, advanced literature and history. I felt like I was finally understanding the ideas that mattered. In any case, Egan is quick to acknowledge that, at this level, the sort of education he advocates really is being practiced in some places. What he can add is an understanding of what makes it wonderful, how to make it even more wonderful, and how to make it wonderful for many, many more people. What’s the matter with high school? Far too often, even when high school classes are intellectual, they’re dry. For the majority of students, all this academic stuff is experienced as utterly lifeless, a mass of dead information to be squeezed inside one’s head for a test and then left to evaporate. Egan mocks the curriculum wars that seem to be a permanent feature of the teaching life; quoting the sociologist Pierre Bourdieu, he says “while the academic left and right bicker over whether the curriculum is too traditional or too radical, they fail to recognize that most students absorb so little of academic culture that the bickering is largely irrelevant”. Why so dry? Egan suggests three reasons to explain this. First, because high school academic classes are too often masses of small details with no sign of the big picture. Second, because they’re typically slavishly disciplinary, and aren’t able to address the questions that span the disciplines. Third, because they’re often designed to bring students through what everyone is sure of, and hide away any controversies. In all of these, Egan suggests that what’s called “academics” in high school is too often a dim imitation of what real academics are actually practicing. There’s a fourth reason, though, and it’s probably the biggest of all — by the time they get to high school, most students haven’t actually learned that much! An academic approach is designed to connect small details into the big picture; for people who arrive in high school (and college) classes without having already collected much in their heads, academics are going to taste dry. (An implication of this for anyone trying to improve schools is that we might not want to start with high schools. If your goal is to create a new kind of academic learning, first start at elementary school — or barring that, middle school.) What motivates mad scientists? When we wanted to re-conceive the elementary and middle school curriculums, we looked at what students were already good at — kids’ cognitive strengths and adolescents’ obsessions. For this level it might be easier to look — for reasons that will become clear when we finally unveil Egan’s crazy-sounding definition of education — at the sorts of things that bring intellectuals joy. Q: Which intellectuals? Take your pick. Galileo, Einstein, Smith, Marx, Goodall, Chomsky, Curie… all the people who took to the life of the mind like fish to water. But that’s a lot to hold in my mind at once, so I’m just going to think about Doc Brown from Back to the Future: He was high on intellectualism I’ve never been there, but the brochure looks nice Let’s call these people “mad scientists”. And let’s pretend we once again took up our job of being primatologists, and snooped on these folks “in the wild” (“in the lab”? this is beginning to get recursive…)… what would we find motivating them? Asking simple questions, for one. (What is space? What is society? What is a human? What is language?) Building general schemes (big theories) that hold lots of evidence together. Finding their place in the cosmos. And (perhaps above all) seeking certainty. Once again, Egan suggests we use these as tools to remake the curriculum. From dry to daring What could a high school curriculum look like, if it were rebuilt on these tools? Once again, Egan has a trick. This time, it’s to ask what fights have driven the development of each of these fields forward — and how we can help students enter them. First, a mini-segment! Intellectuals invented the academic disciplines to better pursue the life of the mind, but the disciplines can get in the way. Some of the most important intellectual discoveries that could help students are too big to fit into any of the disciplines. We need a place to introduce them plainly. Egan proposes another mini-segment — again, just 15 minutes a day, a few times a week — called “Metaknowledge”. Q: Isn’t that already in the International Baccalaureate program? Yes, he acknowledges that he’s borrowing from that! This segment would introduce ideas that would enrich student thinking across the disciplines: game theory, cognitive biases, systems thinking, Bayesian reasoning, epistemology, ethics, logic, cultural evolution, and so on. High school literature How can we help students enter the big fights of literature? Intellectuals of a literary bent — professors, critics, poets, novelists — delight in arguing over literature like rabbis arguing over the Talmud. Take, just for one example, the debates over Shakespeare’s character of Ophelia. Does she love Hamlet, or is she a victim of his emotional abuse? Is she truly insane, or is she acting? Is she passive, or is she pulling the strings? Oceans of ink have been spilled arguing over questions like these; our students can, perhaps, spill a few ounces more. The usefulness of arguing literature, for Egan, isn’t that it’s oh-so important for educated adults to know a lot about Ophelia. (This, again, was where the academicists went wrong — in thinking that being educated was about getting the best knowledge in your head.) Rather, arguing over literature is a training arena for the all-important intellectual move of this kind of understanding: building general schemes out of evidence, and struggling with anomalies. One person, for example, might hold that Ophelia is insane, and cite all sorts of obvious evidence — her father just was murdered by her lover, she rants nonsense while (bizarrely) handing out flowers to friends… But then he’s challenged when he reads a scholar pointing out that, to people in Elizabethan England, types of flowers have symbolic meanings. How does he deal with that? He could ignore it, claiming it an over-reading of Shakespeare. (Sometimes a flower is just a flower!) Or he could address it, complicating his own scheme. This intellectual work is best done with other people, who are incentivized to challenge your understanding of something, and go back and forth, building competing models and calling attention to anomalies. This process — the “dialectic” — pops up again and again in the