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Hannah Arendt could have anticipated the Trump administration’s lies in Minnesota — and elsewhere
During the last half-dozen years of Hannah Arendt’s life, the celebrated political and moral philosopher, who died in 1975, was shaken by a series of personal and political crises. Not only was she still dealing with the fallout from her book Eichmann in Jerusalem: A Study in the Banality of Evil, but Arendt lost two of her closest friends: her husband Heinrich Blücher and her mentor Karl Jaspers. Moreover, she was increasingly alarmed by the assassinations of Bobby Kennedy and Martin Luther King, the churn of student antiwar protests, and mounting police violence.
“For the first time,” Arendt told her friend, the novelist Mary McCarthy, in 1968, “I meet middle-aged, native-born Americans (colleagues, quite respectable) who think of emigration.”
One affair during this period that struck Arendt with great force was the New York Times publication of the Pentagon Papers in June 1971. These papers, commissioned by former Secretary of Defense Robert McNamara, documented in despairing detail America’s deepening involvement in Vietnam from 1945 to 1967. Leaked to the Times by the RAND Corporation analyst Daniel Ellsberg, the papers quickly led to a series of crises — constitutional, political, nearly existential — that led both to the landmark decision by the Supreme Court to allow their publication and, of course, Richard Nixon’s decision to draft a team of plumbers to burglarize the office of Ellsberg’s psychiatrist.
Arendt was of course shocked by the blood-soaked futility and consequences, for civilians no less than soldiers, of American military strategy. But she was also staggered by how successive governments packaged this deadly madness for public consumption. It was nothing less, she declared in her essay “Lying in Politics,” a “quicksand of lying statements of all sorts, deceptions as well as self-deceptions,” one which will engulf any reader intent on making sense of our government’s actions.
First published in the New York Review of Books more than a half-century ago — and subsequently included in Arendt’s collection of essays Crises of the Republic — the piece is hauntingly prophetic, anticipating the salvo of crises now roiling our country. These dangers most often issue from a single source — namely, the embattled status of what Arendt calls our “common world,” one structured by the existence of truth and fact. Were we to undermine these, we would undo that very same world.
The history of political lying is, in a sense, little more than a series of footnotes to Plato’s notion of the “noble lie” — lies the powerful tell the weak in their quest for power and, if they succeed, hold on to it.
“Truthfulness,” Arendt drily notes, “has never been counted among the political virtues, and lies have always been regarded as justifiable tools in political dealings.”
But there is lying and lying. For a prince or president to maintain power, Machiavelli famously declared, “it is necessary to know how to do wrong.” While the use of deception and deceit is among these necessary wrongs, it is important for the ruler to use them sparingly and surgically. Yet this was hardly the case for the succession of presidents who presided over the military and moral debacle in Vietnam. Instead, they and their officials lied with great but also systematic abandon over the reasons for the war — which evolved over time — as well as its human cost and progress. That these lies, Arendt writes, “became the chief issues of the Pentagon Papers, rather than the illusion, error, miscalculation, and the like, is mainly due to the strange fact that the mistaken decisions and lying statements consistently violated the astoundingly accurate factual reports of the intelligence community.”
This deliberate dissonance between facts and claims, in turn, feeds a kind of rot that eats away at the epistemological and ethical foundations of our world and lives. And this is no small matter, for it goes to the heart of Arendt’s analysis of totalitarianism. She argues that factual truths, unlike rational truths, are never compellingly true. That 2+2 will always equal 4 needs no witnesses; that a violent mob stormed out Capitol on Jan. 6, 2020 does, however, require witnesses and factual evidence.
“Facts need testimony to be remembered and trustworthy witnesses to be established in order to find a secure dwelling place in the domain of human affairs,” she wrote. This web of truths is as intricate and fragile as a spider’s web; just as a swat of a stick can collapse the latter, so too can the constant swatting of lies by groups or peoples destroy the former.
The path to the Nazi destruction of European Jewry was paved by the deconstruction of factual truth, the obliteration of moral judgment, and the contagion of state lies. This was no less the case with those Arendt called the “problem-solvers” at RAND — the club of the best and brightest which Ellsberg decided to quit — than with the architects of the Final Solution. In both instances, Arendt writes, “defactualization and problem-solving were welcomed because disregard of reality was inherent in the policies and goals themselves.”
But the rot runs broader and deeper. Eventually, it destroys not just common sense and a common past, but the world we hold in common. If everybody always lies to you, Arendt observes, the consequence is that you will no longer believe anything at all. The next step, quite simply, is the unmaking of reality.
