We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
Central to its doctrine of embattled and threatened virtue is the notion of what Lionel Trilling has called the avant-garde’s “adversary” relation to the larger (bourgeois) culture in which it functions. If the institutions that now serve as conduits of avant-garde claims are no longer shy about acknowledging this adversary role, it is because the role itself has acquired an unquestioned historical prestige.
We have all been brought up on the legend of avant-garde martyrdom, with its celebrated episodes of tardy vindication. Nothing is more familiar to us than the literature of cautionary tales recounting middle-class resistance to and stupidity about “advanced” artistic innovation. The history of modern art abounds in such tales, which are often chronicles of genuine suffering when they are not mere comedies of cultural manners. As a result, the tendency of modern critical thought, whether sympathetic to avant-garde objectives or openly hostile to them, has been to accept without question an essential, perhaps even a metaphysical, antagonism separating high culture from the middle class—an antagonism readily confirmed in our guilty feelings over the crowded roster of abused and misunderstood genius.
Kramer was wonderful. There is nothing new under the sun. Vanity of vanities: all is vanity. Call me bourgeois - I don't care -Trilling, Kramer, and Gombrich are my kind of bourgeois guys. Sticks and stones...