Imagination: Moral, Dark, and Radical

Absence is presence.
These are the fundamentals of mystery.
The Young Pope

Below is a gathering of excerpts from writings. The key issue here is imagination, specifically Edmund Burke’s moral imagination with its wardrobe but also the dark imagination and the radical imagination. I bring in some other thinkers for context: Thomas Paine, Corey Robin, Thomas Ligotti, Lewis Hyde, and Julian Jaynes.

Besides imagination, the connecting strands of thought are:

  • Pleasure, beauty, and sublimity; comfort, familiarity, intimacy, the personal, and subjectivity; embodiment, anchoring, shame, and nakedness; pain, violence, suffering, and death;
  • Darkness, awe, fear, terror, horror, and the monstrous; oppression, prejudice, and ignorance; obfuscation, obscurity, disconnection, and dissociation; the hidden, the veiled, the unknown, and the distant; mystery, madness, and deception;
  • Identity, consciousness, and metaphor; creativity, art, story, poetry, and rhetoric; literalism, realism, and dogmatism; reason, knowledge, and science;
  • Enlightenment, abstractions, ideology, revolution, and counter-revolution; nobility, power, chivalry, aristocracy, and monarchy; tradition, nostalgia, and the reactionary mind; liberalism, conservatism, and culture wars;
  • Et cetera.

The touchstone for my own thinking is what I call symbolic conflation, along with the larger context of conceptual slippage, social construction, and reality tunnels. This is closely related to what Lewis Hyde discusses in terms of metonymy, liminality, and the Trickster archetype.

Read the following as a contemplation of ideas and insights. In various ways, they connect, overlap, and resonate. Soften your focus and you might see patterns emerge. If these are all different perspectives of the same thing, what exactly is it that is being perceived? What does each view say about the individual espousing it and if not necessarily about all of humanity at least about our society?

(I must admit that my motivation for this post was mainly personal. I simply wanted to gather these writings together. They include some writings and writers that I have been thinking about for a long time. Quotes and passages from many of them can be found in previous posts on this blog. I brought them together here for the purposes of my own thinking about certain topics. I don’t post stuff like this with much expectation that it will interest anyone else, as I realize my own interests are idiosyncratic. Still, if someone comes along and finds a post like this fascinating, then I’ll know they are my soulmate. This post is only for cool people with curious minds. Ha!)

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On the Sublime and Beautiful
by Edmund Burke

Of the Passion Caused by the Sublime

THE PASSION caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror. 1 In this case the mind is so entirely filled with its object, that it cannot entertain any other, nor by consequence reason on that object which employs it. Hence arises the great power of the sublime, that, far from being produced by them, it anticipates our reasonings, and hurries us on by an irresistible force. Astonishment, as I have said, is the effect of the sublime in its highest degree; the inferior effects are admiration, reverence, and respect.

Terror

NO passion so effectually robs the mind of all its powers of acting and reasoning as fear. 1 For fear being an apprehension of pain or death, it operates in a manner that resembles actual pain. Whatever therefore is terrible, with regard to sight, is sublime too, whether this cause of terror be endued with greatness of dimensions or not; for it is impossible to look on anything as trifling, or contemptible, that may be dangerous. There are many animals, who though far from being large, are yet capable of raising ideas of the sublime, because they are considered as objects of terror. As serpents and poisonous animals of almost all kinds. And to things of great dimensions, if we annex an adventitious idea of terror, they become without comparison greater. A level plain of a vast extent on land, is certainly no mean idea; the prospect of such a plain may be as extensive as a prospect of the ocean: but can it ever fill the mind with anything so great as the ocean itself? This is owing to several causes; but it is owing to none more than this, that the ocean is an object of no small terror. Indeed, terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime. Several languages bear a strong testimony to the affinity of these ideas. They frequently use the same word, to signify indifferently the modes of astonishment or admiration, and those of terror. [Greek] is in Greek, either fear or wonder; [Greek] is terrible or respectable; [Greek], to reverence or to fear. Vereor in Latin, is what [Greek] is in Greek. The Romans used the verb stupeo, a term which strongly marks the state of an astonished mind, to express the effect of either of simple fear or of astonishment; the word attonitus (thunder-struck) is equally expressive of the alliance of these ideas; and do not the French étonnement, and the English astonishment and amazement, point out as clearly the kindred emotions which attend fear and wonder? They who have a more general knowledge of languages, could produce, I make no doubt, many other and equally striking examples.

Obscurity

TO make anything very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes. Every one will be sensible of this, who considers how greatly night adds to our dread, in all cases of danger, and how much the notions of ghosts and goblins, of which none can form clear ideas, affect minds which give credit to the popular tales concerning such sorts of beings. Those despotic governments, which are founded on the passions of men, and principally upon the passion of fear, keep their chief as much as may be from the public eye. The policy has been the same in many cases of religion. Almost all the heathen temples were dark. Even in the barbarous temples of the Americans at this day, they keep their idol in a dark part of the hut, which is consecrated to his worship. For this purpose too the Druids performed all their ceremonies in the bosom of the darkest woods, and in the shade of the oldest and most spreading oaks. No person seems better to have understood the secret of heightening, or of setting terrible things, if I may use the expression, in their strongest light, by the force of a judicious obscurity, than Milton. His description of Death in the second book is admirably studied; it is astonishing with what a gloomy pomp, with what a significant and expressive uncertainty of strokes and colouring, he has finished the portrait of the king of terrors:

—The other shape,
If shape it might be called that shape had none
Distinguishable, in member, joint, or limb;
Or substance might be called that shadow seemed;
For each seemed either; black he stood as night;
Fierce as ten furies; terrible as hell;
And shook a deadly dart. What seemed his head
The likeness of a kingly crown had on.

In this description all is dark, uncertain, confused, terrible, and sublime to the last degree. […]

The Same Subject Continued

[…] I know several who admire and love painting, and yet who regard the objects of their admiration in that art with coolness enough in comparison of that warmth with which they are animated by affecting pieces of poetry or rhetoric. Among the common sort of people, I never could perceive that painting had much influence on their passions. It is true, that the best sorts of painting, as well as the best sorts of poetry, are not much understood in that sphere. But it is most certain, that their passions are very strongly roused by a fanatic preacher, or by the ballads of Chevy-chase, or the Children in the Wood, and by other little popular poems and tales that are current in that rank of life. I do not know of any paintings, bad or good, that produce the same effect. So that poetry, with all its obscurity, has a more general, as well as a more powerful, dominion over the passions, than the other art. And I think there are reasons in nature, why the obscure idea, when properly conveyed, should be more affecting than the clear. It is our ignorance of things that causes all our admiration, and chiefly excites our passions. Knowledge and acquaintance make the most striking causes affect but little. It is thus with the vulgar; and all men are as the vulgar in what they do not understand. The ideas of eternity and infinity are among the most affecting we have; and yet perhaps there is nothing of which we really understand so little, as of infinity and eternity. […]

Locke’s Opinion Concerning Darkness Considered

IT is Mr. Locke’s opinion, that darkness is not naturally an idea of terror; and that, though an excessive light is painful to the sense, the greatest excess of darkness is no ways troublesome. He observes indeed in another place, that a nurse or an old woman having once associated the idea of ghosts and goblins with that of darkness, night, ever after, becomes painful and horrible to the imagination. The authority of this great man is doubtless as great as that of any man can be, and it seems to stand in the way of our general principle. We have considered darkness as a cause of the sublime; and we have all along considered the sublime as depending on some modification of pain or terror: so that if darkness be no way painful or terrible to any, who have not had their minds early tainted with superstitions, it can be no source of the sublime to them. But, with all deference to such an authority, it seems to me, that an association of a more general nature, an association which takes in all mankind, and make darkness terrible; for in utter darkness it is impossible to know in what degree of safety we stand; we are ignorant of the objects that surround us; we may every moment strike against some dangerous obstruction; we may fall down a precipice the first step we take; and if an enemy approach, we know not in what quarter to defend ourselves; in such a case strength is no sure protection; wisdom can only act by guess; the boldest are staggered, and he, who would pray for nothing else towards his defence, is forced to pray for light.

As to the association of ghosts and goblins; surely it is more natural to think, that darkness, being originally an idea of terror, was chosen as a fit scene for such terrible representations, than that such representations have made darkness terrible. The mind of man very easily slides into an error of the former sort; but it is very hard to imagine, that the effect of an idea so universally terrible in all times, and in all countries, as darkness, could possibly have been owing to a set of idle stories, or to any cause of a nature so trivial, and of an operation so precarious.

Reflections on the French Revolution
by Edmund Burke

History will record, that on the morning of the 6th of October, 1789, the king and queen of France, after a day of confusion, alarm, dismay, and slaughter, lay down, under the pledged security of public faith, to indulge nature in a few hours of respite, and troubled, melancholy repose. From this sleep the queen was first startled by the voice of the sentinel at her door, who cried out her to save herself by flight—that this was the last proof of fidelity he could give—that they were upon him, and he was dead. Instantly he was cut down. A band of cruel ruffians and assassins, reeking with his blood, rushed into the chamber of the queen, and pierced with a hundred strokes of bayonets and poniards the bed, from whence this persecuted woman had but just time to fly almost naked, and, through ways unknown to the murderers, had escaped to seek refuge at the feet of a king and husband, not secure of his own life for a moment.

This king, to say no more of him, and this queen, and their infant children, (who once would have been the pride and hope of a great and generous people,) were then forced to abandon the sanctuary of the most splendid palace in the world, which they left swimming in blood, polluted by massacre, and strewed with scattered limbs and mutilated carcases. Thence they were conducted into the capital of their kingdom. […]

It is now sixteen or seventeen years since I saw the queen of France, then the dauphiness, at Versailles; and surely never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she just began to move in,—glittering like the morning-star, full of life, and splendour, and joy. Oh! what a revolution! and what a heart must I have to contemplate without emotion that elevation and that fall! Little did I dream when she added titles of veneration to those of enthusiastic, distant, respectful love, that she should ever be obliged to carry the sharp antidote against disgrace concealed in that bosom; little did I dream that I should have lived to see such disasters fallen upon her in a nation of gallant men, in a nation of men of honour, and of cavaliers. I thought ten thousand swords must have leaped from their scabbards to avenge even a look that threatened her with insult. But the age of chivalry is gone. That of sophisters, economists, and calculators, has succeeded; and the glory of Europe is extinguished for ever. Never, never more shall we behold that generous loyalty to rank and sex, that proud submission, that dignified obedience, that subordination of the heart, which kept alive, even in servitude itself, the spirit of an exalted freedom. The unbought grace of life, the cheap defence of nations, the nurse of manly sentiment and heroic enterprise, is gone! It is gone, that sensibility of principle, that charity of honor, which felt a stain like a wound, which inspired courage whilst it mitigated ferocity, which ennobled whatever it touched, and under which vice itself lost half its evil, by losing all its grossness.

