HPRgument Blog — January 22, 2011 2:51 am

Notes on the Amy Chua Debate

By Max Novendstern

Amy Chua’s WSJ article, ”Why Chinese Mothers Are Superior,” is well worth the read, if only for socio-historical reasons. The debate that it kicked off centers around the basic questions of what it means to be alive today. These questions only benefit from the the fact that they’re featured in a Rupert Murdoch publication by a woman who would reduce the great issues of the ethical life to the demands of the college application process. While this might not be the best way to look at life, it’s probably closest to the one that I as a Harvard student have chosen to live. And so long as I’m prepared to admit that I care — that I care about the question of what, as a competitive meritocrat, it takes to succeed in the upper crust of American elite society — then I’m also prepared to admit that the article is very good.

Her thesis is basically the following: Chinese parents have the cultural leverage to apply much greater and much more brutal degrees of parental pressure to their children. This pressure overrides their children’s natural desire to quit things that are hard, helping them to succeed.

Anecdotally at least, this seems true enough. Meanwhile, it’s also clearly true that the ability to endure pain in service of achievement — what we typically call “will power,” the propensity to suffer for some cause — is perhaps the most basic feature of all successful people. A famous psychology study, profiled here in the New Yorker, finds that a child’s capacity to resist eating marshmallows for a long period of time predicts how successful he’ll be in life.

My critique of “Western Moms” — the social category, not the residential fact — is that they don’t value this type of self-restraint and hard work as an essential component of the successful life. Without the ability to restrain our desire to do that which is not right, that which is not just, practically nothing of true lasting importance could get done.

A critique of Chua’s parenting, on the other hand, would bring up the fact that success also depends, in a big way, on the having of good ideas. And it’s simply a fact that new ideas tend to emerge within non-authoritarian environments. As Steven Johnson has argued in a recent book, innovation has a specific “architecture”: it usually happens in places that allow ideas to flow freely and to combine with others. Innovation, he points out, depends quite literally on the old attaching itself to the new. Cities, college campuses and coral reefs are all innovative because they’re undisciplined and crowded, with lots of mental spill overs and lots of context transitioning.

And what about the skills she’s emphasizing? A look at the history of technology — which hews closely to the story of which types of people succeed in society — suggests that computers will continue their relentless expansion through the domain of all algorithmic tasks, which means that anything that conceivably can be repeated will be repeated, at some point, by command lines in a computer program. (We see this happening, for example, with self-driving cars and on-sight machine translation.)

This suggests that the domain of commercially valuable human activity will be fundamentally “anti-algorithmic,” what you might call poetic, that which is expansive and reorganizational, even transgressive, rather than merely productive. The value of non-computer skills will only increase — a fact that strikes me as bad news for children in the 21st century, like Chua’s, who are being trained to repeat The White Donkey on the piano all day.

Photo credit: here

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  • Amy

    Great notes, Max. You make me want to read Johnson’s book on the history of innovation… I love the concept that freedom, chaos, crowding, and dynamic, undisciplined environments generate good ideas.

    Amy Chua’s parenting style is as distasteful to me as to a number of people who have come out against her article, and I do firmly believe that nurturing and loving are the first duties of any parents, but I don’t know about this dichotomy between algorithmic and non-algorithmic skills. What of Edison’s adage that “genius is 99% perspiration and 1% innovation”? I think David Brooks might be right that “her children will crush ‘ours,’” and not just as robotic teenage piano prodigies, but as artists and thinkers, because they learned the value and the payoffs of disciplined practice and hard work early and thoroughly. I do not doubt that it came at a high cost.

    Somewhere, perhaps there’s a balance to be found. I’m glad I’m in no rush to have kids.

  • Andre M. Smith

    I have read on another web site:

    “In America, most parents of Asian Americans understand that music isn’t always about winning prizes. If anything, they’re so resistant to the idea of financial compensation in music that a talented youngster like myself is pushed into music for college resume reasons and yet pulled away from it so that one can focus on his chosen profession of doctor, lawyer, etc.”

