In ‘Disenlightenment,’ Playwright David Mamet Sheds a Classical Light on Today’s Cultural-Political Rift
One would suspect — at least I would — that a playwright with a working-class upbringing in Chicago as a person of Jewish faith (not the most conservative politically of religious orientations), David Mamet would be writing books upholding the leftward shift in the U.S.
Boy, was I wrong. In The Disenlightenment: Politics, Horror, and Entertainement, Mamet sounds like a MAGA Trumpista, though he arrives at his conclusions via different avenues than do our president or his followers. He analyzes our current social mess through a literary lens. Indeed, the most frequently cited line from the book is a powerful and direct statement of Mamet’s central thesis: “Government, like Circe, turns men into swine.”
This quote, which references the Greek goddess who magically transformed men into pigs, encapsulates Mamet’s view that government power corrupts and degrades individuals.
That’s better than your average Trump explanation, right? I mean even someone with my educational background in studying history and philosophy can exclaim a “right on!” to Mamet’s more classicl approach.
Mamet even admits that his roots are those of a “brain-dead liberal” but who has morphed into a “constitutional conservative.” Some of the notable ideas and quotes paraphrased from his insights and explanations include:
- On politics: Mamet critiques modern American politics as “a costly entertainment,” rather than a serious pursuit of governance. He argues that politicians use social protest and spectacle to distract the public.
- On art and culture: He suggests that the purpose of contemporary art has been corrupted, stating, “Every reiteration of the idea that nothing matters debases the human spirit.” He argues against the “woke” movement’s influence on arts and media, asserting that awards and recognition are now based on ideology rather than merit.
- On truth and common sense: Mamet challenges what he sees as absurdities in modern discourse, for example, the notion that “women do not lie” or “Blacks cannot be racists.” He asserts that his “anecdotal evidence” from a lifetime of observation is more valuable than information from academics.
- On institutions: He claims that American elites have “twisted our institutions into tools of manipulation” to maintain their control, leading to a “disenlightenment” of the populace.
In Disenlightenment:, David Mamet, the Pulitzer Prize-winning playwright, turns his sharp, aforistic wit to the state of contemporary American culture and politics. This collection of essays, filled with Mamet’s characteristic bluntness and contrarian perspectives, serves as a pointed critique of what he views as the follies of modern liberalism and political correctness. It is a work less about offering solutions and more about asking provocative, often uncomfortable, questions.
Mamet’s essays cover a wide intellectual and cultural landscape, from the meaning of patriotism and the nature of Hollywood to the role of education and the decline of traditional values. A central thesis running through the book is the idea that the “Enlightenment” project, with its emphasis on pure reason and universal principles, has failed, leading to a “disenlightened” state where ideology trumps common sense and emotional posturing replaces genuine debate. He scrutinizes institutions and ideas that he believes have become corrupt or self-serving, particularly those in academia and the media. His writing is often personal, drawing on anecdotes from his life and career to illustrate his broader arguments about societal decay.
What makes Disenlightenment a compelling read — and a polarizing one — is Mamet’s distinctive prose. The book reads like a series of terse, punchy monologues, stripped of flowery language and pretense. His sentences are short, direct, and designed to land like intellectual blows. This style, so familiar from his plays, gives the essays a raw energy that is both intellectually stimulating and, for some, frustratingly confrontational. Mamet is not interested in subtle persuasion; he is interested in stating his case with unwavering conviction, even when it means alienating his audience.
Ultimately, Disenlightenment is a book that will be appreciated by those who, like me, are already inclined to agree with Mamet’s worldview and likely dismissed by those who are not. It doesn’t seek to build bridges but rather to highlight the chasms that exist in contemporary discourse. As a collection, it is a testament to an artist’s commitment to speaking his mind, regardless of the cultural climate. While not a work of academic philosophy, it is a significant contribution to the ongoing conversation about America’s cultural and political identity, and a potent, if at times acerbic, snapshot of an intellectual in a state of disenchantment.