This mixed system of opinion and sentiment had its origin in the ancient chivalry; and the principle, though varied in its appearance by the varying state of human affairs, subsisted and influenced through a long succession of generations, even to the time we live in. If it should ever be totally extinguished, the loss I fear will be great. It is this which has given its character to modern Europe. It is this which has distinguished it under all its forms of government, and distinguished it to its advantage, from the states of Asia, and possibly from those states which flourished in the most brilliant periods of the antique world. It was this, which, without confounding ranks, had produced a noble equality, and handed it down through all the gradations of social life. It was this opinion which mitigated kings into companions, and raised private men to be fellows with kings. Without force or opposition, it subdued the fierceness of pride and power; it obliged sovereigns to submit to the soft collar of social esteem, compelled stern authority to submit to elegance, and gave a dominating vanquisher of laws to be subdued by manners.

But now all is to be changed. All the pleasing illusions, which made power gentle and obedience liberal, which harmonized the different shades of life, and which, by a bland assimilation, incorporated into politics the sentiments which beautify and soften private society, are to be dissolved by this new conquering empire of light and reason. All the decent drapery of life is to be rudely torn off. All the superadded ideas, furnished from the wardrobe of a moral imagination, which the heart owns, and the understanding ratifies, as necessary to cover the defects of our naked, shivering nature, and to raise it to dignity in our own estimation, are to be exploded as a ridiculous, absurd, and antiquated fashion.

On this scheme of things, a king is but a man, a queen is but a woman; a woman is but an animal, and an animal not of the highest order. All homage paid to the sex in general as such, and without distinct views, is to be regarded as romance and folly. Regicide, and parricide, and sacrilege, are but fictions of superstition, corrupting jurisprudence by destroying its simplicity. The murder of a king, or a queen, or a bishop, or a father, are only common homicide; and if the people are by any chance, or in any way, gainers by it, a sort of homicide much the most pardonable, and into which we ought not to make too severe a scrutiny.

On the scheme of this barbarous philosophy, which is the offspring of cold hearts and muddy understandings, and which is as void of solid wisdom as it is destitute of all taste and elegance, laws are to be supported only by their own terrors, and by the concern which each individual may find in them from his own private speculations, or can spare to them from his own private interests. In the groves of their academy, at the end of every vista, you see nothing but the gallows. Nothing is left which engages the affections on the part of the commonwealth. On the principles of this mechanic philosophy, our institutions can never be embodied, if I may use the expression, in persons; so as to create in us love, veneration, admiration, or attachment. But that sort of reason which banishes the affections is incapable of filling their place. These public affections, combined with manners, are required sometimes as supplements, sometimes as correctives, always as aids to law. The precept given by a wise man, as well as a great critic, for the construction of poems, is equally true as to states:—Non satis est pulchra esse poemata, dulcia sunto. There ought to be a system of manners in every nation, which a well-formed mind would be disposed to relish. To make us love our country, our country ought to be lovely.

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Rights of Man:
Being an Answer to Mr. Burke’s Attack on the French Revolution
by Thomas Paine

But Mr. Burke appears to have no idea of principles when he is contemplating Governments. “Ten years ago,” says he, “I could have felicitated France on her having a Government, without inquiring what the nature of that Government was, or how it was administered.” Is this the language of a rational man? Is it the language of a heart feeling as it ought to feel for the rights and happiness of the human race? On this ground, Mr. Burke must compliment all the Governments in the world, while the victims who suffer under them, whether sold into slavery, or tortured out of existence, are wholly forgotten. It is power, and not principles, that Mr. Burke venerates; and under this abominable depravity he is disqualified to judge between them. Thus much for his opinion as to the occasions of the French Revolution. I now proceed to other considerations.

I know a place in America called Point-no-Point, because as you proceed along the shore, gay and flowery as Mr. Burke’s language, it continually recedes and presents itself at a distance before you; but when you have got as far as you can go, there is no point at all. Just thus it is with Mr. Burke’s three hundred and sixty-six pages. It is therefore difficult to reply to him. But as the points he wishes to establish may be inferred from what he abuses, it is in his paradoxes that we must look for his arguments.

As to the tragic paintings by which Mr. Burke has outraged his own imagination, and seeks to work upon that of his readers, they are very well calculated for theatrical representation, where facts are manufactured for the sake of show, and accommodated to produce, through the weakness of sympathy, a weeping effect. But Mr. Burke should recollect that he is writing history, and not plays, and that his readers will expect truth, and not the spouting rant of high-toned exclamation.

When we see a man dramatically lamenting in a publication intended to be believed that “The age of chivalry is gone! that The glory of Europe is extinguished for ever! that The unbought grace of life (if anyone knows what it is), the cheap defence of nations, the nurse of manly sentiment and heroic enterprise is gone!” and all this because the Quixot age of chivalry nonsense is gone, what opinion can we form of his judgment, or what regard can we pay to his facts? In the rhapsody of his imagination he has discovered a world of wind mills, and his sorrows are that there are no Quixots to attack them. But if the age of aristocracy, like that of chivalry, should fall (and they had originally some connection) Mr. Burke, the trumpeter of the Order, may continue his parody to the end, and finish with exclaiming: “Othello’s occupation’s gone!”

Notwithstanding Mr. Burke’s horrid paintings, when the French Revolution is compared with the Revolutions of other countries, the astonishment will be that it is marked with so few sacrifices; but this astonishment will cease when we reflect that principles, and not persons, were the meditated objects of destruction. The mind of the nation was acted upon by a higher stimulus than what the consideration of persons could inspire, and sought a higher conquest than could be produced by the downfall of an enemy. Among the few who fell there do not appear to be any that were intentionally singled out. They all of them had their fate in the circumstances of the moment, and were not pursued with that long, cold-blooded unabated revenge which pursued the unfortunate Scotch in the affair of 1745.

Through the whole of Mr. Burke’s book I do not observe that the Bastille is mentioned more than once, and that with a kind of implication as if he were sorry it was pulled down, and wished it were built up again. “We have rebuilt Newgate,” says he, “and tenanted the mansion; and we have prisons almost as strong as the Bastille for those who dare to libel the queens of France.” As to what a madman like the person called Lord George Gordon might say, and to whom Newgate is rather a bedlam than a prison, it is unworthy a rational consideration. It was a madman that libelled, and that is sufficient apology; and it afforded an opportunity for confining him, which was the thing that was wished for. But certain it is that Mr. Burke, who does not call himself a madman (whatever other people may do), has libelled in the most unprovoked manner, and in the grossest style of the most vulgar abuse, the whole representative authority of France, and yet Mr. Burke takes his seat in the British House of Commons! From his violence and his grief, his silence on some points and his excess on others, it is difficult not to believe that Mr. Burke is sorry, extremely sorry, that arbitrary power, the power of the Pope and the Bastille, are pulled down.

Not one glance of compassion, not one commiserating reflection that I can find throughout his book, has he bestowed on those who lingered out the most wretched of lives, a life without hope in the most miserable of prisons. It is painful to behold a man employing his talents to corrupt himself. Nature has been kinder to Mr. Burke than he is to her. He is not affected by the reality of distress touching his heart, but by the showy resemblance of it striking his imagination. He pities the plumage, but forgets the dying bird. Accustomed to kiss the aristocratical hand that hath purloined him from himself, he degenerates into a composition of art, and the genuine soul of nature forsakes him. His hero or his heroine must be a tragedy-victim expiring in show, and not the real prisoner of misery, sliding into death in the silence of a dungeon.

As Mr. Burke has passed over the whole transaction of the Bastille (and his silence is nothing in his favour), and has entertained his readers with refections on supposed facts distorted into real falsehoods, I will give, since he has not, some account of the circumstances which preceded that transaction. They will serve to show that less mischief could scarcely have accompanied such an event when considered with the treacherous and hostile aggravations of the enemies of the Revolution.

The mind can hardly picture to itself a more tremendous scene than what the city of Paris exhibited at the time of taking the Bastille, and for two days before and after, nor perceive the possibility of its quieting so soon. At a distance this transaction has appeared only as an act of heroism standing on itself, and the close political connection it had with the Revolution is lost in the brilliancy of the achievement. But we are to consider it as the strength of the parties brought man to man, and contending for the issue. The Bastille was to be either the prize or the prison of the assailants. The downfall of it included the idea of the downfall of despotism, and this compounded image was become as figuratively united as Bunyan’s Doubting Castle and Giant Despair.

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The Reactionary Mind
by Corey Robin
pp. 243-245

As Orwell taught, the possibilities for cruelty and violence are as limitless as the imagination that dreams them up. But the armies and agencies of today’s violence are vast bureaucracies, and vast bureaucracies need rules. Eliminating the rules does not Prometheus unbind; it just makes for more billable hours.

“No yielding. No equivocation. No lawyering this thing to death.” That was George W. Bush’s vow after 9/ 11 and his description of how the war on terror would be conducted. Like so many of Bush’s other declarations, it turned out to be an empty promise. This thing was lawyered to death. But, and this is the critical point, far from minimizing state violence— which was the great fear of the neocons— lawyering has proven to be perfectly compatible with violence. In a war already swollen with disappointment and disillusion, the realization that inevitably follows— the rule of law can, in fact, authorize the greatest adventures of violence and death, thereby draining them of sublimity— must be, for the conservative, the greatest disillusion of all.

Had they been closer readers of Burke, the neoconservatives— like Fukuyama, Roosevelt, Sorel, Schmitt, Tocqueville, Maistre, Treitschke, and so many more on the American and European right— could have seen this disillusion coming. Burke certainly did. Even as he wrote of the sublime effects of pain and danger, he was careful to insist that should those pains and dangers “press too nearly” or “too close”— that is, should they become realities rather than fantasies, should they become “conversant about the present destruction of the person”— their sublimity would disappear. They would cease to be “delightful” and restorative and become simply terrible. 64 Burke’s point was not merely that no one, in the end, really wants to die or that no one enjoys unwelcome, excruciating pain. It was that sublimity of whatever kind and source depends upon obscurity: get too close to anything, whether an object or experience, see and feel its full extent, and it loses its mystery and aura. It becomes familiar. A “great clearness” of the sort that comes from direct experience “is in some sort an enemy to all enthusiasms whatsoever.” 65 “It is our ignorance of things that causes all our admiration, and chiefly excites our passions. Knowledge and acquaintance make the most striking causes affect but little.” 66 “A clear idea,” Burke concludes, “is therefore another name for a little idea.” 67 Get to know anything, including violence, too well, and it loses whatever attribute— rejuvenation, transgression, excitement, awe— you ascribed to it when it was just an idea.

Earlier than most, Burke understood that if violence were to retain its sublimity, it had to remain a possibility, an object of fantasy— a horror movie, a video game, an essay on war. For the actuality (as opposed to the representation) of violence was at odds with the requirements of sublimity. Real, as opposed to imagined, violence entailed objects getting too close, bodies pressing too near, flesh upon flesh. Violence stripped the body of its veils; violence made its antagonists familiar to each other in a way they had never been before. Violence dispelled illusion and mystery, making things drab and dreary. That is why, in his discussion in the Reflections of the revolutionaries’ abduction of Marie Antoinette, Burke takes such pains to emphasize her “almost naked” body and turns so effortlessly to the language of clothing—“ the decent drapery of life,” the “wardrobe of the moral imagination,” “antiquated fashion,” and so on— to describe the event. 68 The disaster of the revolutionaries’ violence, for Burke, was not cruelty; it was the unsought enlightenment.