    Will some reader of these Comments, one with a good understanding of the relationship of “music for college resume reasons,” please explain here just what that relationship is and in what era it began? Has it anything to do with post-1949 access to aspirations abroad? Is it a sudden blossoming after the economic opening of 1979? Is it a contrived criterion established by college admissions boards in The US? Do Mainland Chinese seeking education in England or Canada pursue the same deadening, inartistic route as those applying to The US? If a career in music is considered useless by Chinese parents, why not prepare their children as sculptors or water colorists? Why pursue any activity artistic? Is there some clearly defined idea that a student activity that makes sound and provokes applause is superior to all other activities?

    I believe the ideal person to respond to this challenge is an older parent, perhaps age 65 or above, who does truly believe that Western violin or piano is an ideal route to advancement in any field that is not artistic and that pursuing those same two instruments as a life’s work is A WASTE OF TIME. Why not erhu, pipa, reed flute . . . ?

    Frankly, I am not interested to read three kinds of response: (1) from a child written defensively on behalf of a parent, (2) a child denouncing the system, perhaps out of some real disappointment, as it now exists, and (3) a child’s response interpreting an attempt by any parent who hasn’t sufficient interest to reply.______________________

    André M. Smith, Bach Mus, Mas Sci (Juilliard)Diploma (Lenox Hill Hospital School of Respiratory Therapy)Postgraduate studies in Human and Comparative Anatomy (Columbia University)Formerly Bass TrombonistThe Metropolitan Opera Orchestra of New York,Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),The Juilliard Orchestra, Aspen Festival Orchestra, etc.