As Arendt wrote in “Truth and Politics,” a companion piece to “Lying in Politics,” the “result of a consistent and total substitution of lies for factual truth is not that the lies will now be accepted as truth, and the truth be defamed as lies, but that the sense by which we take our bearings in the world is being destroyed.”
Of course, this is the existential threat posed by our nation’s current management, one dedicated to the destruction of factual truth and the world it undergirds. Yet the still provisional success of the citizens of Minneapolis who, in their relentless attention to factual truths — truths they have witnessed and share not only amongst themselves but also the world beyond their city — reminds us that this enterprise in nihilism is hardly predestined.
Arendt would not have been surprised, I believe, by this insurgency on behalf of not just factual but also moral truth in our glacial Midwest. Yet another reason, as this new chapter to the crises of the republic unfolds, Arendt shall remain our indispensable guide.
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Trump announces he has ‘largely negotiated’ Iran deal, Strait of Hormuz opening
(JTA) — President Donald Trump announced in a post on Truth Social Saturday afternoon that a deal with Iran had been “largely negotiated,” despite saying earlier in the day that he was undecided on whether to agree to a proposal or resume strikes.
Trump described the deal as a “Memorandum of Understanding pertaining to PEACE” that was “subject to finalization” by the United States, Iran and other countries that participated in talks on Saturday. He noted that he’d “just had a very good call” with Saudi Arabia, the United Arab Emirates, Qatar, Pakistan, Turkey, Egypt, Jordan and Bahrain.
Trump said in his Truth Social post that, separately, he had spoken with Israel Prime Minister Benjamin Netanyahu in a conversation that “went very well.” There was no immediate statement released by the Prime Minister’s Office following Trump’s post.
“Final aspects and details of the Deal are currently being discussed, and will be announced shortly,” Trump added.
In the post, Trump said the deal would include the opening of the Strait of Hormuz, though a widely reported quote from Iran’s Fars New Agency, which is close to Iran’s Islamic Revolutionary Guard Corps, said that Trump’s assertion was “incomplete and inconsistent with reality” and that the strait would remain under Iranian control.
Trump’s announcement comes over a month since he unilaterally extended a fragile U.S.-Iran ceasefire in April.
The announcement did not make mention of Iran’s nuclear program or highly enriched uranium, which Trump has previously stressed must be included in a deal.
Trump’s announcement came hours after he told Axios that he was a “solid 50/50” on whether he would be able to make a “good” deal with Iran, or else “blow them to kingdom come.”
Trump also told Axios that Netanyahu was “torn” over the potential deal but rejected the idea that the Israeli leader was “worried” that he might strike an unfavorable agreement.
This article originally appeared on JTA.org.
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In Trump’s assault on democracy, echoes of Nazi Germany but new glimmers of hope that America will be different
In the final, tumultuous years of the Weimar Republic, a succession of arch-conservative chancellors ruled by emergency decree rather than go through the Reichstag, the German parliament. Germany had become a democracy in name only, as reactionary power brokers steered the nation deeper into totalitarian waters, ultimately opening the door for Hitler.
As we approach our mid-term elections, America too is at a pivot point — with the burning question being whether Donald Trump’s grip on MAGA lawmakers can be broken so that Congress, feckless like the Reichstag of the late Weimar Republic, can resume its constitutional role as a check on the executive.
It’s a matter of life or death for American democracy as it nears its 250th birthday.
As Trump’s poll numbers tank while GOP lawmakers’ support for him endures, I find myself musing about the Weimar Republic and the self-immolation of its national legislature.
In the final months before they came to power on Jan. 30, 1933, Hitler and the Nazis were actually on the ropes. After they had become the largest party in the Reichstag in July elections a year earlier, two million Germans abandoned the Nazis in an election that November. Many Germans were less enamored of the Nazi leader, fatigued by a sense that the Nazis thrived on disorder. The spell seemed to be breaking. Does this ring a bell? Economics also played a role: Germany was finally emerging from the Great Depression.
But the German republic had already been brought to a breaking point by street fighting, political chaos, the Great Depression, and a coterie of arch-conservative power brokers who schemed and maneuvered to scrap Germany’s first democracy. They included Chancellor Franz von Papen.
Papen was unable to form a majority coalition after the July 1932 election because of huge gains by the Nazis and losses by other key parties, so he continued to govern by emergency decree with the consent of President Paul von Hindenburg, relying on the broad emergency powers of Article 48 of the constitution that had already hollowed out parliamentary rule.