Since 9/ 11, many have complained, and rightly so, about the failure of conservatives— or their sons and daughters— to fight the war on terror themselves. For those on the left, that failure is symptomatic of the class injustice of contemporary America. But there is an additional element to the story. So long as the war on terror remains an idea— a hot topic on the blogs, a provocative op-ed, an episode of 24— it is sublime. As soon as the war on terror becomes a reality, it can be as cheerless as a discussion of the tax code and as tedious as a trip to the DMV.

Fear: The History of a Political Idea
by Corey Robin
Kindle Locations 402-406

It might seem strange that a book about political fear should assign so much space to our ideas about fear rather than to its practice. But recall what Burke said: It is not so much the actuality of a threat, but the imagined idea of that threat, that renews and restores. “If the pain and terror are so modified as not to be actually noxious; if the pain is not carried to violence, and the terror is not conversant about the present destruction of the person,” then, and only then, do we experience a delightful horror.”1 The condition of our being renewed by fear is not that we directly experience the object that threatens us, but that the object be kept at some remove move from ourselves.

Kindle Locations 1061-1066

Whether they have read The Spirit of the Laws or not, these writers are its children. With its trawling allusions to the febrile and the fervid, The Spirit of the Laws successfully aroused the conviction that terror was synonymous with barbarism, and that its cures were to be found entirely within liberalism. Thus was a new political and literary aesthetic born, a rhetoric of hyperbole suggesting that terror’s escorts were inevitably remoteness, irrationality, and darkness, and its enemies, familiarity, reason, and light. Perhaps it was this aesthetic that a young Edmund Burke had in mind when he wrote, two years after Montesquieu’s death, “To make any thing very terrible, obscurity seems in general to be necessary. When we know the full extent of any danger, when we can accustom our eyes to it, a great deal of the apprehension vanishes.”

Kindle Locations 1608-1618

As she set about establishing a new political morality in the shadow of total terror, however, Arendt became aware of a problem that had plagued Hobbes, Montesquieu, and Tocqueville, and that Burke-not to mention makers of horror films-understood all too well: once terrors become familiar, they cease to arouse dread. The theorist who tries to establish fear as a foundation for a new politics must always find a demon darker than that of her predecessors, discover ever more novel, and more frightening, forms of fear. Thus Montesquieu, seeking to outdo Hobbes, imagined a form of terror that threatened the very basis of that which made us human. In Arendt’s case, it was her closing image of interchangeable victims and victimizers-of terror serving no interest and no party, not even its wielders; of a world ruled by no one and nothing, save the impersonal laws of motion-that yielded the necessary “radical evil” from which a new politics could emerge.

But as her friend and mentor Karl Jaspers was quick to recognize, Arendt had come upon this notion of radical evil at a terrible cost: it made moral judgment of the perpetrators of total terror nearly impossible.59 According to Origins, total terror rendered everyone-from Hitler down through the Jews, from Stalin to the kulaks-incapable of acting. Indeed, as Arendt admitted in 1963, “There exists a widespread theory, to which I also contributed [in Origins], that these crimes defy the possibility of human judgment and explode the frame of our legal institutions.”60 Total terror may have done what fear, terror, and anxiety did for her predecessors-found a new politics-but, as Arendt would come to realize in Eichmann in Jerusalem, it was a false foundation, inspiring an operatic sense of catastrophe, that ultimately let the perpetrators off the hook by obscuring the hard political realities of rule by fear.

Liberalism at Bay, Conservatism at Piay:
Fear in the Contemporary Imagination

by Corey Robin

For theorists like Locke and Burke, fear is something to be cherished, not because it alerts us to real danger or propels us to take necessary action against it, but because fear is supposed to arouse a heightened state of experience. It quickens our perceptions as no other emotion can, forcing us to see and to act in the world in new and more interesting ways, with greater moral discrimination and a more acute consciousness of our surroundings and ourselves. According to Locke, fear is “an uneasiness of the mind” and “the chief, if not only spur to human industry and action is uneasiness.” Though we might think that men and women act on behalf of desire, Locke insisted that “a little burning felt”—like fear—”pushes us more powerfully than great pleasures in prospect draw or allure.” Burke had equally low regard for pleasure. It induces a grotesque implosion of self, a “soft tranquility” approximating an advanced state of decay if not death itself.

The head reclines something on one side; the eyelids are
more closed than usual, and the eyes roll gently with an
inclination to the object, the mouth is a little opened, and
the breath drawn slowly, with now and then a low sigh;
the whole body is composed, and the hands fall idly to
the sides. All this is accompanied with an inward sense of
melting and languor . . . relaxing the solids of the whole
system.

But when we imagine the prospect of “pain and terror,” Burke added, we experience a delightful horror,” the “strongest of all passions.” Without fear, we are passive; with it, we are roused to “the strongest emotion which the mind is capable of feeling” (Locke, 1959,11.20.6,10;11.21.34: 304-5, 334; Burke, 1990: 32, 36,123,135-36).

At the political level, modem theorists have argued that fear is a spur to civic vitality and moral renewal, perhaps even a source of public freedom. Writing in the wake of the French Revolution, Tocqueville bemoaned the lethargy of modem democracy. With its free-wheeling antimonianism and social mobility, democratic society “inevitably enervates the soul, and relaxing the springs of the will, prepares a people for bondage. Then not only will they let their freedom be taken from them, but often they actually hand it over themselves” (Tocqueville, 1969:444). Lacking confidence in the traditional truths of God and king, Tocqueville believed that democracies might find a renewed confidence in the experience of fear, which could activate and ground a commitment to public freedom. “Fear,” he wrote in a note to himself, “must be put to work on behalf of liberty,” or, as he put it in Democracy in America, “Let us, then, look forward to the future with that salutary fear which makes men keep watch and ward for freedom, and not with that flabby, idle terror which makes men’s hearts sink and enervates them” (cited in Lamberti, 1989: 229; Tocqueville, 1969: 702). Armed with fear, democracy would be fortified against not only external and domestic enemies but also the inner tendency, the native desire, to dissolve into the soupy indifference of which Burke spoke.

* * *

The Dark Beauty of Unheard-Of Horrors
by Thomas Ligotti

This is how it is when a mysterious force is embodied in a human body, or in any form that is too well fixed. And a mystery explained is one robbed of its power of emotion, dwindling into a parcel of information, a tissue of rules and statistics without meaning in themselves.

Of course, mystery actually requires a measure of the concrete if it is to be perceived at all; otherwise it is only a void, the void. The thinnest mixture of this mortar, I suppose, is contained in that most basic source of mystery—darkness. Very difficult to domesticate this phenomenon, to collar it and give a name to the fear it inspires. As a verse writer once said:

The blackness at the bottom of a well
May bold most any kind of hell.

The dark, indeed, phenomenon possessing the maximum of mystery, the one most resistant to the taming of the mind and most resonant with emotions and meanings of a highly complex and subtle type. It is also extremely abstract as a provenance for supernatural horror, an elusive prodigy whose potential for fear may slip through a writer’s fingers and right past even a sensitive reader of terror tales. Obviously it is problematic in away that a solid pair of gleaming fangs at a victim’s neck is not. Hence, darkness itself is rarely used in a story as the central incarnation of the supernatural, though it often serves in a supporting role as an element of atmosphere, an extension of more concrete phenomena. The shadowy ambiance of a fictional locale almost always resolves itself into an apparition of substance, a threat with a name, if not a full blown history. Darkness may also perform in a strictly symbolic capacity, representing the abyss at the core of any genuine tale of mystery and horror. But to draw a reader’s attention to this abyss, this unnameable hell of blackness, is usually sacrificed in favor of focusing on some tangible dread pressing against the body of everyday life. From these facts may be derived an ad hoc taxonomy for dividing supernatural stories into types, or rather a spectrum of types: on the one side, those that tend to emphasize the surface manifestations of a supernatural phenomenon; on the other, those that reach toward the dark core of mystery in purest and most abstract condition. The former stories show us the bodies, big as life, of the demonic tribe of spooks, vampires, and other assorted bogeymen; the latter suggest to us the essence, far bigger than life, of that dark universal terror beyond naming which is the matrix for all other terrors. […]

Like Erich Zann’s “world of beauty,” Lovecraft’s “lay in some far cosmos of the imagination,” and like that of another  artist, it is a “beauty that hath horror in it.

The Conspiracy against the Human Race: A Contrivance of Horror
by Thomas Ligotti
pp. 41-42

As heretofore noted, consciousness may have assisted our species’ survival in the hard times of prehistory, but as it became ever more intense it evolved the potential to ruin everything if not securely muzzled. This is the problem: We must either outsmart consciousness or be thrown into its vortex of doleful factuality and suffer, as Zapffe termed it, a “dread of being”— not only of our own being but of being itself, the idea that the vacancy that might otherwise have obtained is occupied like a stall in a public lavatory of infinite dimensions, that there is a universe in which things like celestial bodies and human beings are roving about, that anything exists in the way it seems to exist, that we are part of all being until we stop being, if there is anything we may understand as being other than semblances or the appearance of semblances.

On the premise that consciousness must be obfuscated so that we might go on as we have all these years, Zapffe inferred that the sensible thing would be not to go on with the paradoxical nonsense of trying to inhibit our cardinal attribute as beings, since we can tolerate existence only if we believe— in accord with a complex of illusions, a legerdemain of duplicity— that we are not what we are: unreality on legs. As conscious beings, we must hold back that divulgement lest it break us with a sense of being things without significance or foundation, anatomies shackled to a landscape of unintelligible horrors. In plain language, we cannot live except as self-deceivers who must lie to ourselves about ourselves, as well as about our unwinnable situation in this world.

Accepting the preceding statements as containing some truth, or at least for the sake of moving on with the present narrative, it seems that we are zealots of Zapffe’s four plans for smothering consciousness: isolation (“ Being alive is all right”), anchoring (“ One Nation under God with Families, Morality, and Natural Birthrights for all”), distraction (“ Better to kill time than kill oneself”), and sublimation (“ I am writing a book titled The Conspiracy against the Human Race”). These practices make us organisms with a nimble intellect that can deceive themselves “for their own good.” Isolation, anchoring, distraction, and sublimation are among the wiles we use to keep ourselves from dispelling every illusion that keeps us up and running. Without this cognitive double-dealing, we would be exposed for what we are. It would be like looking into a mirror and for a moment seeing the skull inside our skin looking back at us with its sardonic smile. And beneath the skull— only blackness, nothing.  A little piece of our world has been peeled back, and underneath is creaking desolation— a carnival where all the rides are moving but no patrons occupy the seats. We are missing from the world we have made for ourselves. Maybe if we could resolutely gaze wide-eyed at our lives we would come to know what we really are. But that would stop the showy attraction we are inclined to think will run forever.

p. 182

That we all deserve punishment by horror is as mystifying as it is undeniable. To be an accomplice, however involuntarily, in a reasonless non-reality is cause enough for the harshest sentencing. But we have been trained so well to accept the “order” of an unreal world that we do not rebel against it. How could we? Where pain and pleasure form a corrupt alliance against us, paradise and hell are merely different divisions in the same monstrous bureaucracy. And between these two poles exists everything we know or can ever know. It is not even possible to imagine a utopia, earthly or otherwise, that can stand up under the mildest criticism. But one must take into account the shocking fact that we live on a world that spins. After considering this truth, nothing should come as a surprise.