  • Andre M. Smith

    Russians call me German, Germans call me Russian, Jews call me a Christian, Christians a Jew. Pianists call me a composer, composers call me a pianist. The classicists think me a futurist, and the futurists call me a reactionary. My conclusion is that I am neither fish nor fowl – a pitiful individual.Anton Rubinstein (1829-94), composer, formidable Russian concert pianist, founder of The Saint Petersburg Conservatory (1862). http://www.google.com/search?sourceid=navclient&aq=6&oq=%22anton+rubinstein&ie=UTF-8&rlz=1T4GGLJ_enUS344US352&q=%22anton+rubinstein%22+youtube&gs_upl=0l0l2l850891lllllllllll0&aqi=g5s3__________________________
    WHO or WHAT is AMY CHUA?Her father, Leon L. Chua, was born in The Philippines. He was graduated in 1959 from Mapúa Institute of Technology in Manila as a Bachelor of Science in Electrical Engineering. His Master of Science followed from MIT in 1961. Amy was born in Champaign, Illinois on 26 October 1962 while Leon was pursuing his studies for a Ph.D. (1964) at The University of Illinois in Urbana-Champaign. And it’s here in this synoptic review that her troubles begin with her shield in a contrived public relations makeover comastered by her publisher, Penguin. She states that she is Chinese. But her surname has not been identified anywhere as Chinese.__________________________
    Is the author fully ethnically Chinese? I am wondering because while I certainly have not met every Chinese person who has lived, I have known a fair number of Chinese yet have not met a single Chinese person with the author’s surname. I read somewhere that the author’s surname is a translation of a Chinese surname, Tsai, with which I am familiar. How many generations back in her direct family line, i.e. her parents or her parents’ parents, did her family come from China? I have not previously encountered a person who talks & writes so much about being Chinese & talks on behalf of the vast population of mothers born in China yet her surname & how I have heard it pronounced is very different from that with which I am familiar. While I wish to improve to better fluency in Mandarin, I have spoken enough Mandarin with native speakers to notice I have not heard Mandarin Chinese words pronounced with the same pronunciation as I hear her name pronounced. I truly am curious about what I have read briefly about a historical migration of immigrants, including the author’s ancestors, who immigrated to the Philippines, speak a language seemingly common among those immigrants & bear names that are translations from Mandarin Chinese into such language. It is an interesting occurrence I am curious to know more about. http://www.amazon.com/Chua-Chinese-didnt-already-know/forum/Fx2TW1617UZNULU/Tx2INJY62TIU5CI/1/ref=cm_cd_ef_rt_tft_tp?_encoding=UTF8&asin=1594202842&tag=jusadbel-20
    Cheap Social Worker said…When reading excerpts from Amy Chua’s latest book, I noticed that she left out any reference to her Filipino background. Looking at Chua’s biography, her parents spent a considerable amount of time doing business in the Philippines, with her father even going to school there. Chua also spent a good portion of her childhood going back and forth between the United States and the Philippines, though I wonder if she ever went outside the walls of her gated community to interact with the main population. Given that Filipino values on education are very similar to these “Chinese” values Amy Chua promotes, why does “Battle Hymn of the Tiger Mother” ignore her Filipino heritage completely? http://askthepinoy.blogspot.com/2011/01/does-prof-amy-chua-have-any-other.html
    As a Harvard undergraduate during the years that the author was there, I do not recall the author attending any of the many meetings or social occasions held by the Asian students on campus. Although the book discusses the author’s “Chinese” upbringing, and refers to the Chinese food that she loved as a child and the “high culture” of her Chinese ancestors, there is little in the book to indicate that the author is, or considers herself to be, part of a larger community or network of Asians or Chinese in America, an affiliation that’s critical if the author’s voice is to be heard as at all representative of that community. http://www.amazon.com/review/R180XSBCBH3O89/ref=cm_cr_pr_perm?ie=UTF8&ASIN=1594202842&nodeID=&tag=jusadbel-20=
    It’s not uncommon to hear alcoholics claim that it’s because they’re Irish or to hear that a bad temper is a result of bad genes. Chua is no different, and is justifying her abusive behavior based on the fact that she is Chinese. The reality is that Chua’s style is not a product of her Chinese heritage. Chua has never lived in China; her parents have not either. http://voices.yahoo.com/review-amy-chuas-battle-hymn-tiger-mother-7701018.html?cat=25__________________________
    It isn’t at all clear to me when and where Chinese culture came into the heritage of Amy Chua, if indeed it ever has, for the surname Chùa is, in fact, Vietnamese. It means “temple” and is commonly found in Buddhist and other religious contexts, e.g., (1) Chùa Pháp Hoa – Nam Úc, (2) Chùa Ph?t Tích [Temple of Saint Paul], (3) L? Khánh Thành D?i Hùng B?o Di?n Chùa Quang Minh, ph?n 1, and (4) t?i Chùa Ho?ng Pháp, H?c Môn, Sài Gòn.
    Professor Chua is a graduate of El Cerrito High School in California. http://elcerritogauchos.net/ She claims a superiority of a Chinese culture she has never lived in but is married to a white American Jew. Attempting yet another of her unpersuasive slow-change / quick-change acts she has claimed to have inculcated so-called, but unspecified, Chinese values into her two American daughters. She clearly believes that unrelenting emotional pressure on children and simultaneous denial of affection toward them will improve their physical skills. What implausible culture that has lasted more than seventy-two consecutive hours has advocated such a bizarre relationship between parent and child? She states that she has denied her two daughters the experiences of having performed in school plays. But their father had to have had enough stage experience prior to having been admitted at age 21 into the Drama Department (1980-1982) of The Juilliard School in Manhattan to justify that admission.__________________________
    “all you need to be able to do [to get into Juilliard] is just be badass at one instrument and read music.”* * *I think that is an extremely simplistic way to look at it. There are children who are groomed for Juilliard from grade school onwards. Children who start playing at 3 or 4 and by the age of 10 are already practicing 6+ hours a day. It takes incredible long-term discipline to be “badass” at one instrument.