More internal scheming resulted in Papen’s ouster after the November 1932 election. He was replaced by General Kurt von Schleicher, a master of intrigue. But Schleicher lasted only two months, as disagreements raged over whether to give Hitler a role in the government, and what that role should be. The reactionary schemers eventually reached a consensus: Let Hitler have the chancellorship but keep him in check by loading the cabinet with archconservatives like Papen. Once Hitler became chancellor on Jan. 30, 1933, it didn’t take him long to outmaneuver all of the other schemers, who became puppets of the Nazi leader instead of the puppet masters.
Germany’s political establishment — all but the Social Democrats and the banned Communists — ceremoniously handed the keys over to Hitler on March 23, 1933, when the Reichstag passed the Enabling Act, dismantling parliamentary democracy and giving Hitler dictatorial powers.
Which brings us to the question: Whither American democracy?
Under Trump, our Congress has been reduced to a shell of its former self, an American analog of the toothless Reichstag. As Trump has launched assault after assault on the pillars of American democracy — on the judiciary, on higher education, on free speech, our election system, the rule of law, and even on unflattering but true chapters in American history — Republicans have kept quiet, fearing Trump’s wrath and retribution.
But now there are glimmers of hope. Trump’s broken promises, self-aggrandizement, megalomania, corruption, utter indifference to everyday Americans’ economic suffering, and relentless catering to the country’s wealthiest are finally catching up with him. New polls put his approval rating at a dismal 37%. In a New York Times/Siena poll, just 28% of voters approved of how Trump is handling the cost of living, while only 31% approved of his war with Iran. Even Fox News had him at 39% approval. That same poll showed GOP support for Trump weakening considerably on his handling of the economy.
Economic pain is driving the collapse. The soaring costs of the war in Iran, Trump’s vanity projects, and his proposed $1.8 billion slush fund for the Jan. 6 insurrectionists, coupled with his push for lifetime immunity for himself and his family to commit tax fraud, have incensed voters who are already struggling to afford groceries, gas, housing and health care.
As Americans make impossible choices, the 47th president touts the glitzy White House ballroom he wants to build and his plans for an arch that would dwarf the Arc de Triomphe, all while prosecuting a war that has closed the Strait of Hormuz and driven up prices worldwide. The widening gap between Trump’s self-indulgence and the country’s hardship is finally producing something late Weimar never managed: a meaningful break in the habit of submission to an aspiring strongman.
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This Jewish artist hadn’t painted in more than 5 decades. Then came Oct. 7.
Sid Klein has finally found his subject. More than half a century after he scrambled to pick a topic for his senior art project at Brooklyn College—and settled on exploring the porcelain curves of a toilet bowl in a 20-painting series—he’s discovered a purpose.
Klein, 78, took a five-decade hiatus from art between college graduation and retirement. He picked his brushes back up just a few months before the events of Oct. 7.
Upon hearing of the Hamas attacks, Klein processed the news with acrylics. Soon, he began looking back to the Holocaust. He felt compelled to render contemporary and historical victims of hatred on paper and ultimately take on the mantle of combatting antisemitism, not with words or weapons but with images.
“For the first time in my life, I’m so motivated in my art,” Klein told me over Zoom from his home in South Florida. “All of a sudden I went from, ‘I don’t know what I want to paint,’ to, ‘I’ve got to make a record of this so people can look at these paintings and see what does antisemitism naturally lead to.’”
Born and raised in Brooklyn, Klein noticed at a young age that he could depict objects in three dimensions. “I started drawing with Crayola crayons with paper that my mom would pick up [at] the local five and dime,” he said.
But his mother died when he was seven, leaving his father to raise three children on his own. Though they weren’t particularly religious, Klein said, he attended yeshiva. The extra-long school day helped his working single father make sure he was safe. Klein continued dabbling in art through elementary and high school.
The Holocaust was not part of his education, as far as he remembers, not at the yeshiva and not later in college, where he flitted from pre-law to economics to philosophy before settling on fine art. “I’d never been exposed to it,” he said. “I’d never seen the photographs. I consciously avoided the photographs.”
“I was living in this bubble so I could pretend that antisemitism did not exist,” he said.
He remained in that bubble through business school and a long career in marketing. During that time, “painting didn’t even cross my mind,” Klein said. “For 55 years, I focused on the business and totally ignored the art.”
It wasn’t until his career drew to a close that he thought he might try again. “I wanted to give it a try and see what was left,” he said. But he wanted to keep painting only if he had a worthy subject, which he found in the wake of the Hamas attacks.