Still, on rare occasions we do overcome hopelessness or velleity and make mutinous demands to live in a real world, one that is at least episodically ordered to our advantage. But perhaps it is only a demon of some kind that moves us to such idle insubordination, the more so to aggravate our condition in the unreal. After all, is it not wondrous that we are allowed to be both witnesses and victims of the sepulchral pomp of wasting tissue? And one thing we know is real: horror. It is so real, in fact, that we cannot be sure it could not exist without us. Yes, it needs our imaginations and our consciousness, but it does not ask or require our consent to use them. Indeed, horror operates with complete autonomy. Generating ontological havoc, it is mephitic foam upon which our lives merely float. And, ultimately, we must face up to it: Horror is more real than we are.

p. 218

Without death— meaning without our consciousness of death— no story of supernatural horror would ever have been written, nor would any other artistic representation of human life have been created for that matter. It is always there, if only between the lines or brushstrokes, or conspicuously by its absence. It is a terrific stimulus to that which is at once one of our greatest weapons and greatest weaknesses— imagination. Our minds are always on the verge of exploding with thoughts and images as we ceaselessly pound the pavement of our world. Both our most exquisite cogitations and our worst cognitive drivel announce our primal torment: We cannot linger in the stillness of nature’s vacuity. And so we have imagination to beguile us. A misbegotten hatchling of consciousness, a birth defect of our species, imagination is often revered as a sign of vigor in our make-up. But it is really just a psychic overcompensation for our impotence as beings. Denied nature’s exemption from creativity, we are indentured servants of the imaginary until the hour of our death, when the final harassments of imagination will beset us.

* * *

The Horror of the Unreal
By Peter Bebergal

The TV show “The Walking Dead” is one long exercise in tension. But the zombies—the supposed centerpiece of the show’s horror—are not particularly frightening. Gross, to be sure, but also knowable, literal. You can see them coming from yards away. They are the product of science gone wrong, or of a virus, or of some other phenomenal cause. They can be destroyed with an arrow through the brain. More aberration than genuine monsters, they lack the essential quality to truly terrify: an aspect of the unreal.

The horror writer Thomas Ligotti believes that even tales of virus-created zombies—and other essentially comprehensible creatures—can elicit what we might call, quoting the theologian Rudolf Otto, “the wholly other,” but it requires a deft hand. The best such stories “approach the realm of the supernatural,” he told me over e-mail, even if their monsters are entirely earthly. As an example, he pointed to “The Texas Chainsaw Massacre,” “wherein the brutality displayed is so deviant and strange it takes off into the uncanny.” Ligotti doesn’t require bloodthirsty villains to convey a sense of impending horror, though. “I tend to stipulate in my work that the world by its nature already exists in a state of doom rather than being in the process of doom.” […]

“Whether or not there is anything called the divine is neither here nor there,” Ligotti told me. “It’s irrelevant to our sense of what is beyond the veil.” Ligotti believes that fiction can put us in touch with that sense of things unseen, that it can create an encounter with—to quote Rudolf Otto again—the mysterium tremendum et fascinans, a state that combines terror and enchantment with the divine. In fact, Ligotti believes that “any so-called serious work of literature that doesn’t to some extent serve this function has failed.” It’s not a matter of genre, he says. He cites Raymond Chandler’s Philip Marlowe as a character who would go wherever the clues took him, no matter how deep into the heart of the “unknown.” “Chandler wanted his detective stories to invoke the sense of the ‘country behind the hill.’ “

Because Ligotti has no interest in whether or not that world beyond actually exists, there is a tension, an unanswered question, in his work: Can we locate the source of this horror? His characters are often confronted by people or groups who worship something so alien that their rituals don’t conform to any identifiable modes of religious practice. Usually, they involve some form of sacrifice or other suggestion of violence. The implication seems to be that, even if there is meaning in the universe, that meaning is so foreign, so strange, that we could never understand it, and it could never make a difference in our lives. Any attempt to penetrate it will only lead to madness.

As a practical matter, Ligotti believes that the short story is the most potent means for conveying this idea. “A novel can’t consistently project what Poe called a ‘single effect,’ “ he explains. “It would be too wearing on the reader—too repetitious and dense, as would, for instance, a lengthy narrative poem written in the style of a lyric poem. A large part of supernatural novels must therefore be concerned with the mundane and not with a sense of what I’ll call ‘the invisible.’ “

Trying to get Ligotti to explain what he means by the “invisible” is not easy. “I’m not able to see my stories as establishing or presuming the existence of a veil beyond which the characters in them are incapable of seeing. I simply don’t view them in this way. ” But his characters, I insisted, suggest that we are all capable of seeing beyond the veil, though it’s impossible to tell if they are simply mad, or if they have indeed perceived something outside normal perception. I asked Ligotti if he saw a difference between these two states of consciousness. “The only interest I’ve taken in psychological aberrancy in fiction,” he answered, “has been as a vehicle of perceiving the derangement of creation.”

Thomas Ligotti: Dark Phenomenology and Abstract Horror
by S.C. Hickman

Ligotti makes a point that horror must stay ill-defined, that the monstrous must menace us from a distance, from the unknown; a non-knowledge, rather than a knowledge of the natural; it is the unnatural and invisible that affects us not something we can reduce to some sociological, psychological, or political formation or representation, which only kills the mystery – taming it and pigeonholing it into some cultural gatekeeper’s caged obituary. […] The domesticated beast is no horror at all.

In the attic of the mind a lunatic family resides, a carnival world of aberrant thoughts and feelings – that, if we did not lock away in a conspiracy of silence would freeze us in such terror and fright that we would become immobilized unable to think, feel, or live accept as zombies, mindlessly. So we isolate these demented creatures, keep them at bay. Then we anchor ourselves in artifice, accept substitutes, religious mythologies, secular philosophies, and anything else that will help us keep the monsters at bay. As Ligotti will say, we need our illusions – our metaphysical anchors and dreamscapes “that inebriate us with a sense of being official, authentic, and safe in our beds” (CHR, 31). Yet, when even these metaphysical ploys want stem the tide of those heinous monsters from within we seek out distraction, entertainment: TV, sports, bars, dancing, friends, fishing, scuba diving, boating, car racing, horse riding… almost anything that will keep our mind empty of its dark secret, that will allow it to escape the burden of emotion – of fear, if even for a night or an afternoon of sheer mindless bliss. And, last, but not least, we seek out culture, sublimation – art, theatre, festivals, carnivals, painting, writing, books… we seek to let it all out, let it enter into that sphere of the tragic or comic, that realm where we can exorcize it, display it, pin it to the wall for all to see our fears and terrors on display not as they are but as we lift them up into art, shape them to our nightmare visions or dreamscapes of desire. As Ligotti tells it, we read literature or watch a painting, go to a theatre, etc. […]

Horror acts like a sigil, a diagram that invokes the powers within the darkness to arise, to unfold their mystery, to explain themselves; and, if not explain then at least to invade our equilibrium, our staid and comfortable world with their rage, their torment, their corruption. The best literary horror or weird tales never describe in detail the mystery, rather they invoke by hyperstitional invention: calling forth the forces out of darkness and the abstract, and allowing them to co-habit for a time the shared space – the vicarious bubble or interzone between the reader and narrative […]

This notion of the tension between the epistemic and ontic in abstract horror returns me to Nick Land’s short work Phyl-Undhu: Abstract Horror, Exterminator in which the narrator tells us that what we fear, what terrorizes us is not the seen – the known and definable, but rather the unseen and unknown, even “shapeless threat, ‘Outside’ only in the abstract sense (encompassing the negative immensity of everything that we cannot grasp). It could be anywhere, from our genes or ecological dynamics, to the hidden laws of technological evolution, or the hostile vastnesses between the stars. We know only that, in strict proportion to the vitality of the cosmos, the probability of its existence advances towards inevitability, and that for us it means supreme ill. Ontological density without identifiable form is abstract horror itself.” […]

Yet, as Lovecraft in one of his famous stories – “Call of Cthulhu” once suggested, the “sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.” Here is the nub for Ligotti, the dividing line of those who continue to sleep in the illusory safety net of their cultural delusions […] Many will remember the Anglo-American poet T. S. Eliot once suggested that “humankind cannot bear too much reality”. […]

For Ligotti the subjective reaction to the seemingly objective stimulus of the uncanny is the gaining of “dark knowledge” about the workings of individuals, […] This sense that the corruption works both ways, upon the victim and the perpetrator; that the world is now topsy-turvy and that the uncanny boundaries between victim and perpetrator are reversible and hazy, and not always obvious is due to that subtle knowledge that each culture is circumscribed within its own black box of conceptuality. By that I mean by that that as Eduardo Viveiros de Castro in his Cannibal Metaphysics argues the case that Amazonian and other Amerindian groups inhabit a radically different conceptual universe than ours—in which nature and culture, human and nonhuman, subject and object are conceived in terms that reverse our own—he presents the case for anthropology as the study of such “other” metaphysical schemes, and as the corresponding critique of the concepts imposed on them by the human sciences. […]

We’re in that position of moving either way: 1) literalizing our fantasies: building walls and barbed-wire fences against invading hordes of refugees, migrants, etc.; or, 2) of seeing through them, seeing the aesthetic and defensive use of art and social mechanisms to defend ourselves from the onslaught of our own daemonic nihilism and drives: our fears and terrors. […]

In our time we’ve forgotten this fact, and forgotten the art laughter, to see the world through the lens of art or horror literature and know that this, too, is illusion: the aesthetic call to our emotions, to our fears and our terrors that allows that purge, that release that only great art can supply. Rather in our time we’ve all become literalists of the imagination, so that apocalypse rather than a pleasant channeling of our fears has become an actual possibility and real manifestation in the world around us in wars, famines, racism, hatred, murder, mayhem… The problem we face is that we’ve targeted the external world of actual people and deemed them disposable as if they are the ravenous zombies and vampires of our contemporary globalist madness. We’ve turned the inside out, reversed what once existed within into a projected nightmare scenario and living hell in the real world not as fantasy but as daemonic threat and doom upon ourselves and others. Talking of contemporary horror films Ligotti remarks that the characters in these films “cannot be sure who is a “thing” and who is not, since those who are transmuted retain their former appearance, memories, and behaviors even after they have become, in their essence, uncanny monstrosities from another world.” (CHR, 92) This sense that we’ve allowed the immigrants (US) and refugees (US and EU) to enter into and become a part of the social body of our nations leads to this sense of the uncanny uncertainty that one cannot be sure who is the “thing” – is it us or them: a paranoiac nightmare world of ravening lunacy, indeed. Because our categories of normal/abnormal have broken down due to the absolute Other of other conceptual cultures who have other sets of Symbolic Orders and ideas, concepts, ideologies, religious, and Laws, etc. we are now in the predicament of mutating and transforming into an Other ourselves all across the globe. There is no safe haven, no place to hide or defend oneself against oneself. In this sense we’ve all – everyone on the planet – become as Ligotti states it, in “essence, uncanny monstrosities from another world”. (CHR, 92)

* * *

Trickster Makes This World
by Lewis Hyde
pp. 168-172

During the years I was writing this book, there was an intense national debate over the concern that government funds might be used to subsidize pornographic art. The particulars will undoubtedly change, but the debate is perennial. On the one side, we have those who presume to speak for the collective trying to preserve the coverings and silences that give social space its order. On the other side, we have the agents of change, time travelers who take the order itself to be mutable, who hope— to give it the most positive formulation— to preserve the sacred by finding ways to shift the structure of things as contingency demands. It is not immediately clear why this latter camp must so regularly turn to bodily and sexual display, but the context I am establishing here suggests that such display is necessary.