    Juilliard grants a 10 minute audition. By the time you walk in, greet the jury, tune up, they get their papers ready to go, glance at your accompanist, you have 7 minutes to convince them that you are at the top of the top and that you have a viable career in performance ahead of you.
    Harvard is, in some senses, more forgiving because you have so many more ways to prove yourself. You can show you are smart through grades, you can show that you earned academic honors, you can show character through recommendation…all Juilliard gives you is 7 minutes to blow them away. http://talk.collegeconfidential.com/college-admissions/439847-harder-than-harvard.html__________________________
    Professor Chua has stepped as an authority into several worlds in which she has no known experience and attempted to convince readers deeply concerned with the subjects she has written about that her word is the best word, founded as she believes on substantial personal experience. She moves in step with a long and continuing line of crackpot self-styled such authorities to lay claim to a success citing her ill-chosen and unexamined demographic whopping sampling of two, one of whom has effectively rejected her horrific emotional, social, and artistic models in favor of a pursuit of a life as a real person.
    Does anyone now remember the scam of Linus Pauling (1901-94), author of “Vitamin C and the Common Cold”? In 1970 Dr Pauling, a hustling chemist with no patients and no clinical studies to substantiate his claims, convinced many of the world’s non-thinkers that tanking up on vitamin C would cure the common cold, cure cancer, cure heart disease, and wipe out miscellaneous infections. He amassed a small fortune from his publications. Forty-one years later? Anyone who has contracted the seed basis for a cold still sniffles, cancer is rampant, heart disease remains with us, and infections are a functioning reality, increasing in their variety, throughout the human species. And Dr Pauling? Who? http://www.quackwatch.com/01QuackeryRelatedTopics/pauling.html
    Obstetricians write books on running. Physicists write books on philosophy. Social workers write books on love. Orthopedists write books on financial investment. Vitamin gurus write books advising pursuit of the Fountain of Youth in the manner of Herodotus and Juan Ponce de León (1474-1521). Generals write unbiased books on history. Psychoanalysts – with the highest suicide rate of any professional group in the world – plumb the woes of others promising answers of consolation.
    And, reminding us, yet again, that fools rush in where angels fear to tread, Professor of Law Amy Chua has overarchingly tried to portray herself with her menopausal-crisis magnum opus that she is (1) an authority on music instruction of the preadolescent, (2) is an informed intellectual on the relationships both distinguishing and binding alien cultures, (3) she believes that both private and public sustained and repetitive humiliations of defenseless children will inevitably lead to a positive strengthening of those children’s characters, (4) she believes that children perceive through the senses of sound and sight what their parents want them to perceive, (5) that there likely will be no relationship between enforced disruptive prohibitions of physiological functions of urination and defecation in early childhood and a possible dysfunction of those systems manifesting later in life, (6) that denial of nutrition is an educational tool, (7) that avowals of love following psychological and physical cruelties meted to the young do not establish a perverse link between those avowals and cruelties, (8) that two daughters who know well that their pussy-whipped father had the valuable preprofessional experiences of the very stage presence they may have wished for themselves in adolescence have not formed an unhealthy opinion of compromised male hegemony during those years it might have benefited them in the formation of what will become their future relations with men, (9) that, while their mother was referring to their minds and their bodies openly and publicly in the most vile terms of contempt and debasement their father sat idly by, possibly out of sight but not out of earshot, (10) that the father of two daughters is portrayed in print and public appearances by their mother as the bringer of jollity when permitted to do so by their mother (Egads!), (11) that the phrase “Head of Household” has been perverted in the Chua example to refer to the elder with the loudest mouth and the least flexible personality, (12) [The reader here is invited to continue filling in the blanks . . .]
    Whether or not any modern Chinese man or woman – or, in the example of Amy Chua, any Filipina descended from Vietnamese – subscribes to any of the tenets of historical Confucianism, those tenets continue, for many modern Orientals both in and from the Eastern lands, to elicit a sentimental ideal to which many pay lip service in time of reference.
    Professor Chua has made a significant fundamental error in attempting to define her relationship with her two daughters. “Parenting method” is not a synonym for “Being a parent.” The former arises from the jargon and complex overlays of institutional structure established by American teachers colleges, their promulgators, and devoted acolytes fallen under the influences of Frederick Wilson Taylor [http://en.wikipedia.org/wiki/Frederick_Winslow_Taylor] and leaders of The Efficiency Movement [http://en.wikipedia.org/wiki/Efficiency_Movement] in the first decade of the twentieth century; good for building the Model T but less than good for building character. “Being a parent” arises from the traditional standing of parents within all well-established functioning societies.
    With one exception, all other public pictures of the face of Professor Chua portray her with her signature toothy grin. The only one in which she is not smiling is that showing her imperiously overseeing her younger daughter during a music practice session. http://si.wsj.net/public/resources/images/RV-AB161_chau_i_G_20110107132417.jpg
    That this parenting nitwit can lay claim to so-called traditional Chinese values, while supplanting the very bases of those values with individual license to cruelty and an immodest flaunting of self at the expense of those children traditional values would obligate her to protect from adversity, is a revelation of ignorance and egocentricity wholly at odds with the established teachings of Confucius.__________________________
    André M. Smith, Bach Mus, Mas Sci (Juilliard)Diploma (Lenox Hill Hospital School of Respiratory Therapy)Postgraduate studies in Human and Comparative Anatomy (Columbia University)Formerly Bass TrombonistThe Metropolitan Opera Orchestra of New York,Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),The Juilliard Orchestra, Aspen Festival Orchestra, etc.