“That murder affected me in a profound way,” said Klein, who has two sons and five grandchildren living in Israel. “I started painting in my mind what these 1,200 people would have looked like. And that was my return to art.”
The segue from the horrors of Oct. 7 to those of the Holocaust felt natural to Klein. “For me, all of those are one of the same. They’re all Jew hatred at different times in history,” he said. “The amount of evil in our world is just—I don’t know how to measure it.” There are endless tragedies, he said, “but I’m focusing on our people.”
Klein paints in a corner of the family room he’s designated as his studio. He regularly pores over hundreds of black-and-white photos taken in ghettos and camps, looking for his next subjects to call out to him.
In one photograph, he recalled, he saw lines upon lines of women and children, standing near cattle cars, waiting, exhausted. He distilled the scene to one row of imminent victims in “Innocents.” They’re “going to be taken to a gas chamber and they’re going to be dead in 20 minutes or a half hour, and they don’t know that,” he said. On the right, a boy tugs at his mother’s coat. The woman on the far left balances the small child in her arms alongside her pregnant belly. In the middle, another grasps a toddler’s hand. Their eyes implore the viewer to grapple with their fate.
Several of Klein’s Holocaust works were displayed earlier this year at the Gross-Rosen Museum in Rogoźnica in Poland, on the grounds of the concentration camp system of the same name, where an estimated 120,000 people were imprisoned and 40,000 died.
“As employees of a Memorial Site, we have constant access to disturbing historical photos and documents; these are undeniably important, but viewing the victims through the eyes of an artist is an entirely different, more intimate experience,” Bartosz Surman, who works for the museum’s education department, told me. Surman estimated that approximately 4,000 people saw Klein’s work there between January 27 and March 31. “For a Memorial Site located in a village of fewer than a thousand people, we consider it a significant success and a testament to the power of Mr. Klein’s work,” he said.
Four thousand miles away, “My Zaidy” hangs on the wall at the Dr. Bernard Heller Museum in downtown Manhattan as part of the exhibition “Proverbs, Adages, and Maxims.”
The man in the painting wears a star under his heart. The bright yellow patch and pearlescent and gold shimmer of his face contrast with the matte blue of his coat and hat. But turning the corner of the exhibition, it’s the eyes that catch you. “I left them blank, so you can put in his eyes, any eyes you want,” Klein said—his zaidy’s or yours or a stranger’s.
The eyes may be missing but the gaze is powerful, as though this old man, as he approaches his cruel end, is staring and saying, “Look at me. Do you see what’s happening? Why are you just standing there?”
“A lot of bubbes and zaides were exterminated,” Klein said, including his paternal grandfather. But the zaidy in the painting isn’t Klein’s, exactly, he said. He can’t recall ever seeing a photo of him. Instead, he painted another elderly man in a photo that struck him: This is what a zaidy selected for the gas chamber looks like. This is what Klein’s zaidy could have looked like.
“I decided I was going to do a painting, and fill that hole in my heart,” Klein said.
“There’s something very haunting about the hollowed, empty eyes,” museum director Jeanie Rosensaft told me over the phone. “We were very touched, because although [Klein] has not had a long resume of art production, we felt that the image that he provided was very compelling.”.
Klein is one of 58 artists in the exhibition, and his work will be included in a tour the museum is organizing following its New York run, which ends June 24. “We hope that he continues on this path,” Rosensaft said. “It’s really essential that art bear witness to the past and provide a bridge to the future.”
Seeing the pain
Klein’s next painting, he told me, was inspired by a photo of two small children, empty bowls in hand, begging for food.
“If I had more working space, I would make my paintings bigger,” said Klein, who says he hopes to one day create life-size portraits. “Right now you’ve got to get pretty close to see what the hell is going on,” he said. “I want size to be part of your experience seeing the pain.”
Spending his days sifting through Holocaust photos and painting its victims takes a toll. “When I paint, I become emotionally involved. But when it’s done, I listen to my music for a couple of hours, and that gives me the emotional strength to continue,” says Klein, who puts on Vivaldi, Mozart, or Brahms, for example. “After I do a painting, I need this music to settle my nerves.”
“Sometimes I say, ‘Klein, try something else!’” he said. But he can’t imagine abandoning his subject or newfound mission for any others. Which means he’ll need more of that music in the years to come, as might those viewing his paintings.
“A lot of my work is grotesque,” Klein said, and that’s intentional. “I want to shake you up.”
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