To explore why this might be the case, let me begin with the classic image from the Old Testament: Adam and Eve leaving the garden, having learned shame and therefore having covered their genitals and, in the old paintings, holding their hands over their faces as well. By these actions they inscribe their own bodies. The body happens to be a uniquely apt location for the inscription of shame, partly because the body itself seems to be the sense organ of shame (the feeling swamps us, we stutter and flush against our will), but also because the content of shame, what we feel ashamed of, typically seems indelible and fixed, with us as a sort of natural fact, the way the body is with us as a natural fact. “Shame is what you are, guilt is what you do,” goes an old saying. Guilt can be undone with acts of penance, but the feeling of shame sticks around like a birthmark or the smell of cigarettes.

I earlier connected the way we learn about shame to rules about speech and silence, and made the additional claim that those rules have an ordering function. Now, let us say that the rules give order to several things at once, not just to society but to the body and the psyche as well. When I say “several things at once” I mean that the rules imply the congruence of these three realms; the orderliness of one is the orderliness of the others. The organized body is a sign that we are organized psychologically and that we understand and accept the organization of the world around us. When Adam and Eve cover their genitals, they simultaneously begin to structure consciousness and to structure their primordial community. To make the temenos, a line is drawn on the earth and one thing cut from another; when Adam and Eve learn shame, they draw a line on their bodies, dividing them into zones like the zones of silence and speech— or, rather, not “like” those zones, but identified with them, for what one covers on the body one also consigns to silence.

[…] an unalterable fact about the body is linked to a place in the social order, and in both cases, to accept the link is to be caught in a kind of trap.

Before anyone can be snared in this trap, an equation must be made between the body and the world (my skin color is my place as a Hispanic; menstruation is my place as a woman). This substituting of one thing for another is called metonymy in rhetoric, one of the many figures of thought, a trope or verbal turn. The construction of the trap of shame begins with this metonymic trick, a kind of bait and switch in which one’s changeable social place is figured in terms of an unchangeable part of the body. Then by various means the trick is made to blend invisibly into the landscape. To begin with, there are always larger stories going on— about women or race or a snake in a garden. The enchantment of those regularly repeated fables, along with the rules of silence at their edges, and the assertion that they are intuitively true— all these things secure the borders of the narrative and make it difficult to see the contingency of its figures of thought. Once the verbal tricks are invisible, the artifice of the social order becomes invisible as well, and begins to seem natural. As menstruation and skin color and the genitals are natural facts, so the social and psychological orders become natural facts.

In short, to make the trap of shame we inscribe the body as a sign of wider worlds, then erase the artifice of that signification so that the content of shame becomes simply the way things are, as any fool can see.

If this is how the trap is made, then escaping it must involve reversing at least some of these elements. In what might be called the “heavy-bodied” escape, one senses that there’s something to be changed but ends up trying to change the body itself, mutilating it, or even committing suicide […]

These are the beginnings of conscious struggle, but we have yet to meet the mind of the trickster— or if we have, it belongs to the trickster who tries to eat the reflected berries, who burns his own anus in anger, who has not learned to separate the bait from the hook. As we saw earlier, the pressures of experience produce from that somewhat witless character a more sophisticated trickster who can separate bait from hook, who knows that the sign of something is not the thing itself, and who is therefore a better escape artist with a much more playful relationship to the local stories. The heavy-bodied, literalizing attempt to escape from shame carries much of the trap with it— the link to the body, the silence, and so on. Inarticulately, it takes the sign for the thing itself, imagining racism inheres in the color of the skin. Wise to the tricks of language, the light-bodied escape from shame refuses the whole setup— refuses the metonymic shift, the enchantment of group story, and the rules of silence— and by these refusals it detaches the supposedly overlapping levels of inscription from one another so that the body, especially, need no longer stand as the mute, incarnate seal of social and psychological order. All this, but especially the speaking out where shame demands silence, depends largely on a consciousness that doesn’t feel much inhibition, and knows how traps are made, and knows how to subvert them.

This is the insight that comes to all boundary-crossers— immigrants in fact or immigrants in time— that meaning is contingent and identity fluid, even the meaning and identity of one’s own body.

It should by now be easier to see why there will always be art that uncovers the body, and artists who speak shamelessly, even obscenely. All social structures do well to anchor their rules of conduct in the seemingly simple inscription of the body, so that only after I have covered my privates am I allowed to show my face to the world and have a public life. The rules of bodily decorum usually imply that the cosmos depends on the shame we feel about our bodies. But sometimes the lesson is a lie, and a cunningly self-protecting one at that, for to question it requires self-exposure and loss of face, and who would want that? Well, trickster would, as would all those who find they cannot fashion a place for themselves in the world until they have spoken against collective silence. We certainly see this— not just the speaking out but the self-exposure— in Allen Ginsberg, and we see it a bit more subtly in both Kingston and Rodriguez. Neither of them is a “dirty writer” the way Ginsberg is, but to begin to speak, one of them must talk about menstruation (which talk she links to becoming the mistress of her own sexuality) and the other must talk about his skin (which talk he links to possessing his “maleness”).

To the degree that other orders are linked to the way the body is inscribed, and to the degree that the link is sealed by rules of silence, the first stuttering questioning of those orders must always begin by breaking the seal and speaking about the body. Where obscene speech has such roots it is worth defending, and those who would suppress it court a subtle but serious danger. They are like the gods who would bind Loki, for this suppression hobbles the imagination that copes with the shifting and contingent nature of things, and so invites apocalyptic change where something more playful would have sufficed. Better to let trickster steal the shame covers now and then. Better to let Coyote have a ride in the Sun-god’s lodge. Better to let Monkey come on your journey to the West.

* * *

“Disseminated Volition in the New Testament Gospels”
by Andrew Stehlik
The Jaynesian (Vol. 3, Issue 1)

It is well known that many words for inner spiritual motions and emotions are actually metaphors derived from primitive (outward) physiological observations. Brief references to any good dictionary which includes etymology can corroborate this conclusion.

Julian Jaynes in The Origin of Consciousness in the Breakdown of the Bicameral Mind dedicated a whole chapter to this theme — looking forward through the Iliad (pp. 257– 272). He concentrates on seven words: thumos, phrenes, noos, psyche, kradie, ker, and etor.

Julian Jaynes recognized that these and other similar body based, physiological or anatomical metaphors (in almost any language) are actually more than simple linguistic metaphors and that they played an important role in the breakdown of bicameralism and the development of consciousness. Different forms of stress and anxiety trigger different physiological responses. Observations of these responses were used in naming and creating hypostases and metaphors useful in the terminology of introspection and the development of consciousness. […]

In the New Testament Gospels (therefore quite late in the historical process — the second half of the first century CE) I recently recognized an interesting phenomenon which could be part of this process, or, even better, a pathological deviation along this process.

Once in the gospel of Mark (9: 42– 48) and twice in the gospel of Matthew (5: 27– 30 and 18: 6– 10) Jesus is supposed to utter an almost identical saying. In this saying, individual parts of the body (eyes, hands, feet) are given the ability of independent volition. They can inform acting of the whole person. The saying suggests, further, that when the influence (instructions, independent volition) of these body parts is perceived as dangerous or harmful, they should be silenced by cutting them off to protect the integrity of the rest of the body.

All academic theological literature known to me takes these sayings as high literary metaphors. Frequent references are made to biology and medicine and the use of amputations are the last resort in serious conditions.

Completely unrecognized is the whole presumption of this saying according to which individual body parts could possess independent volition and as such can inform (sway/direct) the acting of the whole body. Even more seriously — the presumption that self-mutilation can stop or somehow influence higher mental processes. Even the person who is not a trained psychologist or psychiatrist can recognize that we are dealing with a seriously pathological state of mind. […]

Already at the time of recording in the gospels this saying was perceived as anomalous. Luke, the most educated and refined of synoptical authors, preserved the immediate context, but edited out most of the peculiar parts concerning disseminated volition and self-mutilations.

Further and broader contexts which may be mentioned and discussed: other Greek and Hebrew physiological and anatomical metaphors; the popularity of a metaphor of the body for structuring and functioning of society in Hellenism; the ancient practice of religious self-mutilation; the potential for facilitating our understanding of brutish penal codes or modern self-mutilations.

* * *

The Monstrous, the Impure, & the Imaginal
The Haunted Moral Imagination

Inconsistency of Burkean Conservatism
On Truth and Bullshit
Poised on a Knife Edge
“Why are you thinking about this?”

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“Why are you thinking about this?”

“Why are you thinking about this?”

That was the question my father recently asked me, in relation to thoughts I had about books I was reading. The moment I heard the question, I realized he had asked me that question many times before, when discussing other topics.

I’m a naturally curious person. It isn’t that I don’t think about the reasons for my curiosity, but I wouldn’t think about it in the way that my father’s question was intended. His question felt defensive, and I realized that I often sense that defensive quality whenever I bring up a new set of ideas to my father. I’m so used to it, though, that I don’t normally give it much consideration. It’s usually just in the background.

My father has been my intellectual sparring partner for my entire life. He taught me how to think more than anyone else. This is significant for a number of reasons.

Most importantly, he is a conservative and I a liberal. So, my own thinking has naturally fallen into the grooves of this ideological dialectic. I’m incapable of thinking of liberalism and conservatism as separate phenomena. My relationship to my father is the ground for my experience of liberalism’s relationship to conservatism. This obviously gives a slant to my views. My liberalism is forever the son’s challenge to the father and hence to all things patriarchal and paternalistic.

This relationship is well established between my father and I. We each know our roles. When he asks me for my reasons, he isn’t just being generally defensive, but specifically toward something. There is something, as I see it, that conservatives will seek to defend before all else. I’ve previously called it symbolic conflation (also, see here, here, and here). It is the linchpin of the social order.

When I go off on my questioning obsessions, I’m wiggling that linchpin. I know it and my father knows it.

I may pretend that isn’t what I’m doing, for sake of good relations, but the fact of the matter is that I find myself a disturber of the peace in the Hobbit’s Shire. Like Bilbo Baggins, I’m not intending to be a radical revolutionary, a mean-spirited malcontent, or a mischievous troublemaker. I resisted my fate, as best I could, but to no avail. A disturber of the peace becomes such for somewhere along the way his own peace was disturbed. My mind and soul is disturbed by forces I neither comprehend nor control (some would call it ‘depression’), and so I act accordingly. It is what it is.

No one chooses to see the linchpin. But once seen, it is hard to unsee, no matter how disturbing.

Researchers have even shown that people will sometimes go to great effort not to see something. A study was done on different patterns of eye focusing. There was some image that didn’t fit into a person’s worldview or else didn’t fit into what they deemed acceptable, and as I recall the researchers were specifically dividing people according to ideological categories.

