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Writing, especially the kind of writing that I do, brings together narrative, science, sometimes history, and an appreciation for the person who might be at the center of the narrative.

The greatest influence on me was Oliver Sacks, because he could capture people as people, and he always integrated serious science into his pieces.

The two subjects that were most prominent for him, as I once wrote for you, were identity and adaptation: Who is this person, despite their illness? How does that illness interface with their behavior and their decisions, how do people perceive them from the outside, and how do they try to find meaning and adapt to what looks like a disability, but sometimes—not always, but sometimes—gives them hidden strength?

I’ve gone from witnessing the depths of disability and death, like with AIDS: I saw some of the first people with AIDS in California, in 1982 or so. The average lifespan was six months. They were mostly young gay men, and it was devastating, the infections they got, the cancers they got. Now, with all the new drugs that have been developed, someone who gets HIV is projected to have a normal lifespan. From six months to fifty years: it’s miraculous

that’s part of what keeps you going: the belief that things can advance in a meaningful way.

Are there any major or interesting medical stories that the public doesn’t know enough about? 

The idea of genetic treatments. Often when people hear the words “genetics” or “DNA” or “RNA,” they shut down. The challenge is how to make it accessible.

There’s a wonderful line in the Talmud that says, “Whoever saves a single life saves the whole world.” There might be only a few hundred people in the whole country who have a particular genetic disorder. I

These come, as far as I can tell, in two broad types, corresponding to the two fundamental complaints that people voice about their undergraduate experience

The first complaint is that college did not prepare them for the real world: that the whole exercise—papers, busywork, pointless requirements; siloed disciplines and abstract theory—seemed remote from anything that they actually might want to do with their lives. 

Above all, they are student-centered. Participants are enabled (and expected) to direct their education by constructing bespoke curricula out of the resources the program gives them access to. In a word, these endeavors emphasize “engagement.”

A student will identify a problem (a human need, an injustice, an instance of underrepresentation), then devise and implement a response (a physical system, a community-facing program, an art project). 

Professors were often preoccupied, with little patience for mentorship, the open-ended office-hours exploration. Classes, even in fields like philosophy, felt lifeless, impersonal, like engineering but with words instead of numbers. Worst of all were their fellow undergraduates, those climbers and careerists. “It’s hard to build your soul,” as one of my students once put it to me, “when everyone around you is trying to sell theirs.”

Not everything in the world is a problem, and to see the world as a series of problems is to limit the potential of both world and self. What problem does a song address? What problem will reading Voltaire help you solve, in any predictable way? The “problem” approach—the “engagement” approach, the save-the-world approach—leaves out, finally, what I’d call learning.

that is the second complaint that graduates tend to express: that they finished college without the feeling that they had learned anything, in this essential sense.

That there is a treasure out there—call it the Great Books or just great books, the wisdom of the ages or the best that has been thought and said—that its purpose is to activate the treasure inside them, that they had come to one of these splendid institutions (whose architecture speaks of culture, whose age gives earnest of depth) to be initiated into it, but that they had been denied, deprived. For unclear reasons, cheated.

I had students like this at Columbia and Yale. There were never a lot of them, and to judge from what’s been happening to humanities enrollments, there are fewer and fewer. (From 2013 to 2022, the number of people graduating with bachelors degrees in English fell by 36%. As a share of all degrees, it fell by 42%, to less than 1 in 60.)

They would tell me—these pilgrims, these intellectuals in embryo, these kindled souls—how hard they were finding it to get the kind of education they had come to college for.

what bothers me about this educational approach—the “problem” approach, the “STEAM” (STEM + arts) approach—is what it leaves out. It leaves out the humanities. It leaves out books. It leaves out literature and philosophy, history and art history and the history of religion. It leaves out any mode of inquiry—reflection, speculation, conversation with the past—that cannot be turned to immediate practical ends

The Catherine Project sees itself as being in the business of creating “communities of learning”; its principles include “conversation and hospitality, “simplicity [and] transparency.” Classes (called tutorials, in keeping with the practice at St. John’s) are free (BISR’s cost $335), are capped at four to six students (at BISR, the limit is 23), run for two hours a week for twelve weeks, and skew towards the canon: the Greeks and Romans, Pascal and Kierkegaard, Dante and Cervantes (the project also hosts a large number of reading groups, which address a wider range of texts). If BISR aspires to create a fairer market for academic labor—instructors keep the lion’s share of fees—the Catherine Project functions as a gift economy (though plans are to begin to offer tutors modest honoraria).

As Russell Jacoby has noted, the migration of intellectuals into universities in the decades after World War II, which he documented in The Last Intellectuals, has more recently reversed itself. The rise, or re-rise, of little magazines (Dissent, Commentary, Partisan Review then; n+1, The New Inquiry, The Point, The Drift, et al. now) is part of the same story. 

a fourth factor. If there are students who despair at the condition of the humanities on campus, there are professors who do so as well. Many of her teachers, Hitz told me, have regular ladder appointments: “We draw academics—who attend our groups as well as leading them—because the life of the mind is dying or dead in conventional institutions.” Undergraduate teaching, she added, “is a particularly hard pull,” and the Catherine Project offers faculty the chance to teach people “who actually want to learn.

I’d add, who can. Nine years ago, Stephen Greenblatt wrote: “Even the highly gifted students in my Shakespeare classes at Harvard are less likely to be touched by the subtle magic of his words than I was so many years ago or than my students were in the 1980s in Berkeley. … The problem is that their engagement with language … often seems surprisingly shallow or tepid.” By now, of course, the picture is far worse.

The response to the announcement of our pilot programs confirmed for me the existence of a large, unmet desire for text-based exploration, touching on the deepest questions, outside the confines of higher education

Applicants ranged from graduating college seniors to people in their 70s. They included teachers, artists, scientists, and doctoral students from across the disciplines; a submarine officer, a rabbinical student, an accountant, and a venture capitalist; retirees, parents of small children, and twentysomethings at the crossroads. Forms came in from India, Jordan, Brazil, and nine other foreign countries. The applicants were, as a group, tremendously impressive. If it had been possible, we would have taken many more than fifteen.

When asked why they wanted to participate, a number of them spoke about the pathologies of formal education. “We have a really damaged relationship to learning,” said one. “It should be fun, not scary”—as in, you feel that you’re supposed to know the answer, which as a student, as she noted, makes no sense

“We need opportunities for reading and exploration that lie outside the credentialing system of the modern university,” he went on, because there’s so much in the latter that cuts against “the slow way that kind of learning unfolds.”

“How one might choose to live.” For many of our applicants—and this, of course, is what the program is about, what the humanities are about—learning has, or ought to have, an existential weight.

I detected a desire to be free of forces and agendas: the university’s agenda of “relevance,” the professoriate’s agenda of political mobilization, the market’s agenda of productivity, the internet’s agenda of surveillance and addiction. In short, the whole capitalistic algorithmic ideological hairball of coerced homogeneity

The desire is to not be recruited, to not be instrumentalized, to remain (or become) an individual, to resist regression toward the mean, or meme.

That is why it’s crucial that the Matthew Strother Center has no goal—and this is true of the Catherine Project and other off-campus humanities programs, as well—beyond the pursuit of learning for its own sake.

This is freedom. When education isn’t pointed in particular directions, its possibilities are endless