Jason Zinoman

The ethics of baby-killing

His protesters call him a Nazi, a hater and a snob, but the most interesting truth about Peter Singer is that there are many more like him.

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On a gray Saturday morning in April, two vastly dissimilar groups congregated in front of Nassau Hall at the center of Princeton University’s campus. A band of handicapped protesters, who had come to New Jersey to rally against the appointment of the new Ira W. De Camp professor of bioethics, Peter Singer, stood 40 feet from a neat circle of prospective parents, eagerly listening to undergraduate David Beal sell them on the virtues of the Ivy League school.

Beal, a red-faced enthusiast with a surplus of school spirit, lectured
loudly about the glorious diversity of Princeton University: All 50 states
are represented in the student body, he explained, and public figures like
Toni Morrison and Dan Quayle come to speak. As he spit out his practiced
speech, a bitter-looking disabled man who learned about Peter Singer that
day began a lonely chant: “Hey hey, ho ho/Peter Singer’s got to go./Hey
hey, ho ho…” Although a few parents turned their heads, most of them didn’t
seem to notice at all.

An accomplished scholar and intellectual pioneer, Peter Singer first gained
attention with his book “Animal Liberation,” which sparked the animal
rights movement. More recently, the Australian philosopher has been
attacked for his rigorously utilitarian views on the sanctity, or lack
thereof, of human life. His most controversial stance is his belief that
it’s not always morally wrong to kill a severely disabled infant who is not
rational, self-aware and autonomous — the three morally significant
qualities, he argues, when considering the life of a sentient being.

In a recent New York Times article, Sylvia Nasar compared the controversy surrounding Singer to the one that flared when City College hired Bertrand Russell in 1940, only to later rescind the offer because of the philosopher’s liberal views on
premarital sex. But nobody thinks that Princeton University will rescind its offer to Peter Singer. Princeton’s president has consistently
defended Singer, and the faculty and alumni, like those prospective parents, have studiously ignored the controversy.

Buoyed by newspaper articles and outraged editorials, however, a small anti-Singer group on campus planned an early morning protest to boost its cause. The anti-Singer rally featured about 200 sign-toting protesters, several of whom made short, orchestrated speeches. From their
commentary, it appeared that few had read more than brief excerpts from Singer’s writing; they had a wildly sinister view of his philosophy.
Many of these veteran activists were part of New Jersey Right to Life, which had held a smaller demonstration at Princeton months before. The pro-lifers were joined by a smaller crowd of handicapped-rights activists, led by contingents from Disabilities in Action and the Illinois group Not Dead Yet, whose president, Carol Cleigh, has been quoted as calling the professor “the most dangerous man in the world today.”

The protesters carried signs with slogans like “Go Back Down Under”; the smattering of speeches were laced with lines like, “I’m not a philosopher or an ethicist but I do know what is right and wrong.” The general message: Singer is an arrogant, elitist intellectual who has come to America to poison the minds of our Ivy League youth. The protesters called him a killer, a Nazi, a hater and, perhaps most telling of all, a snob. One sign proclaimed, “Dr. Singer: the new Dr. Mengele.” Murray Sabrin, a New Jersey Republican candidate for Senate, accused Singer of advocating “infanticide as a mainstream philosophical premise” and joked, “This proves that anything is believable, especially in
higher education.”

Oddly, when people attacked Singer, many started talking about the danger
he posed to them personally. “I’m elderly,” moaned Jon Rutkowski. “So what
are we going to do next, kill the old people? I think I’m valuable to
society.”

In the most dramatic example of this kind of personalized
politics, the burly ex-captain of the Princeton football team spoke to the
assembled crowd. A big fellow with a small voice, the quarterback touched on everything from the abomination of homosexual acts to the immorality of premarital sex (no
doubt he would have been keen to protest Bertrand Russell as well). The hiring of Peter Singer was just the last slide down the slippery, tie-dyed slope of moral relativism. And no one was spared blame.

“We’re all cowards,” he shouted. “Let’s admit it. At school, I didn’t speak
up because I thought I’d be laughed at. At work, I don’t speak up because I
don’t want to be fired.”

The crowd madly cheered for their own cowardice,
raising the rally to a feverish pitch. Yet conspicuously absent from this
event was any substantial student or faculty presence. Chris Benek, founder of Students Against Infanticide, which organized the rally, explained away the low student turnout as just another reflection of youthful apoliticism. “Students here are ridiculously apathetic,” he said. “They’re just more interested in
academics.” Yet it wasn’t just students who ignored the rally. Although organizers sought appearances from every single Republican presidential candidate — a pool of people presumably out searching for viable political issues to endorse or condemn — all declined the invitation.

After such heartfelt recriminations from so many varying special interest
groups, why hadn’t the protest inspired a more robust response? Had this
odd coalition of conservatives, disability activists and euthanasia opponents
failed to create a coherent enough message? Or had the media blown the
whole controversy way out of proportion?