  • Andre M. Smith

    Q: You insisted your girls also have hobbies so they wouldn’t become “weird Asian automatons.” So you chose classical music. You didn’t want them doing crafts which “go nowhere” or playing drums which “lead to drugs.”

    A: For me classical music symbolized refinement and hard work and delicacy, and a certain depth. Both the piano and the violin are capable of producing such beauty, something more meaningful than watching TV or doing Facebook for 10 hours. http://www2.macleans.ca/2011/01/13/amy-chua-on-high-stakes-parenting/
    ________________________
     
    The most extraordinary feature — among many extraordinary features — of the Amy Chua debacle is that no one in authority in New Haven has yet to pull her aside to tell her that she being a Professor of Law at Yale simply isn’t working well for the good of the University.
     
    This woman is a COMPLETE moron!  That she has been able in her book to unite any music instrument whatsoever with deleterious external behavior harkens back to at least somewhere in the nineteenth century when it could be said openly and quite sincerely that Negroes have an innate sense for rhythm and most Italians pass their days in song.  Just from what source(s) this half-baked Professor has discovered a relationship between drums and drugs is unstated; and I’m quite sure will so remain.
     
    Also, this buffoon refers to crafts that “go nowhere” thereby ensuring that her two daughters will have had no experience designing and building to completion with their hands any project of their choice.  Her blanket statement about crafts discretely omits details about what she believes any of these cul-de-sac pursuits are.
     
    But, moving back to the smoke heads and autoharpoonists with which Professor Chua believes the field of percussion music is suffused . . .  She who advocates classical music concerts (which she is not known to attend), Mandarin language (which she does not speak, read, or write), and an aggressive pursuit of piano and violin (while being unable to play either) has chosen as her target, from the full palate of the world’s instruments the innocent drum.  She can tell it to Stravinsky, Hindemith, Bartok, Kodaly, Copland, Khatachurian, Shostakovich, Prokofiev, Ives, Janacek, Smetana, Tchaikovsky, Brahms, Sibelius, Schubert, Schumann, Wagner, and her beloved Mozart and Haydn.
     
    You might want to set aside a few minutes to see how the staff junkie in this performance has kept everyone else intact. http://www.youtube.com/watch?v=8po7FZonP-I  But for us, taking the Professor in her stride let’s look at some of the world’s examples she may have a dread fear one of her daughters may emulate.
     
