"I just updated my will and trust and, with heavy heart, cut out what was a significant bequest to my alma mater, Brooklyn College."

Says Bruce Kesler. The reason: The school chose one book to give to all incoming freshman to read to give a sense of a "common experience," and the book is "How Does It Feel To Be A Problem?: Being Young and Arab in America," written by "a radical pro-Palestinian professor" who happens to teach at Brooklyn College.

[The book contains] interviews with seven Arab-Americans in their 20s about their experiences and difficulties in the US. There’s appreciation of freedoms in the US, and deep resentment at feeling or being discriminated against post-9/11....

The title of the book is drawn from communist WEB DuBois’ same question in 1903 in his treatise The Souls of Black Folk. The current book consciously draws a parallel, ridiculous on its face, between the horrible and pervasive discrimination and injustices that Blacks were subjected to a century ago and Arab-Americans today.

The author asserts “The core issue [of Middle East turbulence] remains the rights of the Palestinian people to self-determination,” that the post-1967 history of the entire area is essentially that of “imperialism American-style,” and that the US government “limits the speech of Arab Americans in order to cement United States policy on the Israeli-Palestinian conflict.” Again, preposterous....

Online I found two professors who protested to the college president. One, retired from Brooklyn College, said: "This is wholly inappropriate.  It smacks of indoctrination. It will intimidate incoming students who have a different point of view (or have formed no point of view), sending the message that only one side will be approved on this College campus. It can certainly intimidate untenured faculty as well."

I can't imagine wanting freshman to get the message that they are about to be indoctrinated. On the up side, for freshman: If the school makes it clear right in the first week, you may still be in a position to quit and get your tuition back. If they're subtle about it — and it's so easy to be subtle about it — you're drawn into it. Clear efforts at indoctrination are repugnant. One recoils. It's like evil-tasting poison. The evil taste is a great benefit. You reflexively spit it out.

So now I'm picturing the Brooklyn College freshman, hurling "How Does It Feel" against the wall. In the movie I'm inventing in my head, the soundtrack is Bob Dylan — how does it feel — as The Freshman stomps out of Brooklyn and into a life without higher education indoctrination...

Teachers teach that knowledge waits...

Ah, but where does The Freshman go?

For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Cultivate their flowers to be Do what they do just to be*
Nothing more than something they invest in

We were talking last night: Why are you doing what you are doing? Do you need death staring you in the face to take that question seriously?

Maybe you don't need death staring you in the face to ask whether you have the courage to be true to yourself and not just to do what others expect you to do. And how much courage does it take when those who expect you to do what they want are so crude about it? But if you don't do what they want, what will you do? Where else is there to go?

What would I do if I were there where you are, dear Freshman? Because I'm old, and I've already made a lot of choices, I don't want to tell you what to do.  This post began with the old man's point of view: Bruce Kesler saying he's got lots of money and he's cutting Brooklyn College out of his will to express himself. But what should a young person do? I'm still an old person answering that question, but I was driving through the bohemian section of an American city the other day and thinking... oh, just about what I was thinking in the early 1970s: I want to live the artist's life. That doesn't mean you need to be an artist, but there is an art to living, and you are more a work of art than a thing you invest in. Yet even if the main thing you want — in this awful economy — is to be something you invest in, a radical left-wing indoctrination is a godawful investment decision.

***

And I still haven't said that I got to Kesler via D.G. Meyers via Instapundit. Meyers says:

In my experience, few if any of the Brooklyn Collge freshmen will even bother to open the book. I can remember the title of the book that was assigned to all incoming freshmen at U.C. Santa Cruz the year I went up there (it was Arthur Koestler’s Act of Creation), but that’s the sum of what I remember about the book. I bought a copy, but never heard it discussed anywhere on campus. Same for the various books that were assigned to incoming freshmen at Texas A&M University over the years. After the English department made a fuss over choosing them, they were never mentioned again.

Yes, but it's not that easy: Brooklyn College also assigns its book in a required English course. I remember the book that was assigned for orientation week to freshmen at the Residential College (at the University of Michigan) in 1969: Kurt Vonnegut's "Cat's Cradle." 40 years later, I can't think of a book I'd rather read. In fact, it happens I was rereading it yesterday.

All of the true things that I am about to tell you are shameless lies.

It's nice to be told that right at the outset so you know what you're getting into. Very nice.

***

* I've corrected that line in "It's Alright, Ma (I'm Only Bleeding)" after cutting and pasting the lyrics from the official Bob Dylan site. I was surprised to see the line "cultivate their flowers to be." It didn't have the right number of syllables, and it didn't lead properly into the next line, and I didn't remember ever hearing it. Meade questioned it too and played the original recording to get to the very familiar line (which also makes a lot more sense). It was weird seeing "cultivate their flowers" — which I took as an allusion to Voltaire's "we must cultivate our garden" — because Meade, with whom I share a love of Dylan, has made a life out of cultivating flowers, and cultivating flowers is something you're more likely to do if you've chosen to defy disrespected authority and see yourself as much more than something you invest in. Not that you can't build up great wealth by starting a gardening business.