Despite all the alarmist profiles and editorials, it’s doubtful that Singer
holds any real threat to our nation’s children. He isn’t advocating that
the government or doctors make life-and-death decisions instead of parents;
in fact, he wants parents to have more power to make these decisions. Nor
is he taking an active role outside the academy like the recently convicted
Dr. Jack Kevorkian. He’s simply pursuing the logical conclusions of his
utilitarian philosophy — a philosophy that happens to constitute a
perfectly mainstream field of thought within contemporary academia.

According to Dale Jamieson, a philosophy professor at Carleton University,
there are several prominent philosophers — from Dick Hare at Oxford to the
University of Wisconsin’s Dan Wikler — who are “generally on the same
side of these issues [infanticide and euthanasia].” So why is Singer the
only one who gets protested?

In part it may be his own willingness to enter the fray of public debate.
As New York University philosophy professor Peter Unger argues: “People
have gotten the idea that he is a guy who just gets protests.” With his
1991 essay for the New York Review of Books chronicling the banning of his
work in Germany, Singer cemented his reputation as one of philosophy’s only bad boys.

Some might argue that such moves reveal that Singer invites notoriety, but
what finally makes Singer unique and controversial is not what he says, but
how he says it. Not only does Singer write more lucid and cogent prose than
most philosophers, but he also doesn’t mince words. He can turn a glib
phrase as well as the next media personality, and drive a polemical point
home like a seasoned rabble-rouser. One of the chapters in his book
“Practical Ethics” is titled “What’s Wrong With Killing,” and he begins
“Animal Liberation” with this ringing accusation: “This book is about the
tyranny of human over nonhuman animals. This tyranny has caused and today
is still causing an amount of pain and suffering that can only be compared
with that which resulted from the centuries of tyranny by white humans over
black humans. The struggle against this tyranny is a struggle as important
as any of the moral and social issues that have been fought over in recent
years.”

It is such direct, jargon-less prose that sometimes leaves him open to popular attack. Singer obviously wants to be part of the public discourse on these issues. In an e-mail, he admits that protests “can be constructive, if people are willing to discuss the issues openly and honestly.” While this is undoubtedly true, Singer, familiar with the hyperbole and distortions of political protests, was quick to add, “Unfortunately, often they are not.”

It's all about parties — and the bottom line

Every year the Radcliffe Publishing Course inducts another group of recent graduates into the glamour and drudgery of publishing.

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Attention liberal arts majors: There is a place, a magical place, where
hopeless college graduates become connected media players, where
bare-bones résumés become dynamite C.V.s, and where the literati reveal
the secrets of their success. This ivy-coated dream factory is the
Radcliffe Publishing Course in Cambridge, Mass.

Talk to Lindy Hess, the director of the Radcliffe Publishing Course,
for more than a few minutes and you’re
certain to hear about New York Times editorial writer Frank Rich or talented
Esquire editor in chief David Granger or Knopf rising star
Jordan Pavlin — all graduates of her pre-professional summer
program. Ask a few more questions and you’ll hear references to former
speakers: Tom Wolfe, Toni Morrison or Sonny Mehta. And if you’re lucky,
after a few drinks, you might find out about a great opportunity at Random
House or a high-profile editor who is looking for somebody just like you.

A former editor at Doubleday, the middle-aged diva plays an important
role in the world of New York media, providing magazines and publishing
houses with an annual crop of entry-level applicants and offering anxious
English majors a chance to learn the business, make connections and become
a part of a clubby, glamorous network of publishers. Last summer, as a newly
independent college graduate, I desperately coaxed my parents into loaning
me $5,000 to take the six-week course.

Speaking to a class of 100 students, frightfully ill-prepared for
the job market, Hess introduced the course by saying, “Don’t worry. You’re
all going to get jobs.” An audible sigh fluttered through the room, as if we were a rapt infomercial audience listening to a diet guru unveil her latest product. With everybody’s unadulterated attention, she added, “and you’re going to love it. Publishing is all about parties.”

For the last 51 years, the Radcliffe Publishing Course has taught the
business of publishing, turning kids who love books into kids who love to
sell books. In rigorous workshops that simulate real magazines and
publishing houses, the students write profit and loss statements, churn out
ad copy, learn the rudiments of subsidiary rights and discuss the
importance of branding. Every aspect of the business is covered — aspiring
editors learn about publicity and aspiring publicists learn about editorial
– and nobody is allowed to ignore the bottom line.

A parade of industry players jet in from New York to deliver the message
that precious aesthetes and literary elitism have no place in the big
business of books. In my summer of study, Nicholas Callaway, publisher
of the wildly popular Miss Spider children’s books, angrily bemoaned the
“small press mentality” and provoked the students to “believe in the wisdom
of the marketplace.” An executive from Barnes and Noble Online argued that
people who criticize superstores have a “disdain for the average American
middle-class reader.” And almost every speaker took time to pay
respects to the savior of the industry: Oprah.