What was found was that certain people would look all over the room while conspicuously not looking at the one place where that image was located. So, they weren’t looking at it, but at some level they had seen it in their peripheral vision and were unconsciously recognizing its presence by actively looking all around it. This is a cognitive blindspot, not a lack of physical ability to see, just a lack of conscious willingness and desire to perceive.

That is how I think conservatives deal with symbolic conflations (conservative-minded liberals deal with it in the same way). They spend immense energy defending what they will never directly acknowledge. That is why the structure of the psychological dynamic is so important, where the symbol is conflated with reality. The symbol, as such, represents and obscures. The conservative knows and doesn’t know what the symbol means. The conflation is so tricky that even most liberals have a hard time untangling the knot or even realizing there is a knot to be untangled, and that is the conflation’s primary purpose, to hide the soft underbelly from probing daggers.

The conservative’s task is much easier for the reason that most liberals don’t want to untangle the knot, to remove the linchpin. Still, that is what conservative’s fear, for they know liberals have that capacity, no matter how unlikely they are to act on it. This fear is real. The entire social order is dependent on overlapping symbolic conflations, each a link in a chain, and so each a point of vulnerability.

A symbolic conflation both represents and replaces what is unspoken, both distracts from and obscures what is hidden. It is a fluttering bird luring the predator away from the nest. My mind was brought back to these thoughts not just because of my father’s question, although the question helped focus my mind. Seeing the fluttering bird of his question, my attention was drawn to the trajectory from which it was fleeing.

What started all this was my reading about shame (along with guilt, honor, etc), the topic that elicited my father’s question. It so happens that conservatism and liberalism are key to my thoughts about shame, although I had not immediately stated so to him, but still he sensed the implications.

The issue of shame is a sore spot where conservatism and liberalism have, from their close proximity, rubbed each other raw. It is also a site of much symbolic conflation, the linchpin like a stake in the ground to which a couple of old warriors are tied in their ritual dance of combat and wounding, where both are so focused on one another that neither pays much attention to the stake that binds them together. In circling around, they wind themselves ever tighter and their tethers grow shorter.

Stepping away from that predictable struggle, I found myself wondering about what is outside the proscribed boundary of polarized consciousness. In my specific inquiry here, my mind slipped down a side path that runs parallel to well-tread ruts. Exploring shame caused me to wander afield, as the subject is new territory for me, and in wandering I found myself following this new trail of thought. As often happens, I discovered something of interest along the way.

I was led back to an author and a book with which I’m already familiar, but I was now able to see it in new light. The book in question is Trickster Makes the World by Lewis Hyde. I had forgotten how much the author discusses shame and I have to say it is one of the better books on the subject that I’ve so far read. Here is what caught my attention. A few sections I recognized as territory from my own maps of symbolic conflation. Hyde’s cartographic descriptions of this emotional terrain, however, uses trickster mythology (instead of ideological predispositions) for the map’s legend and scaling.

In the first passage that got me excited, Hyde shows the relationship between shame, the body, and the social order. He writes that (pp. 169-170),

“[A]n unalterable fact about the body is linked to a place in the social order, and in both cases, to accept the link is to be caught in a kind of trap.

“Before anyone can be snared in this trap, an equation must be made between the body and the world (my skin color is my place as a Hispanic; menstruation is my place as a woman). This substituting of one thing for another is called metonymy in rhetoric, one of the many figures of thought, a trope or verbal turn. The construction of the trap of shame begins with this metonymic trick, a kind of bait and switch in which one’s changeable social place is figured in terms of an unchangeable part of the body. Then by various means the trick is made to blend invisibly into the landscape. To begin with, there are always larger stories going on— about women or race or a snake in a garden. The enchantment of those regularly repeated fables, along with the rules of silence at their edges, and the assertion that they are intuitively true— all these things secure the borders of the narrative and make it difficult to see the contingency of its figures of thought. Once the verbal tricks are invisible, the artifice of the social order becomes invisible as well, and begins to seem natural. As menstruation and skin color and the genitals are natural facts, so the social and psychological orders become natural facts.

“In short, to make the trap of shame we inscribe the body as a sign of wider worlds, then erase the artifice of that signification so that the content of shame becomes simply the way things are, as any fool can see.

“If this is how the trap is made, then escaping it must involve reversing at least some of these elements. In what might be called the “heavy-bodied” escape, one senses that there’s something to be changed but ends up trying to change the body itself, mutilating it, or even committing suicide…”

I loved his explaining of this metonymy as a bait and switch. It is a brilliant analysis of how symbolic conflation operates. Hyde unpacks the confusion and in its place offers clarity.

The visceral language he uses is powerful. Symbolic conflation sounds too abstract. The actual experience really is to be snared in a trap. The body, as being spoken of here, isn’t a mere metaphor. What makes it so compelling is that the imagined gets identified with the body, with specific parts and specific functions of specific bodies. One feels this in one’s own body and so at the most basic level of one’s sense of identity and reality.

So much falls into place once this is understood. I’m forced to think more deeply about my own previous speculations and understandings. I sense how this touches upon the beating heart of symbolic conflation. A symbol is always rooted in the imagination with the taproot running deep into visceral experience, the body being the dark soil in which it grows. It is in our telling of stories that this visceral experience is brought to life and made personally real. A story is about meaning, but it is a meaning more of emotions than of ideas.

I’m also brought back to thoughts of reactionary conservatism. Is Hyde specifically pinning down the fluttering wings of the reactionary conservative? Has he devised his own snare to entrap the reactionary conservative in action, like a camera set up to snap a picture of a wary beast in the deep wilderness? If so, what is the precise relationship between reactionary conservatism and symbolic conflation that is captured here?

I’ll return to those questions, but first let me explore further into what Hyde has written about. In the next passage, he explores a historical context for one particular trickster mythology, Hermes of the ancient Greeks (pp. 206-207):

“[Norman O. Brown] therefore proposes this parallel: just as Hermes acquires a place alongside Apollo in the course of the Hymn, so in the course of the sixth century the “Athenian industrial and commercial classes achieved equality with the aristocracy.” That equality was not easily won; it required the resolution of a whole series of differences. In the aristocratic era, wealth came from herding and farming the soil; in Athenian democracy those sources of wealth still existed but were increasingly challenged by a craft economy and commercial exchange with strangers. Agrarian aristocracy was organized around hierarchical kinship ties; Athenian democracy retained such ties but added a new ethic of equality symbolized by the fact that many political positions in Athens were filled by a lottery in which all citizens could participate, regardless of family or status. Most important, the emerging cosmopolitan democracy brought with it a “new ethics of acquisitive individualism [that] conflicted with the traditional morality which the Greeks called Themis— the body of customs and laws inherited from the age of familial collectivism.” The older morality took any deviation from “the archaic form of commerce by mutual exchange of gifts” to be an immoral thieving (even what we would now call fair trade was taken to be robbery). In short, during the sixth century, a world organized through kin relationships and a collective ethic of gift exchange gave way to a world in which hierarchy could be periodically revised and social relations were increasingly articulated through the individualist (which is to say, thieving) ethic of the marketplace.

“As for those who were excluded or marginalized, we should remember that, in a society where the dominant values are kin ties and agrarian wealth, those whose identity is bound up with trade are typically consigned to a subordinate place in the order of things. They are, so to speak, “low caste” (as they have been historically in India, where merchants and artisans fall into the lower two of the four varnas). If, in the Greek case, such people hope to place themselves on an equal footing with the warriors and family farmers of ancient days, they will have to subvert that order and reshape it on their own terms. Such, Brown argues, is exactly what happened: the “regime of the landed aristocracy was overthrown, its agrarian economy yielding to a new economy based on trade and handicraft industry, its political oligarchy yielding to the politics of ancient democracy.” The Hymn reflects that change: “The theme of strife between Hermes and Apollo translates into mythical language the insurgence of the Greek lower classes and their demands for equality with the aristocracy.”

“Brown’s claims cover a lot of ground and his talk of class conflict gives off an air of retrospective Marxism, but the [Homeric] Hymn itself, however we fit it into actual Greek history, sets up a tension in accord with the one that Brown suggests. There is little doubt that in the classical period Hermes is associated with artisans, merchants, and thieves, and the poem itself makes it clear that some kind of “outsiderness” is at issue, and that Hermes hopes to change it.”

Right there! That is key. The described “outsiderness” brings us directly to the doorstep of the reactionary conservative, as understood by Corey Robin. Before I get to that, let me add the paragraph that immediately follows the above (p. 207):

“To effect that change he has, as I said earlier, a method by which the excluded can enter a group, change its structure, and give themselves a place at the table. A whole range of cunning tricks makes up this method, but its underlying structure is quite simple: no matter what he does, Hermes is either an enchanter or a disenchanter.”

I would note and emphasize that this touches upon the Burkean roots of reactionary conservatism.

Edmund Burke was one of those outsiders (in his case, raised a Catholic in Ireland) who sought “a place at the table” of the English ruling elite. He didn’t want to overturn the table and certainly not to take an axe to it. His attitude was that of the emerging middle class challenging the weakening traditionalism of the ancien régime. It was the same basic pattern that played out two millennia before in ancient Greece.

It is interesting to think of the reactionary conservative in his role as trickster. He is seeking to redefine his position and remake the social order, of course in his own image. The reactionary rhetoric being used is tricksy, for it generously borrows from the political left in order to undermine the political left. The reactionary conservative seeks to usurp the liberals role as challenger to the status quo and simultaneously to remove the teeth of radicalism, leaving the left without any real bite.

Enchanter and deceiver. The trickster may free you but at a cost of enslaving you to something else. He hypnotizes you with a story and makes you drowsy with a song, he puts you under the sway of an archetype and delivers you into the control of an unseen power.

This is what the reactionary conservative does with symbolic conflation, not to claim that this is how conservatives understand their own actions, as this process happens mostly within the unconscious, the territory of the imagination and the playground of the trickster. Reactionary conservatives end up deceiving both others and themselves, a mutually-afflicted magic spell of misdirection and mystification.

Edmund Burke the progressive reformer becomes Edmund Burke the reactionary conservative. Was there an actual change of character or was his real character revealed?

Is the reactionary mode of being the trickster lying in wait within the liberal mind? Do liberals simply fall prey to their own fears and dark thoughts? If Burke hadn’t felt shame in his outsider status that he tried to hide by gaining social position, might he have avoided falling into this reactionary stance of pulling up the ladder behind him? Why is it so often that the challenger to power who is the one most fearful of challenges to power and so most reactionary to any further unsettling of the status quo?

With this in mind, Hyde does offer further context, in which he describes two aspects of the trickster (pp. 208-209):

“Depending on which way he is moving across the threshold, I call him Hermes of the Dark or Hermes of the Light. Hermes of the Dark is the enchanter or hypnagoge who moves us into the underworld of sleep, dream, story, myth. This darkening motion is a precondition of belief; with it Hermes delivers you to one of the gods and puts you under his or her spell. He dissolves time in the river of forgetfulness, and once time has disappeared the eternals come forward. Hermes of the Dark is the weaver of dreams, the charmer who spins a compelling tale, the orator who speaks your mother tongue with fluid conviction.