    Boston Symphony Orchestra http://www.bso.org/brands/bso/about-us/musicians/bso-musicians/percussion.aspx
     
    Dallas Symphony http://www.youtube.com/watch?v=RfFqJGehovg
     
    Royal Concertgebouw Orchestra School of Timpani http://www.nickwoud.com/page7.htm
     
    HHS Winter Percussion-Dublin 2-12-11 http://www.youtube.com/watch?v=AXWSS4w15dw
     
    Swiss Top Secret Drum Corps http://www.youtube.com/watch?v=o7k6VYGtm8g
     
    New York Philharmonic Orchestra http://nyphil.org/meet/orchestra/index.cfm?page=section&sectionNum=16
     
    London Symphony Orchestra http://www.neilpercy.com/
     
    Berlin Philharmonic http://www.youtube.com/watch?v=6dHOhpRr_Vc
     
    Bolshoi Theater Percussion Ensemble http://www.allmusic.com/artist/bolshoi-theater-percussion-ensemble-q93538
     
    Shanghai Percussion Ensemble http://www.google.com/search?sourceid=navclient&aq=htsf&oq=&ie=UTF-8&rlz=1T4GGLJ_enUS344US352&q=Shanghai+Percussion+Ensemble
     
    Paris Percussion Festival http://speakeasy.jazzcorner.com/speakeasy/showthread.php?t=2968
     
    Los Angeles Percussion Quartet http://www.lapercussionquartet.com/
     
    Chicago Symphony Orchestra http://cso.org/About/Performers/Performers.aspx?hid=779&cpid=780&cid=83&nid=826
     
    Charles Owen, The United States Marine Band and The Philadelphia Orchestra http://www.pas.org/experience/halloffame/OwenCharles.aspx
     
    Evelyn Glennie (deaf since the age of twelve!) http://www.google.com/search?sourceid=navclient&aq=3&oq=%22evelyn+glennie%22&ie=UTF-8&rlz=1T4GGLJ_enUS344US352&q=evelyn+glennie+youtube&gs_upl=0l0l8l151344lllllllllll0&aqi=g5
     
    Elayne Jones http://www.youtube.com/watch?v=82HKMGGqfhg
     
    Max Roach http://en.wikipedia.org/wiki/Max_Roach
     
    Gene Krupa http://www.google.com/search?sourceid=navclient&aq=2&oq=%22gene+krupa%22&ie=UTF-8&rlz=1T4GGLJ_enUS344US352&q=gene+krupa+youtube&gs_upl=0l0l12l31079lllllllllll0&aqi=g5
     
    Saul Goodman (Long may his memory endure!) http://www.youtube.com/watch?v=a4JbVS5-Z3w
     
    Gerald Carlyss (student of Saul Goodman at Juilliard) http://www.indiana.edu/~deanfac/bios/2007/Carlyss07.pdf
     
    Victor Firth (student of Saul Goodman at Juilliard) http://www.vicfirth.com/education/percussion101-timpani.php
     
    Fred Begun (student of Saul Goodman at Juilliard) http://www.washingtonpost.com/lifestyle/style/fred-begun-former-national-symphony-orchestra-timpanist-embarks-on-new-ventures/2011/09/21/gIQA1nlrAL_story.html
     
    Howard van Hyning (student of Saul Goodman at Juilliard), conductor of The New York Tympani Choir http://www.pas.org/news/InMemoriam.aspx
     
    Phil Kraus (student of Saul Goodman at Juilliard) http://www.pas.org/news/InMemoriam.aspx
     
    Richard Motylinski http://www.ncsymphony.org/about/index.cfm?subsec=people&peoplecat=musicians&catid=19&person=23
     
    Danny Villanueva http://www.dannyv.zoomshare.com/1.html
     
    ________________________
     
    With time and space I easily could list one-hundred more, but these few will prove the point.  Got the message, Professor?  On any matter dealing with the fine arts you are, to put it discretely, outclassed.