academic disciplines. It’s the center of how understanding works, at this stage. And the nice thing about practicing it on literature is that, more so than in history or science, the evidence is shared knowledge — it’s right in front of everyone, written out. But there are other ways literature class can be helpful to the general life of the mind. Egan also suggests that we’ll want to specially include literature that helps students understand complex ideas. Camus, Orwell, Borges, Calvino might be particularly helpful here… and I imagine that genres like science fiction and magical realism might be particularly useful, too. (Note, though, that once again none of this requires a radical remaking of the curriculum, or of the canon of texts that we traditionally assign to high schoolers.) Q: Oh yes, the canon — what does Egan have to say about the canon wars? When he wrote Educated Mind in the nineties, the long-brewing canon war was approaching its inevitable apocalyptic climax. On one side of this Plain of Megiddo were the pro-canon traditionalists, arguing that we should keep assigning the texts that had been argued over for centuries. Facing them were the anti-canon reformers, arguing the standard texts over-represented the perspective of dead white men. Onto the middle of the plain rides Egan on a white horse, who bellows above the din: “I’VE GOT A BUSLOAD OF HIGH SCHOOLERS WHO WANTS TO JOIN IN, EVERYONE OKAY WITH THAT?” To do so, he says, we need to give students the arguments from both sides. So, for example, bell hooks, Edward Said, and China Achebe should be on the syllabus, as should Allan Bloom, Mortimer Adler, and Diane Ravitch. And of course they should actually read the texts cherished by both sides, too, so they can argue better. High school history How could entering the big fights help us reinvent high school history? First, we might look for dueling histories. It’s time for students to get into historiography and understand that history isn’t just what happened, it’s something we make. We might help kids read chapters from Howard Zinn’s socialist history of America alongside the corresponding chapters from Paul Johnson’s conservative history of America. How could big questions help? We want to help students see how various people have disagreed over some of the big questions of what human history is, at its most basic. We can have them compare Steven Pinker’s theory of civilization’s progress (Better Angels of our Nature) with Yuvah Noah Harari’s theory of civilization’s woes (Sapiens). We could have them compare so-and-so’s account of human history as an ever-expanding unlatching of energy sources with Robert Wright’s account of human history as unlatching more and more positive-sum games (Nonzero). What role could the lure of certainty play? To help them grow their skills at finding anomalies, we might help them work through pseudo-histories and conspiracy theories. Q: Conspiracy theories! Oh, come now, you’re playing with fire. Well, the world is on fire. Our students will spend the rest of their lives encountering terrible-but-beguiling arguments about how the world works; if we don’t prepare them for those, what have we been doing? So we should introduce arguments that the Moon landing was a hoax, that the Illuminati founded America, that aliens built the pyramids, and so on. At no point can we demean students for falling for any of these theories — the job of a teacher at this stage, Egan writes, is to support students in their reasoning even when their beliefs are offensive and stupid, gradually offering anomalies. There’s no way out of bad theories except through them. By the time students graduate, we want them to have wrestled with terrible ideas and — for a while — lost. They need to experience what it’s like to change their minds about something they felt strongly about. They need to viscerally realize, in Feynman’s famous phrase, “The first principle is that you must not fool yourself and you are the easiest person to fool.” High school natural science How could entering the big fights reinvent high school science? At present, so much of the high school science curriculum — especially “honors” classes — is oriented toward helping amass details. (The same is true of 100-level university classes, which famously “survey” the field to prepare for more advanced studies. I always thought this was stupid — of the huge lecture hall of students in my Geology 100 class, how many went on to take even a second course?) The meaty debates that propel science forward are held back. Egan complains: “The more general and speculative theories in any discipline are treated like an unconventional and disreputable relation who, even though the children find her exciting and entertaining, must be kept hidden from view, her very existence denied as long as possible”. This is a stupid approach — students with an adventurous bent are convinced that science isn’t for them. Egan proposes, simply, that we flip this, and organize high school science classes around the big debates. We shouldn’t be ashamed at how, well, adolescent this might look: “the dramatic, speculative, and contentious theories will be up-front in the early years of the [high school] curriculum”. What might those be? Egan doesn’t give a list, but we can spitball some: instead of explaining what “matter” is from the top down, a physics class could problematize “matter” by following the debates over the nature of dark matter and dark energy, and by becoming familiarized with the various interpretations of quantum mechanics
Inline links: In a biting essay, In my favorite of his books, https://substackcdn.com/image/fetch/$s_!ywm7!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Ff9c9b1ed-a260-4117-8679-0b5a32339748_1600x574.png, https://substackcdn.com/image/fetch/$s_!WPeH!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F62ea55f8-0458-484f-be45-7a011d050756_1600x625.png, https://substackcdn.com/image/fetch/$s_!FPXt!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fb017fc37-3151-4556-87f1-31a097cf7594_1600x574.png
We divide “high culture” from “mass culture”. High culture, those books that plumb the depths of the human spirit, go from the Iliad through the great Greek tragedies through Dante and Shakespeare and so on to Tolstoy, Proust, and Knausgaard. Mass culture - those books that the average person finds entertaining - might also start with the Iliad, but ends up at Dan Brown, J.K. Rowling, and Batman comics.