“Hermes of the Light is the disenchanter or awakening angel who leads you out of the cave. There the bright light prepares the ground for doubt. There he kills and roasts the sacred cattle. He dissolves eternals in the river of time, and when they have disappeared, the world becomes contingent and accidental. Hermes of the Light translates dreams into analytic language; he rubs the charm from old stories until they seem hopelessly made up and mechanical. He walks you inland until you stop dreaming in your mother tongue.

“Hermes himself is neither one of these alone but both at once. He is neither the god of the door leading out nor the god of the door leading in— he is the god of the hinge. He is the mottled figure in the half-light, the amnigoge who simultaneously amazes and unmazes, whose wand both “bewitches the eyes of men to sleep and wakes the sleeping,” as Homer says in the Iliad. I sometimes wonder if all great creative minds do not participate in this double motion, humming a new and catchy theogony even as they demystify the gods their elders sang about. Pablo Picasso had that double motion, disturbing classical perspective while presenting a strange new way of seeing, one so hypnotic it shows up decades after his death on billboards and children’s printed pajamas. Sigmund Freud had that double motion, dragging slips of the tongue into the daylight, or “explaining” Moses, while simultaneously retelling the old story of Oedipus in a manner so compelling that, decades after his death, Ivy League literary critics can’t get it out of their heads. Or there is Vladimir Nabokov: if you think his deft language magic is serious, you’re wrong, and if you think it’s just a game, you’re wrong.”

Hermes of the Dark and Hermes of the Light. The latter might be thought of as the liberal mind in radical mode. The former would then be the liberal mind in reactionary mode, what is known more simply as conservatism, it likely being redundant calling a conservative reactionary.

Hermes isn’t one or the other. He is both the enchanter and the disenchanter.

This is how I see liberalism in this liberal age. I suspect that ultimately the radical and the reactionary are the two archetypal roles of the trickster, as they get expressed in post-Enlightenment modernity. Hermes the enchanter puts the linchpin in place and hides its location. Hermes the disenchanter is the liberating force that wiggles the linchpin or even pulls it out, but only to put it back in at another location. The trickster shifts, not destroys, the boundary.

The great minds of any age play both roles in an act of creative destruction. They learn from the problems and weaknesses of the old vision. They then replace it with an even more powerful reality tunnel, a cognitive trap that will be even harder to escape, whether or not that was their intended result.

This is how we must understand conservatives. The best conservative thinkers and leaders were able to accomplish this magic trick. They offered something new and convinced so many that it was always that way. Conservatives are first and foremost enthralling storytellers, drawing us into their narratives, sometimes even against our better judgment. They don’t just redefine conservatism, but the entire political framework and the entire historical foundation of thought. They proscribe the perceived reality of what was, what is, and what must be.

This obviously isn’t how conservatives think of themselves, and that is the entire point. What they do has so much power for the very reason that it doesn’t correspond to what they say. The closer you watch the more you will be thrown by the sleight-of-hand.

I’ll allow Corey Robin to explain this from his own perspective, as written in his book The Reactionary Mind (pp. 42-43):

“Whether in Europe or the United States, in this century or previous ones, conservatism has been a forward movement of restless and relentless change, partial to risk taking and ideological adventurism, militant in its posture and populist in its bearings, friendly to upstarts and insurgents, outsiders and newcomers alike. While the conservative theorist claims for his tradition the mantle of prudence and moderation, there is a not-so-subterranean strain of imprudence and immoderation running through that tradition— a strain that, however counterintuitive it seems, connects Sarah Palin to Edmund Burke.

“A consideration of this deeper strain of conservatism gives us a clearer sense of what conservatism is about. While conservatism is an ideology of reaction— originally against the French Revolution, more recently against the liberation movements of the sixties and seventies— that reaction has not been well understood. Far from yielding a knee-jerk defense of an unchanging old regime or a thoughtful traditionalism, the reactionary imperative presses conservatism in two rather different directions: first, to a critique and reconfiguration of the old regime; and second, to an absorption of the ideas and tactics of the very revolution or reform it opposes. What conservatism seeks to accomplish through that reconfiguration of the old and absorption of the new is to make privilege popular, to transform a tottering old regime into a dynamic, ideologically coherent movement of the masses. A new old regime, one could say, which brings the energy and dynamism of the street to the antique inequalities of a dilapidated estate.”

When I first read this book, Robin’s theory was disconcerting. I had previously been taken in by all of the confusing rhetoric. I couldn’t make heads or tails out of any of it. I couldn’t figure out what conservatism even meant or was supposed to represent. Like most Americans, the obfuscation was a powerful force in obstructing clear thought. But what if, as Robin suggests, conservatism is in some sense the complete opposite of what it pretends to be? That is a truly radical possibility.

The one part of his theory that is most intriguing is something I already pointed out. According to Robin, conservatism is and always has been driven by outsiders. That is what gives it such a dynamic quality, as opposed to its proclamations of traditionalism. In speaking about “populist currents,” he states that they “can help us make sense of a final element of conservatism.” As he elaborates (pp. 57-58):

“From the beginning, conservatism has appealed to and relied upon outsiders. Maistre was from Savoy, Burke from Ireland. Alexander Hamilton was born out of wedlock in Nevis and rumored to be part black. Disraeli was a Jew, as are many of the neoconservatives who helped transform the Republican Party from a cocktail party in Darien into the party of Scalia, d’Souza, Gonzalez, and Yoo. (It was Irving Kristol who first identified “the historical task and political purpose of neoconservatism” as the conversion of “the Republican Party, and American conservatism in general, against their respective wills, into a new kind of conservative politics suitable to governing a modern democracy.”) 41 Allan Bloom was a Jew and a homosexual. And as she never tired of reminding us during the 2008 campaign, Sarah Palin is a woman in a world of men, an Alaskan who said no to Washington (though she really didn’t), a maverick who rode shotgun to another maverick.”

This outsider element is key to probing beneath appearances. It gets down to the visceral feeling behind conservatism, the gut-level pull of its language and imagery. “Conservatism,” he continues (p. 58),

“has not only depended upon outsiders; it also has seen itself as the voice of the outsider. From Burke’s cry that “the gallery is in the place of the house” to Buckley’s complaint that the modern conservative is “out of place,” the conservative has served as a tribune for the displaced, his movement a conveyance of their grievances. 42 Far from being an invention of the politically correct, victimhood has been a talking point of the right ever since Burke decried the mob’s treatment of Marie Antoinette. The conservative, to be sure, speaks for a special type of victim: one who has lost something of value, as opposed to the wretched of the earth, whose chief complaint is that they never had anything to lose. His constituency is the contingently dispossessed— William Graham Sumner’s “forgotten man”— rather than the preternaturally oppressed. Far from diminishing his appeal, this brand of victim-hood endows the conservative complaint with a more universal significance. It connects his disinheritance to an experience we all share— namely, loss— and threads the strands of that experience into an ideology promising that that loss, or at least some portion of it, can be made whole.”

This brings me around to the original issue. Loss is a powerful emotion and so it is a site of symbolic conflation, where the trickster can play his tricks. Loss speaks to everyone and it is a truly amazing trick to make loss symbolic of power itself, of position and privilege (pp. 58-59):

People on the left often fail to realize this, but conservatism really does speak to and for people who have lost something. It may be a landed estate or the privileges of white skin, the unquestioned authority of a husband or the untrammeled rights of a factory owner. The loss may be as material as money or as ethereal as a sense of standing. It may be a loss of something that was never legitimately owned in the first place; it may, when compared with what the conservative retains, be small. Even so, it is a loss, and nothing is ever so cherished as that which we no longer possess. It used to be one of the great virtues of the left that it alone understood the often zero-sum nature of politics, where the gains of one class necessarily entail the losses of another. But as that sense of conflict diminishes on the left, it has fallen to the right to remind voters that there really are losers in politics and that it is they— and only they— who speak for them. “All conservatism begins with loss,” Andrew Sullivan rightly notes, which makes conservatism not the Party of Order, as Mill and others have claimed, but the party of the loser.”

But what is loss? It is primarily a feeling. Once elicited, many stories can be woven around it, both hopeful and disempowering, both beneficial and malign. Loss by itself, however, has no inherent meaning.

Loss is a wound, an opening and an openness to meaning. In portraying the listener as the wounded, the rhetorician and storyteller puts the listener in the position of vulnerability and fear. If one is wounded, someone must have done the wounding and so there must be an attacker toward which requires a defense or a counter-attack. The loss points an accusing finger to a thief and a criminal, someone undeserving and dangerous, a taker rather than a maker, a destroyer rather than a creator.

The trickster is as much about what isn’t there, silence as much as sound, which is why loss resonates so deeply here. Loss signifies something and yet refuses to settle on a single significance. It makes us uncomfortable, to sit too long alone in that throbbing ache. We seek to fill the emptiness with meaning or yet more emotion, anger or shame, hatred or longing, or else fill the silence with the sound of speaking, our own voice or that of another.

Loss is elusive, always shifting, hence its trickster quality and reactionary persuasion. We are willing to be deceived by anyone who will tell us what our loss means, who will give us a story to help us forget, if only temporarily.

Lewis Hyde also touches upon this theme of loss in Trickster Makes This World (pp. 287-288):

“Like the heap of stones over a grave, the symbol that stands for a thing that has been lost (not “Krishna” but “Krishna-gone”) belongs to an odd class of symbols. We cannot “read through it” to its sense, because what it stands for is missing. It operates not as a point of entry into meaning but paradoxically as a breeder of multiple meanings. That is to say, when we try to find the sense of one of these “symbols of loss,” we discover only senses that we ourselves bring to it, and we can easily bring new ones each time we approach. (A famous example is Thoreau’s remark in Walden: “I long ago lost a hound, a bay horse, and a turtle dove, and am still on their trail.” A hundred and fifty years after this line was written, what one notices is not that its readers have slowly settled on its true meaning but that meanings have proliferated each time someone looks at it.) Symbols of absent things draw interpretive minds the way the flute music draws the gopis. If multiple meanings are what you want, a lost hound is a better breeder than any real Fido. Krishna erases the mundane, then erases himself, and these removals— precisely because they do not declare— open the field for human beings to spin out endlessly their sense of what has happened.”

A symbolic conflation always points elsewhere, assuming it points anywhere at all. It is an empty signifier, for it can never mean what it claims, can never be as it seems. It sends one’s mind in circles, chasing what is not there, a shadow cast from somewhere else, and like a shadow it is defined by a lack of substance. It is the shape of an empty space, a sense of an absence. It is an aporia in the narrative, an elision between meaning and the meaningless.

I’m always enticed by what is missing, unspoken, ignored. My father’s question attracted my attention not because of some answer it was pointing toward, but because it seemed to point away from something else, maybe another question. That is the same basic reason that has obsessed my mind about symbolic conflation. It feels like there is no end to insights to be mined, for the trickster multiplies meaning. The trickster can always disenchant. Our minds can be freed of the binds that tie us down and tangle up our every thought.

Still, taken at face value, my father’s question is a serious question. Why do I focus on what I do? I ultimately don’t know.