     _____________________________

    André M. Smith, Bach Mus, Mas Sci (Juilliard)Diploma (Lenox Hill Hospital School of Respiratory Therapy)Postgraduate studies in Human and Comparative Anatomy (Columbia University)Formerly Bass TrombonistThe Metropolitan Opera Orchestra of New York,Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),The Juilliard Orchestra, Aspen Festival Orchestra, etc
     

  • Andre M. Smith

    Why is the art of music required to endure the ill-informed antics of such inartistic imbeciles as Amy Chua? Her lust for fame as an old-fashioned stage mother of either a famous violinist (yet another mechanical Sarah Chang?) or a famous pianist (yet another mechanical Lang Lang?) shines through what she perceives as devotion to the cultivation of the cultural sensitivities of her two unfortunate daughters.

    Daughter Lulu at age 7 is unable to play compound rhythms from Jacques Ibert with both hands coordinated? Leonard Bernstein couldn’t conduct this at age 50! And he isn’t the only musician of achievement with this-or-that shortcoming. We all have our closets with doors that are not always fully opened.

    And why all this Chinese obsession unthinkingly dumped on violin and piano? What do the parents with such insistence know of violin and piano repertoire? Further, what do they know of the great body of literature for flute? For French horn? For organ? For trumpet? Usually, nothing!

    For pressure-driven (not professionally-driven!) parents like Amy Chua their children, with few exceptions, will remain little more than mechanical sidebars to the core of classical music as it’s practiced by musicians with a humanistic foundation.

    Professor Chua better be socking away a hefty psychoreserve fund in preparation for the care and feeding of her two little lambs once it becomes clear to them both just how empty and ill-defined with pseudo-thorough grounding their emphasis has been on so-called achievement.

    Read more about this widespread, continuing problem in Forbidden Childhood (N.Y., 1957) by
    Ruth Slenczynska.______________________

    André M. Smith, Bach Mus, Mas Sci (Juilliard)Diploma (Lenox Hill Hospital School of Respiratory Therapy)Postgraduate studies in Human and Comparative Anatomy (Columbia University)Formerly Bass TrombonistThe Metropolitan Opera Orchestra of New York,Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),The Juilliard Orchestra, Aspen Festival Orchestra, etc.

  • Andre M. Smith

    Continuing to follow the saga of what may be one of the more outrageous examples – and there are similar examples aplenty! – of the child abuses of Amy Chua, I think it timely and prudent to provide a healthy, humane counterpoint by way of a much different kind of example of adult guidance to a young stranger. To wit:

    ADVICE TO A YOUNG PERSON INTERESTED IN A CAREER IN THE LAW

    In May 1954, M. Paul Claussen, Jr, a 12-year-old boy living in Alexandria, Virginia, sent a letter to Mr Justice Felix Frankfurter in which he wrote that he was interested in “going into the law as a career” and requested advice as to “some ways to start preparing myself while still in junior high school.” This is the reply he received:

    My Dear Paul:
    No one can be a truly competent lawyer unless he is a cultivated man. If I were you I would forget about any technical preparation for the law. The best way to prepare for the law is to be a well-read person. Thus alone can one acquire the capacity to use the English language on paper and in speech and with the habits of clear thinking which only a truly liberal education can give. No less important for a lawyer is the cultivation of the imaginative faculties by reading poetry, seeing great paintings, in the original or in easily available reproductions, and listening to great music. Stock your mind with the deposit of much good reading, and widen and deepen your feelings by experiencing vicariously as much as possible the wonderful mysteries of the universe, and forget about your future career.
    With good wishes,
    Sincerely yours,[signed] Felix Frankfurter

    From THE LAW AS LITERATURE, ed. by Ephraim London, Simon and Schuster, 1960.__________________

    I knew that a Paul Claussen had been a major figure (1972-2007) in the Office of the Historian of The United States Department of State in Washington, with an abiding interest in The Great Seal of The United States. http://diplomacy.state.gov/documents/organization/101044.pdfAn obituary of Dr Claussen is on page 47 in http://2001-2009.state.gov/documents/organization/86414.pdfand http://www.thefreelibrary.com/M.+Paul+Claussen,+history‘s+friend%3A+office+of+the+historian+suffers+a…-a0167843232
    So, wishing to determine whether or not the elder Claussen was, indeed, the boy writing to Justice Frankfurter in 1954 I wrote to his former colleague at State. The reply received today follows.

