Is There a Human Project?

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It is the season of cherries and ice cream, of ducklings and Scarce Copper butterflies (I think that’s the type in the picture above), of wrapping up the school year and saying goodbye for the summer. Also, the book is almost in press; the last corrections have been made, and I must now think about the release in the fall. While doing this, I find myself questioning certain phrases in the book. At one point I mention the human project. Is there a human project? Or is this yet another phrase that has lost meaning over time?

It exists but abounds with contradictions, oppositions, anomalies, impossibilities. Drawing partially on George Kateb’s Human Dignity, I would define the human project, in part, as our ongoing assumption (and abdication) of responsibility as stewards of nature, including our own. Humans alone have the capacity to act as stewards–or not. Acting as steward involves recognizing what one has done, or can do, to help or harm oneself and others–and who these others are, and why it matters. In this recognition, humans have advanced somewhat, in some ways, over time. Certain things that we recognize as wrong, such as slavery, were accepted not long ago.

Last week I introduced my eleventh-grade students to the song “Amazing Grace,” which a few already knew. I thought it was important for American civilization, especially since we were now touching on religion. I did not know the origins of the song (having missed the Broadway musical and the movie and forgotten a good bit of history); when I read about it, I heard it in a new way.

It was composed by the English Anglican minister John Newton (1725-1807), who, prior to his Christian conversion, had been forced into the slave trade. He had rebelled so often aboard the ships–not on behalf of the slaves, but on his own behalf–that he had undergone lashings, demotions, and finally slavery, when the crew left him in West Africa with a slave dealer. He was finally rescued and brought back to England; during the voyage, he had a spiritual conversion. Slowly, over time, this conversion brought him to abhor the slave trade. This did not happen linearly; he returned to the slave trade, fell ill, and underwent a new conversion. He continued in the trade a few more years, and then in 1754 renounced it completely.

His tract Thoughts Upon the African Slave Trade, written in 1788, thirty-four years after he abandoned the business, repudiates the enslavement and trafficking of humans. It begins:

The nature and effects of that unhappy and disgraceful branch of commerce, which has long been maintained on the Coast of Africa, with the sole, and professed design of purchasing our fellow-creatures, in order to supply our West-India islands and the American colonies, when they were ours, with Slaves; is now generally understood. So much light has been thrown upon the subject, by many able pens; and so many respectable persons have already engaged to use their utmost influence, for the suppression of a traffic, which contradicts the feelings of humanity; that it is hoped, this stain of our National character will soon be wiped out.

If I attempt, after what has been done, to throw my mite into the public stock of information, it is less from an apprehension that my interference is necessary, than from a conviction that silence, at such a time, and on such an occasion, would, in me, be criminal. If my testimony should not be necessary, or serviceable, yet, perhaps, I am bound, in conscience, to take shame to myself by a public confession, which, however sincere, comes too late to prevent, or repair, the misery and mischief to which I have, formerly, been accessary.

I hope it will always be a subject of humiliating reflection to me, that I was, once, an active instrument, in a business at which my heart now shudders.

Hearing those undertones in “Amazing Grace” (although the hymn preceded the tract by two decades or so), I understand the song not as a paean to the born-again experience but as the author’s recognition of profound error. To see that one has been terribly wrong and to change one’s life accordingly: this allows for something of a human project. For by writing what he saw and learned, Newton allowed others to see it too.

I don’t want to be glib about this. Looking at the picture below, I would say that ducks do a bit better with their projects than humans; they lead their little ones, which grow up to have little ones of their own. But ducks also kill ducklings that they do not recognize–and suffer no qualms of conscience, as far as I know. It is not that we humans do so well with our conscience–we continue to do things that we repudiate or simply fail to question–but our conscience also matures, not only through experience in the world, but through encounters with books, speeches, music, plays. In listening to something, we come to take ourselves in measure. Or at least we may. To the extent that we do, we participate in a human project.

I ask myself why I didn’t notice the Broadway musical Amazing Grace, which would have taught me something, even fleetingly, about John Newton. I think I unthinkingly ignored it because of the title. I had heard the song sung mockingly so many times that I had absorbed the mockery. That reminds me to be less sure of my mockeries, especially borrowed ones. Mockery has a place in writing–there would be little satire without it–but it must be informed. In this case mine, though never overt, was also ignorant until now.

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I made a few revisions to this piece after posting it.

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  • “To know that you can do better next time, unrecognizably better, and that there is no next time, and that it is a blessing there is not, there is a thought to be going on with.”

    —Samuel Beckett, Malone Dies

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  • ABOUT THE AUTHOR

     

    Diana Senechal is the author of Republic of Noise: The Loss of Solitude in Schools and Culture and the 2011 winner of the Hiett Prize in the Humanities, awarded by the Dallas Institute of Humanities and Culture. Her second book, Mind over Memes: Passive Listening, Toxic Talk, and Other Modern Language Follies, was published by Rowman & Littlefield in October 2018. In February 2022, Deep Vellum will publish her translation of Gyula Jenei's 2018 poetry collection Mindig Más.

    Since November 2017, she has been teaching English, American civilization, and British civilization at the Varga Katalin Gimnázium in Szolnok, Hungary. From 2011 to 2016, she helped shape and teach the philosophy program at Columbia Secondary School for Math, Science & Engineering in New York City. In 2014, she and her students founded the philosophy journal CONTRARIWISE, which now has international participation and readership. In 2020, at the Varga Katalin Gimnázium, she and her students released the first issue of the online literary journal Folyosó.

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    On April 26, 2016, Diana Senechal delivered her talk "Take Away the Takeaway (Including This One)" at TEDx Upper West Side.
     

    Here is a video from the Dallas Institute's 2015 Education Forum.  Also see the video "Hiett Prize Winners Discuss the Future of the Humanities." 

    On April 19–21, 2014, Diana Senechal took part in a discussion of solitude on BBC World Service's programme The Forum.  

    On February 22, 2013, Diana Senechal was interviewed by Leah Wescott, editor-in-chief of The Cronk of Higher Education. Here is the podcast.

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    On this blog, Take Away the Takeaway, I discuss literature, music, education, and other things. Some of the pieces are satirical and assigned (for clarity) to the satire category.

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