“The Radcliffe Publishing Course does a great job showing you that there are
business concerns that you can’t escape,” said recent graduate Dan Kois. But
these lessons are carefully leavened with name speakers like Morgan
Entrekin, president of Grove/Atlantic press — who turned his father’s
generous loan into a highly respected publishing house that has issued such
books as the 1997 National Book Award winner “Cold Mountain.” Sporting long
hair, wire-rim glasses and a seersucker suit, the
publishing playboy explained how he graduated from college with no plans and
few ambitions, and through dumb luck and some help from his good friends
Richard Hugo and Ray Carver, just happened to stumble into the “fraternity
of publishing.”

The cavalier hipster also waxed nostalgic about the old days of publishing,
when a few smart, idiosyncratic men made the decisions, instead of the
corporate suits who dominate the industry today. “I do things differently
than most,” he said. After his speech, he invited the class out drinking
with him at the Bow & Arrow, a bland campus establishment. Leading the way
into the bar, followed by scores of mostly female students, he bought a
round of drinks. Scoping out the room for pretty young talent, Entrekin
bantered and flirted like a solicitous high school English teacher. “I’m not
about money and power,” he said. “I’m about art and love.”

This debaucherous excursion is an annual course tradition, advertised by the
director with a wink and a sly chuckle. The drinking, the name-dropping and
the old-world chumminess are an essential part of the curriculum, balancing
out the dour talk of marketing and business plans. “Publishing,” preaches Hess, “is one of those rare fields where work and play are
intermingled.” And thus, young book lovers must learn about the fine art of
schmoozing, as well as how to calculate a print run.

This uneasy marriage is perhaps best embodied by “sherry hour,” a daily soiree where students and publishing bigs drink wine, munch on finger food and
mingle. Sherry is, in fact, not available, but it is the cachet, not the
drink, that is being served. With a deceptively refined demeanor, the future
publishers form concentric circles around their potential employers, firing
pithy anecdotes and sharp witticisms to defeat their able competitors. It is
in this seemingly casual arena that many important connections are made, and
prominent careers are born.

For the $5,000 admission fee, almost every student gets a job soon after the
course ends in August. The workshops and lectures that teach the finer
points of the industry, the extensive network of graduates and the sherry
hour schmoozing do indeed help, but the Radcliffe Course’s high placement
ratio might have a more prosaic explanation. “It’s not that the students are
better qualified,” explained Greg Giangrande, the director of human
resources of Hearst Publishing. “It’s just that it’s the time of year when
there are openings. It’s easier to get résumés, attend career fairs and know
that these students have invested time and money in learning about
publishing.”

While most people take the Radcliffe Publishing Course to get a job or to
make connections, the program offers something that might be even more
important — a vision of success. For young people starting out in the
industry, faced with very low pay, little chance for upward mobility and
unrelentingly long hours, being exposed to all those powerful and
accomplished industry players can be an inspiring, if somewhat deceiving,
experience. It will almost certainly be the last time they talk to these
higher-ups for at least a few decades.

The voices that are strikingly absent at Radcliffe Publishing are the editorial assistants, the assistant publicists, the production assistants and all the other entry-level employees. Or to put it another way, at no point do the students hear from someone who will be like them. Instead, they learn about the great triumphs, the ubiquitous parties and the art and the love. They learn about all these things right out of college, before they can realize how remarkable and unreachable they truly are.

“They make it seem all rosy with all those success stories,” said Meredith Arthur, a recent graduate who is now an editorial assistant at Harcourt Brace. “And
you’re supposed to glean some general trend, but there is none.” But that is
precisely the point. A common trend would limit the pool of applicants and,
in turn, stack the deck toward the talented or rich or ambitious or
whomever. From the first day of the Radcliffe Publishing Course, you learn
that success is eminently reachable and ridiculously random — the only
common experience being the course itself. “I ask the speakers to tell the
story about how their careers developed,” Hess said, “because it gives a
sense of what an accidental industry this is.”

A recent New York Times article tried to explain why young people take jobs
as editorial assistants. It was titled simply: “It’s the cachet, not the
money.” The Radcliffe Publishing Course tries to teach young book lovers the
nuts and bolts of the business, while simultaneously charming them with
cachet. It aims to disillusion and romanticize simultaneously, providing a frank picture of the real world and a fantastical image of the good life. But for some aspiring publishers this is just the sort of tonic they need to brace themselves for the first years of paper pushing. As Brendan Cahill, a student who graduated this past August, put it, “Getting into publishing is so daunting, and at the course you get to interact with people who have made it, with people who are where you want to be. It’s good to see the bright side, especially since you’re going to go through some tough years ahead.”

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