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Dostoevsky's great virtue as a writer is to be so utterly convincing in outlining what he doesn't believe and so deeply unconvincing in defending what he wants to believe. As Blake said of "Paradise Lost," Satan gets all the best lines. The story of the Grand Inquisitor places a stark choice in front of us: demonic happiness or unbearable freedom? And this choice conceals another, deeper one: truth or falsehood? The truth that sets free is not, as we saw, the freedom of inclination and passing desire. It is the freedom of faith. It is the acceptance - submission, even - to a demand that both places a perhaps intolerable burden on the self, but which also energizes a movement of subjective conversion, to begin again. In disobeying ourselves and obeying this hard command, we may put on new selves. Faith hopes for grace.

'"Contamination" ... is an evocative term. When people speak for an ideal of cultural purity, sustaining the authentic culture of the Asante or the American family farm, I find myself drawn to contamination as the name for a counterideal. [The Roman playwright] Terence [whose plays acquired that label to describe his conflation of Greek plays into a single Roman comedy] had a notably firm grasp on the range of human variety: "So many men, so many opinions" was a line of his. And it's in his comedy "The Self-Tormentor" that you'll find what may be the golden rule of cosmopolitanism - Homo sum: humani nil a me alienum puto; "I am human: nothing human is alien to me." The context is illuminating. A busybody farmer named Chremes is told by his neighbor to mind his own affairs; the homo sum credo is Chremes's breezy rejoinder. It isn't meant to be an ordinance from on high; it's just the case for gossip. Then again, gossip - the fascination people have for the small doings of other people - has been a powerful force for conversation among cultures. 'The ideal of contamination has few exponents more eloquent than Salman Rushdie, who has insisted that the novel that occasioned his fatwa "celebrates hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, cultures, ideas, politics, movies, songs. It rejoices in mongrelisation and fears the absolutism of the Pure. Mélange, hotch-potch, a bit of this and a bit of that is how newness enters the world." No doubt there can be an easy and spurious utopianism of "mixture," as there is of "purity" or "authenticity." And yet the larger human truth is on the side of contamination - that endless process of imitation and revision. 'A tenable global ethics has to temper a respect for difference with a respect for the freedom of actual human beings to make their own choices. That's why cosmopolitans don't insist that everyone become cosmopolitan. They know they don't hav

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Karl Rabeder, an Austrian Horation Alger, decided he'd be freer if he gave away his fortune to a micro-credit philanthropy he set up in South America. He does not pass judgment on other rich people who don't follow his example