It reminds me of my habit of always looking down as I walk. My father, on the other hand, never looks down and has a habit of stepping on things. It is only by looking down that we can see what is underneath our feet, what we stand on or are stepping toward. Foundation and fundament are always below eye level. Even in my thinking, I’m forever looking down, to what is beneath everyday awareness and oft-repeated words. Just to look down, such a simple and yet radical act.

Looking down is also a sign of shame or else humility, the distinction maybe being less relevant to those who avoid looking down. To humble means to bring low, to the level of the ground, the soil, humus. To be further down the ladder of respectability, to be low caste or low class, is to have a unique vantage point. One can see more clearly and more widely when one has grown accustomed to looking down, for then one can see the origins of things, the roots of the world, where experience meets the ground of being.

This is also of the trickster. One can learn a lot about people by looking at their shit and sifting through their garbage, all that is metaphorically and literally rejected and repressed, tossed away and thrown aside. The greatest of insights are gleaned this way. Those who know shame are given the opportunity to know what gets lost and hidden in the muck of shame. Toiling in the dirt and grime, they can dig up what was buried, now decaying, and in the hole dug they can plant seeds to grow.

Where sun and earth meet is the liminal space of the fertile.

As Hyde explains (pp. 179-180):

“In this world, in trickster’s world, life and death are one thing, not two, and therefore no one gets rid of death without getting rid of life as well. You get no seeds at all if the sunlight is too pure ever to mingle with the muck of the rice paddies. You get no seeds if shit never enters the New Palace. And because there is always a hunger seeking for those seeds, whenever humans or gods move to purify life by excluding death, or to protect order completely from the dirt that is its by-product, trickster will upset their plans. When purity approaches sterility, he will tear a hole in the sacred enclosure and drop a dead pony on the virgin weavers, or strew his feces under the Sun Goddess’s throne. In the Legba story we saw that trickster can create the boundary between heaven and earth, threatening the gods with dirt until they retreat into the distant sky; here we see that once such a boundary exists trickster can abrogate it, importing dirt into the exalted halls until some of heaven’s wealth is loosened and the earth is fertilized, the sun reborn.

“I am, of course, reading this Japanese story rather literally. While it is a nature myth for an agrarian culture (those seeds are actually seeds, and that pile of shit should properly be called manure), the images resonate at other levels as well. If dirt is “matter out of place,” if it is what we exclude when we are creating order, then this and other stories about tricksters and dirt must also speak to the sterility that hides in most all human system and design. The models we devise to account for the world and the shapes we create to make ourselves at home in it are all too often inadequate to the complexity of things, and end up deadened by their own exclusions.”

That is why the world needs skeptics and contrarians. Those who don’t just ask why but also why not. Sometimes the windows need to be opened to let the musty air out and the sunshine in, circulation and merging of the elements. A balancing, a coming to equilibrium.

To play this role, however, is difficult. For the outsider to succeed in forcing change to what is inside is likely to find himself then being on the inside. A window being opened, the opportunity of entry beckons and, with entry, comes promises of inclusion. This is how the trickster transmutes shit into gold, a turtle of the earth into a lyre for a god. And in this is found the secret link between the trickster and the cultural hero, between the bastard child and the prodigal son.

The trickster often finds himself having become domesticated and respectable. The trick of change is as much a trick played on himself as on others. “Such may be the frequent fate of radical change-agents,” states Hyde (pp. 224-225), “to be coopted, outflanked, and contained by the larger culture, to be brought up short of a full apocalyptic reallotment.” He continues,

“But what exactly are the options? A remark by Claude Lévi-Strauss offers a way to imagine the possible fates of those who threaten a group with fundamental change. Lévi-Strauss contrasts two types of societies: “those which practice cannibalism— that is, which regard the absorption of certain individuals possessing dangerous powers as the only means of neutralizing these powers and even of turning them to advantage— and those which, like our own … adopt what might be called the practice of anthropemy (from the Greek emein, to vomit).” The latter eject dangerous individuals; they leave them in the woods, or build special jails to cut them off from the group and keep them isolated. In short, groups can either expel or ingest their troublemakers. The most successful change-agent avoids either fate and manages to stay on the threshold, neither in nor out, but short of that difficult balance the next best fate may be to be eaten, to be incorporated into the local myth.

“Let us say, then, that the Homeric Hymn to Hermes records an incorporation; it is an after-the-fact record of a disruption that has been contained and re-presented as something Zeus “had in mind all along,” not an apocalypse. Trickster’s disruptions are always potentially apocalyptic, but in this case they are converted into manageable mischief. For apocalyptic action, one needs turn to Monkey disrupting the Taoist immortals or to the medieval Loki after whose disruptions the Norse gods are not reborn in Scandinavia but supplanted by Christianity.

“The Hymn is not so apocalyptic and that may be the more common case. It is what might be expected when an outsider penetrates the group: at some point there must be an understanding, a series of compromises that formalize the move, a negotiated living together. In this case the terms are to a large degree set by Hermes, but they do not upset the entire order of things; the order adapts to contain the introject, the foreign thing it has swallowed, and at that point we should divide the “domestication” plot into two forms. It is one thing to submit to an old set of house rules, quite another to enter a house that you yourself have helped to build.”

The reactionary conservative gets assimilated. This is how each generation of conservatives inexorably shifts ever leftward. Over a long enough period, conservatives becomes more liberal than even the liberals of the past.

The ultimate secret of all symbolic conflations contrived by the conservative mind is simple, that there never has been a conservative tradition. The voice of conservatism is but an echo of the liberalism that came before. A reactionary can only rearrange, never create anything new. Yet, in rearranging, the next stage of radicalism is made possible.

The reactionary asking the radical why merely provokes the radical to ask their own questions. These further questions the reactionary cannot answer.

* * * *

By the way, I’m not clearly speaking of absolutely distinct categories. I probably could have explained that better.

I don’t see any reason why a person couldn’t be a radical liberal at one point and a reactionary liberal at another. My speaking of both as liberal was my way of speaking to that possibility. Maybe everyone has the potential for each, and understanding that is our only defense against the extremes.

These are roles more than they are fundamental identities. I wanted to state this more overtly so as to not allow for any confusion.

In talking about my father, the context is a relationship. These roles always exist in particular relationships. As such, I’m only a radical to the extent that I’m relating to someone playing the role of a reactionary, my father in this case. Ditto for what I perceive as my father being a reactionary, a role he is playing in relation to me. These are situational and hence contingent roles, although people have a way of trying to make such roles permanent.

Anyway, it is irrelevant how an individual self-identifies. Labels can be misleading. What is important isn’t that my father prefers the label conservative and that I’ve tended toward the liberal label. There is nothing inherently reactionary or radical in a label.

None of this involves judgement of character. Neither role is morally inferior or superior. These are social realities and must be understood on those terms. They exist only in relationship and only as a singular inseparable dynamic. For me, this isn’t just a dynamic in my relationship with my father, but a dynamic of ideas in my head, what can feel like an internal division and conflict that gets processed by way of an external relationship.

In short, I can’t blame my father for how I experience my father. My response to his question remains my response. My purpose isn’t to objectively prove intentions and motivations. I’m limited to my own intuitive abilities to suss out meaning, an endless process.

These are thoughts I’m playing around with. When the personal is involved, it can make it easier to ground one’s thoughts, but it also can mire one in other kinds of confusions. That is what I was trying to indicate near the beginning of this post, when I spoke of the dynamic between my father and I. It truly has shaped my view of politics. Through this, I gain certain insights, but those insights no doubt have many biases and constraints.

This is the reason I find value in connecting my personal insights to the writings of others, to give me perspective. I’ve been developing these kinds of ideas for many years now. This represents some of my most original thought. My initial understanding arose out of my experience. My later readings have helped to give shape to this understanding.

As my understanding has developed, I’ve come to a more nuanced view of ideology and labels. This post represents one further step in the development of these ideas and insights.

* * * *

As a side note, I mentioned directly above that this is some of my most original thought.

I’m speaking of symbolic conflation. I came to that insight entirely on my own. In fact, I coined the phrasing of ‘symbolic conflation’, as I hadn’t seen it described by anyone else. Lewis Hyde comes close in his use of metonymy, but that doesn’t fully capture my meaning.

The insight slowly emerged from years upon years of discussions with my parents. So much of my political understanding goes back to my family relationships. The original inspiration was a single observation.

A highly emotional and divisive issue of politics is abortion. It has in some ways been the most central theme of the culture wars, connecting together so many other threads in a way that is hard to disentangle.

I presented my parents with the data that countries that ban abortions don’t decrease and, in some cases, increase the rate of abortions. This is to say that on average banning abortions does increase the abortion rate.

This undermines the entire rationalization of the socially conservative position. But my parents were unfazed by this challenge to the heart of their ideological system. I experienced similar refusal to confront these basic facts from other conservatives as well.

By their own logic, social conservatives shouldn’t support banning abortions. Doing so, according to their way of thinking, increases the killing of babies. The only way to protect life is by not making it an issue of shame and fear, by giving women many choices and resources. All of this prevents unwanted pregnancies in the first place and hence prevents most women from even needing to consider abortion.

This is common sense. Yet I’ve never met a conservative who is able and willing to morally and rationally confront this challenge. It hits too close to a nerve. Pull on that thread and the whole thing might unravel.

This is how I came to my original thoughts on symbolic conflation.

Now, having read Lewis Hyde, I realize that it was no accident that I first came to this understanding because of an issue like abortion. It is a highly emotional issue that take the body as an ideological battlefield. An ideology, as some see it, isn’t just about political opinions, but an entire worldview. When ideology is grounded in bodily experience, this creates the possibility of what I observed and what Hyde describes.

Lakoff sees the family as a fundamental metaphor for politics. That seems to be the case, but maybe that is because family relations are so personal and visceral. A mother gives birth to and breastfeeds the child. Parents hold, caress, and at times punish the child. Families live in and share the same physical space.

Hyde points in this direction with some of his examples, such as a mother telling her daughter a story of shame when her first menstration came. As Hyde explains, this is about creating and enforcing social boundaries. The first boundary ever created is the bond with the mother.

In future writings, i’d like to explore the relationship between shame and symbolic conflation.

I’ve recently come to realize how important shame is to so many aspects of human experience and society. I sense that shame might be core to every symbolic conflation. Both shame and symbolic conflation are about wanting to keep something hidden. Or rather shame is the experience of the failure to keep something hidden or the fear that such failure is likely, and that fear will never go away as long as the symbolic conflation is in place.

I’d also like to connect this to my thoughts on race and racism, along with some similar issues related to our collective past of colonialism, slavery, and genocide. Specifically, I’d like to connect this to my thoughts on the perplexing issue of simultaneously knowing and not knowing. The study of ignorance, agnotology, would also be the study of what is hidden, both to public and private awareness. All of this connects to ideas I first came across in the writings of Derrick Jensen, ideas about the victimization cycle, silencing, dissociation, splitting, doubling, etc.

Shame is the one of the most primal defense mechanisms. When I see shame in operation, I know something of the greatest of importance is being protected. People will kill and die for shame.

In thinking along these lines, Hydes book reminds me that with shame we touch upon the sacred. This is at the heart of what it means to be human. It isn’t just about conservatives and the conservative moral order. I wish to tread lightly, for we are all implicated.