8 rules for writing a short story.

Found in this Wikipedia article about Kurt Vonnegut, whom I was thinking about because my commenter Bissage linked to a book of his here and because — also this morning — I was in a long IM conversation that ended up — though it started being about the New Hampshire primary — being about the number 57, Tom Cruise and Scientology, whether humans are the most rational or the most irrational animals, why we love our ideas so much, religion, and "Cat's Cradle."

1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
2. Give the reader at least one character he or she can root for.
3. Every character should want something, even if it is only a glass of water.
4. Every sentence must do one of two things — reveal character or advance the action.
5. Start as close to the end as possible.
6. Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.
7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
8. Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

I like the way somebody put in Wikipedia links for "sadist," "pneumonia," and "cockroaches." It seems to mean something. Perhaps you could write a short story in which it does and which follows the 8 rules.

ADDED: Here's a nice NPR interview with Vonnegut in which he talks about these rules, some other things about writing and reading (it's meditation), and laughs about the time Nazis wanted very much to surrender to him.

"The big difference between conservatives and liberals is that killing doesn't seem to bother the conservatives at all."

"The liberals are chickenhearted about people dying."

Another Kurt Vonnegut quote from that interview. Thought you'd like to talk about it under a separate heading.

It's Kurt Vonnegut's birthday, the first since his death.

So let's read this 1992 Playboy Interview with him and Joseph Heller, who is also dead. There's some talk of Norman Mailer, and he's dead now too.

PLAYBOY: What are you working on, Kurt?

VONNEGUT: On a divorce. Which is a full-time job. Didn't you find it a full-time job?...

VONNEGUT: It seems to me divorce is so common now. It ought to be more institutionalized. It's like a head-on collision every time. It's supposed to be a surprise but it's commonplace. Deliver your line about never having dreamed of being married.

HELLER: It's in Something Happened: ''I want a divorce; I dream of a divorce. I was never sure I wanted to get married. But I always knew I wanted a divorce.''

VONNEGUT: Norman Mailer has what--five divorces now?...

PLAYBOY: Do either of you read any contemporary writers?

VONNEGUT: Well, it's not like the medical profession where you have to find out the latest treatments. I've been reading Nietzsche.

HELLER: And I've been reading Thomas Mann....

PLAYBOY: What about Norman Mailer's?

VONNEGUT: That's none of your business. Norman's a friend of mine.

HELLER: I intend to read it at one sitting....

PLAYBOY: Why don't you guys write more explicitly about sex and its emotional trappings?

HELLER: More explicitly than what? You keep projecting. You keep attaching emotional reactions to sexual reactions. Earlier you used the words ''love'' and ''sex'' and now you're suggesting emotional reactions to sex. By emotional I'm sure you mean something different from the sensory responses.

PLAYBOY: Well, emotions are different from senses.

HELLER: I don't think there is a necessary correlation between emotional responses and sex.

PLAYBOY: Didn't D. H. Lawrence write about emotions?

HELLER: That was the content of his artistic or literary consciousness. I don't think writers have a choice, by the way. I think we discover a field in which we can be proficient and that's our imagination. My imagination cannot work like Kurt's and I don't think his can work like mine. Neither of us could write like Philip Roth or Norman Mailer. I know John Updike has a lot of tales of the sexual encounter. And I suppose there are writers who can do it and will do it and want to do it.

PLAYBOY: Henry Miller?

HELLER: What you get there is the raw activity.... I must say, for me, it doesn't normally make good literature. Fiction having extensive detail about the gymnastics of copulation or sexual congress--or even the alleged responses to it--does not make interesting reading to me. It's like trying to describe the noise of a subway train. There are people who can do it. Young writers go in for that type of description. But when they're finished, all they've done is described the noise of a subway train coming into a station or pulling out of a station. Is that the noblest objective of a work of fiction? To convince the reader that what you're writing about is really happening? I don't think so....

VONNEGUT: Nietzsche had a little one-liner on how to choose a wife. He said, ''Are you willing to have a conversation with this woman for the next forty years?'' That's how to pick a wife.

HELLER: If people were more widely read, there'd be fewer marriages.

VONNEGUT: I will give you all the money that's left after the divorce if you can get me a film clip of Frank Sinatra making it with Nancy Reagan. I think that is the funniest damn thing.

PLAYBOY: In the White House?

VONNEGUT: I don't care where. Those two scrawny people....