    —– Original Message —–From: PA History MailboxTo: ‘Andre M. Smith’Sent: Tuesday, January 10, 2012 10:11 AMSubject: RE: Chris Morrison

    Dear Mr. Smith,

    Copied below is the response I received from one of Paul Claussen’s long-time colleagues here in the Office of the Historian.

    Yes it is. The young Paul wanted to be a lawyer and so decided to write Felix Frankfurter and ask for his advice. Frankfurter evidently was taken with his letter and wrote back at length…Frankfurter of course kept a copy and the text of the letter has been published in collections of Frankfurter’s writings.

    Please contact us of you have any additional questions.

    Best regards,
    Chris
    Christopher A. Morrison, Ph.D.Historian, Policy Studies DivisionU.S. Department of StateOffice of the Historian (PA/HO)_________________________________

    Dr Claussen did follow the advice of Justice Frankfurter. And he came out of that advice none the worse for it. The world is much bigger, richer, more tolerant, and more laden with opportunities than the blinkered view of Amy Chua would have her daughters and fellow fear-laden mothers without Ivy League tenure believe.

    For a very well-balanced alternative to the mania – and it is nothing less – to which the many Chuas of the world subscribe, read the refreshingly informed reports on http://orient.bowdoin.edu/orient/article.php?date=2009-12-04&section=3&id=2, http://www.insidehighered.com/news/2009/09/28/china, and http://www.insidehighered.com/news/2009/10/16/liberalarts________________________

    André M. Smith, Bach Mus, Mas Sci (Juilliard)Diploma (Lenox Hill Hospital School of Respiratory Therapy)Postgraduate studies in Human and Comparative Anatomy (Columbia University)Formerly Bass TrombonistThe Metropolitan Opera Orchestra of New York,Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),The Juilliard Orchestra, Aspen Festival Orchestra, etc.

  • Andre M. Smith

    An integral amalgam of defining examples of narcissism that Professor Chua has instilled in her two daughters is self-advancement with sexual provocation.  Her public signature posture is one of excessive toothiness, for a university professor exceedingly vulgar displays of long legs, and breast projections that might have won her Blue Ribbons as “Best in Show” as a candidate in any Sweater Queen contest during the 1940s or ‘50s. http://www.britishpathe.com/video/sweater-queen-contest   She never misses an opportunity to increase the image of her breast size by folding her arms under them; in one oft-reproduced photograph she actually appears to be elevating the left one nudged up by a folded arm. http://upload.wikimedia.org/wikipedia/commons/2/2f/Amychua4.png
     
    The elder Chua daughter, Sophia, has learned her lesson well. http://www.nypost.com/rw/nypost/2011/01/18/entertainment/photos_stories/sophia_chua–300×450.jpg and http://www.facebook.com/amytigermother?sk=photos#!/photo.php?fbid=230907580253565&set=o.134679449938486&type=1&theater,
     
    Birds of a feather . . .  A coop of nesting trophy wives!
    _______________________
     
    André M. Smith, Bach Mus, Mas Sci (Juilliard)Diploma (Lenox Hill Hospital School of Respiratory Therapy)Postgraduate studies in Human and Comparative Anatomy (Columbia University)Formerly Bass TrombonistThe Metropolitan Opera Orchestra of New York,Leopold Stokowski’s American Symphony Orchestra (Carnegie Hall),The Juilliard Orchestra, Aspen Festival Orchestra, etc.

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