But Girard lost me with the part about the myths. Most pagan myths have nothing to do with the single-victim process (eg labors of Hercules, Jason and the Golden Fleece, rape of Persephone, the Iliad, the Trojan Horse, the Odyssey, etc, etc, etc). The same with most Bible stories (Adam and Eve, Noah’s Flood, the Tower of Babel, the Ten Plagues, the Ten Commandments, etc). It kind of seems like the sort of thing where Freud can claim all myths are about castration. There are lots of myths, and they’re about lots of things. “Person does bad thing, the gods collectively punish humanity, then once we get rid of him the collective punishment stops” is certainly one trope. But it’s not hard to fathom why a primitive community stricken by a plague might think God was punishing them for some iniquity. And if I haven’t committed iniquity lately, and you haven’t committed iniquity lately, it must be some particular bad guy who needs to be stopped.
The Greek heroes (Nietzschean models for the supermen) of the Iliad (especially Agemmenon) seem very similar [to Andrew Tate] to me. The pretty armor, the prettiest girls to rape, the most slaves, the best tent positions on the beach, the sulking and petty vindictiveness, while compelling reading, always leaves me (a Girardian at heart) wondering how on earth they were models for anything other than memetic desire run amok.
At nearly 3,000 years old, the Iliad is very much in vogue, with two recent notable translations by women (Emily Wilson and Caroline Alexander) and a book of criticism aimed at a broad audience, Robin Lane Fox's Homer and His Iliad. I think part of the reason the Iliad still hits home is that its central figure, Achilles, fascinates. He's not just stronger and faster and better-looking than everyone else, he's more thoughtful and eloquent too. People point to his appearance in the underworld in the Odyssey, where he says he'd rather be a hired hand on a farm and alive than rule over all the dead. But his rejection of the heroic ethos is found in the Iliad too. His superhuman strength and beauty can’t save him from being dishonored by Agamemnon. It can’t keep his beloved Patroclus alive. All it’s good for, ultimately, is slaughtering Trojans. Which Achilles does magnificently, when he finally returns to battle; but in a sort of frenzy of despair. To a Trojan begging for mercy, he says: Patroclus is dead; I’ll be dead soon; you die too. He calls himself a useless burden on the earth. At the end when he forgoes violence and returns Hector’s body to his aged father Priam, saying sadly as he does so that he is doing nothing to help his own aged father; instead he sits in Troy, afflicting Priam and his children. And he agrees to hold the Greek army back for two weeks so that the Trojans can give Hector a proper burial.
It is impossible for me to imagine Achilles fighting the Trojans again after his interview with Priam, though the story of the Trojan war requires it; for that reason, I think, Homer ends the Iliad with Hector’s burial, with the truce still in effect.
29: Frank Lantz contra me on taste. He says art should be viewed in the context of when it was created and what it was trying to say to that era in particular. I might respond to this at more length later, but my snap troll response is that this kind of contradicts the preceding, doesn’t it? If you read the Iliad, it either speaks to you and transforms your soul, or it doesn’t. Nobody says “I just finished the Iliad - give me a second to check whether it was novel for its time or not, so I can decide whether my soul should be transformed.” Or maybe they do - is this the point of Pierre Menard, Author Of The Quixote?