Right off the bat, let me note my respect for the fact that Howard’s post below offers what kids today (at least, “today” according to Professorial Adjusted Time) call “props” to Lonely Island. After that, I have one major difficulty with the post.
I admit that I’m not sure what “free speech culture” is. I assume that, like “cancel culture,” “the radical left,” “and Christian nationalism,” it is a term that 1) at its core describes an actually existing view, group, or phenomenon, but 2) is subject to capacious definition and a wildly varying membership (it’s a “crowd,” as Howard says), and 3) inevitably becomes something of a mythical antagonist, an opponent in an endless act of jouska, which holds a host of foolish assumed views and takes a variety of dangerous predicted actions, and thus serves as an ideal foil. But I can’t say for sure. So I will refrain from weighing in on what is good or bad about “free speech culture” in general. I would imagine that, if it’s a culture, it is probably both good and bad but, above all, is indefinite, internally contested, and dynamic, not fixed, uniform, and frozen.
Even so, I think I can say with some assurance that the primary issue here is not substantive, but literary. Howard misunderstands the genre of the New York Times story he complains about (with the admittedly “snark[y]” but, even so, odd locution that the paper “required” its reporters to write it). That misapprehension colors all of his reactions to the story. Howard reads it as a “breathless” entry in the heroic genre, in which Jonathan Haidt plays the free speech hero and the students the dangerous villains.
This seems an obvious misreading. The headline I see in my version of the story is “N.Y.U. Students Object to Speaker Who Calls Their Generation Coddled.” I acknowledge that media publications these days engage in the odious practice of A/B-testing their headlines, so maybe Howard got a different one. But this version, at least, signals the literary genre to the reader right from the start. The story isn’t heroic; it’s comic. The writers aren’t even especially subtle about it. I mean, who but a comic writer would give the character of “NYU spokesman” the name of “Wiley Norvell?” Preston Sturges would have cast Rudy Vallee or Porter Hall in the part without a second’s thought. And who but a Sturgesesian comic figure named Wiley Norvell would describe Haidt as “one of the most consequential scholars of the 21st century?” That joke writes itself, on multiple levels.
Every character in the Times story plays the Fool, and the reporter-narrators, serving their own part within the conventions of the genre, sprinkle the piece with ironic grace notes. The students aren’t treated as especially threatening or villainous. They are portrayed as comic figures, simultaneously sweet, hot and bothered, earnest, and ridiculous. I thought that was apparent from the moment in the story when the students were first introduced as “deeply unsettle[d],” and then described as having to go research “Dr. Haidt’s writing and speeches” to decide why they’re deeply unsettled. That is classic comic structure: “This is an outrage!–and if you give me time to look into it, I’ll tell you why it’s an outrage!” It may not be the best Lubitsch I’ve ever heard. But it’s Lubitsch, all right.
The bit where the students insist in sententious tones on a commencement speaker who “more accurately reflect[s] the values and diversity of its graduates,” and then throw out Taylor Swift and David Boies as acceptable examples? Comedy. I mean, clearly. It’s actually pretty good comedy, in an acid-tipped, Billy Wilder-ish sort of vein. It provides a solid comic beat, but with an ironic sting in its tail: The billionaire influencer who conned the rubes into buying all of her albums twice, and the filthy rich lawyer who deployed high-tech PIs on behalf of Harvey Weinstein, are, in fact, reflective of the values and diversity of the typical NYU graduating class.
Holding a graduation ceremony at Yankee Stadium? Comedy. So, if you read it with the right cadence and throw in a little out-of-breath moment at the end, is this laundry-list passage from the letter of complaint: “Many students have reported feelings of disappointment, disgust, unenthusiasm, defeat, and embarrassment.” I could easily imagine Greta Gerwig delivering that line in her only tolerable movie, Whit Stillman’s Damsels in Distress.
That Haidt figures as a comic figure here is both self-evident–no one who has given multiple TED talks could ever be anything but comic–and cued by the reporters, who repeatedly refer to him as “Dr. Haidt.” A professor who is called “Doctor” is automatically a figure of ridicule, straight out of every academic satire. Being saddled by the Wiley Norvell character with the “most consequential scholar” label likewise marks Haidt as a comic target, inviting the reader to view both Norvell and the person he is describing as pompous and puffed up. That portrayal is driven home by Haidt’s use of the phrase “deeply humbled,” a classic contronym.
Worth noting, and wholly consistent with good comic writing, is that while the Times story ridicules everyone (except, of course, the authors themselves), it’s also not terribly unsympathetic to any of them. It recognizes that the seeming antagonists, the students and Haidt, are quickly overshadowed. They ultimately have a bit part in their own controversy. They start the ball rolling. But just about everything after that is all about the grown-ups: the fighting, the back-and-forth about Haidt, the obvious institutional nervousness and ass-covering, and, above all, the excuse it gives every adult with a keyboard–the Times reporters, the online hordes and Substackers, Ken White, Howard, and of course me–to exploit the whole thing, to hang our own preoccupations on it and ride it to glory. The underlying issues exist and are important. (To be more precise, they are every bit as important as college commencement addresses are, which I think is rather a matter of some doubt.) But the story itself is not so much about a free speech controversy as it is about how much everyone enjoys a good free speech controversy.
In the end, the story, rather brilliantly, spotlights two figures, one sympathetically and one with, at best, jaded admiration. NYU itself takes on the latter role. Picking Haidt as the commencement speaker is, in this place and time, a clever, strategic, and deeply cynical move. The administration surely watched the mishegoss at Michigan. And it’s surely constantly aware that it’s in the crosshairs of a regime whose motto is to let no opportunity for selective and excessive punishment go to waste. It must see the choice of Haidt–more or less liberal personally, describes himself as a centrist, codes positively with conservatives, currently focused on a no-devices campaign that scores high across the political and cultural map–as a masterstroke. He’s bold, but banal. He’s got something important and inoffensive to say. And he’s unlikely to foul his own nest. Academics, like golf caddies, spend a lot of time watching the action from just off to the side. We can surely offer up a measure of respect for NYU’s effort to navigate the ball between the sand trap on one side and the water trap on the other and land it squarely on the green. It turns out that the university would have been better off just agreeing to meet Dua Lipa’s fee. Still: one can appreciate the artistry of the attempt.
But the story reserves the zinger, the cherry on top, the Lubitsch touch–that NYU is making student speakers record their speeches in advance, so that it can put them on a screen during a commencement headlined by The No-Screens Guy–for a student. Again I say: comedy. If Howard had read the story according to the correct genre, I think he might have derived a somewhat different message from it. He would certainly have found it funnier.
(As an aside, I found Ken White’s quote odd. Students are, indeed, students. Their role is, in fact, to receive wisdom, subject to the obvious qualifications that professors are only wiser by virtue of their years, not because they are professors, and that a good education provides multiple structured opportunities to ask questions and raise disagreements. Their role in the institutional schema is not that of mere consumers or potted plants. But neither is it one of coequals. Their role is a subordinate one–and quite rightly so. That doesn’t mean they must always shut up and listen; it does, however, mean they must sometimes shut up and listen.)
