Wherefore Patriarchy?

A commenter this morning asked me to write an apology for “patriarchy,” and this I did, albeit with considerable misgiving. My misgiving springs from the knowledge than such requests are, as often as not, simply fishing for evidence of deplorable moral turpitude in the apologist. But I decided to accept “Emma’s” question as sincere, and so in this case “took the bait.”  After reading our exchange, T. Morris suggested that I promote it to a post.

Here is what Emma wrote in her comment.

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Arnold Bertonneau on Patriotism & the Franchise

Arnold Bertonneau (1832 -1912); Photograph from the mid-1860s

My great-grand uncle Arnold Bertonneau (1832 – 1912) traveled from New Orleans to Boston and Washington D.C. in April, 1864, to present his Creole Petition to Congress, which ultimately rejected it. On 12 April Bertonneau responded to an invitation by the Massachusetts Republicans to speak on the merits of his proposal. After an introduction by Massachusetts Governor John A. Andrew, Bertonneau delivered the following words:

BEFORE THE OUTBREAK of the rebellion, Louisiana contained about forty thousand free colored people, and three hundred twelve thousand persons held in slavery. In the city of New Orleans, there were upwards of twenty thousand free persons of color. Nearly all the free persons of color read and write. The free people have always been on the side of
law and good order, always peaceful and self-sustaining, always loyal. Taxed on an assessment of more than fifteen million dollars — among many other things, for the support of public-school education — debarred from the right of sending their children to the common schools which they have been and are compelled to aid in supporting, taxed on their property, and compelled to contribute toward the general expense of sustaining the state, they have always been and now are prohibited from exercising the elective franchise.

When the first fratricidal shot was fired at Sumter, and Louisiana had joined her fortunes with the other seceding states, surrounded by enemies educated in the belief that “Africans and their descendants had no rights that white men were bound to respect,” without arms and ammunition, or any means of self-defense, the condition and position of our people were extremely perilous. When summoned to volunteer in the defense of the state and city against Northern invasion, situated as we were, could we do otherwise than heed the warning and volunteer in the defense of New Orleans? Could we have adopted a better policy? In the city of New Orleans, under the Confederate government, we raised one regiment of a thousand men, the line officers of which were colored.

Raising the Fallen World: Richard Wagner and the Scenic Imagination

Giuseppe Tivoli (1854 – 1925): Portrait of R. Wagner (ca. 1865)

Richard Wagner (1813 – 1883) intended his mid-Nineteenth Century innovation of Music Drama to instigate a thorough renewal, not simply of art, but rather of the human situation, as writ large, in society and culture; he foresaw in the late 1840s that his work would require a theoretical basis in metaphysics, aesthetics, and ethics.  As it happens, all three parts of this theory entail, although Wagner does not employ the terms, both an anthropology, and a theory of representation.  Finally, Wagner’s theory of representation derives a type of primordial signification from an event in which the unavoidable beauty of a token or talisman disarms a threatening violence.  Wagner worked out this anthropology, and the accompanying theory of representation, borrowing his vocabulary and some few notions from G. W. F. Hegel and Ludwig Feuerbach, in a series of essays and pamphlets in the 1840s and 50s.  In these documents, Wagner prescribed the “mimetic,” “poetic,” and “tonal” (that is to say, the combined dramatic) characteristics that would body themselves forth in Tannhäuser, The Ring of the Nibelung, Tristan and Isolde, The Mastersingers, and Parsifal.  These operas – or rather these Gesamtkunstwerke, as their author called them, using his own coinage – would recreate on the modern stage an “earliest utterance of consciousness.”[i] Their performance would inaugurate a new “breaking loose from unconscious life,”[ii] to quote from their author’s post-Idealist terminology; enacting the Gesamtkunstwerk would thus revitalize society by rescuing it from the degradations of fashion and the rabble, two of Wagner’s reliable pejoratives, in which an anthropologically acute reader will discern the theme of cultural breakdown in thoughtless spreading imitation and the unconsciousness of the crowd.

Oedipus Rex in René Girard’s Violence and the Sacred

Sigmund Freud’s concept of the Oedipus complex has entered popular consciousness. It names the tendency of boys to become romantically infatuated with their mothers, and girls with their fathers, then called the Electra complex. The notion is scandalous but the phrase provides a certain scientific sounding emotional distance while also connoting messy depths of neuroticism. Incest and cannibalism are so taboo in most societies that in lists of things not to do, they are frequently omitted, so excluded from polite society, that most people forget they even exist most of the time. Classes in ethics will often mention abortion or euthanasia, but never even mention sleeping with your relatives, or eating people. That is a sign of a powerful taboo – so strong that the prohibited activity gets excluded from awareness.

A significant portion of René Girard’s book Violence and the Sacred is devoted to a critique of Freud.

The Duty of a Man to His Men

I just an hour ago learnt from his son – an erstwhile orthospherean, as it happens – that one of my early mentors in business died a few years ago. He had long since retired, and we had lost touch.

I find myself horribly grieved at his passage. Yet I rejoice; for, he was overall a most good man, especially to me; so that I harbor high hopes for his everlasting salvation, and for our eventual reunion, should I be so fortunate as to merit the same.

This Joyful Eastertide

Easter is the only reason to be optimistic. If the Resurrection didn’t happen, then no man can be resurrected. In that case, death will certainly and totally consume all the things we care about. Life might go well for a time, to be sure. But it will all end in sorrow; and that end, that sorrow and pain, will be permanent, and incorrigible, and total. It will take all of us, and all our works. None of it will come to anything. All will be lost.

Red Mist and Ruins: The Symbolist Prose of Leigh Brackett

The French remember Leigh Brackett, comme une maitresse “aux space-operas flamboyants,” to quote the words of paperback anthologist Jacques Sadoul.[i]  Stephen Haffner, of the Haffner Press in Royal Oak, Michigan, remembers her, too.  He has invested entrepreneurially in putting the best of her work, her contributions to Planet Stories, back into print in hard covers, after many decades of relegation to the second-hand market, in an act of genuine devotion.[ii]  Otherwise, like many others, Brackett runs the risk of vanishing into oblivion – for that is where all matter goes that is printed on the cheap, acid-rich paper that gave its name to the eminently perishable pulps. The slightest exposure to moisture crumbles them; sunlight bleaches the covers and makes the pages brittle and prone to disintegrate. Even the paperbacks of the 1950s, 60s, and 70s, which reprinted the authors of the pulp era, including Brackett, must sooner or later suffer the same fate as the fragile magazines. Efforts of aficionados to preserve vintage genre fiction in an enduring form express a proper devotion to a robust literary past that looms over an insipid contemporaneity.  These efforts also qualify themselves as implicit, but strong, judgments on the present.  What accounts for Sadoul’s or Haffner’s dedication?  Admirers of elegant prose that manages to evoke lavishly imagined settings, in a style unexpectedly and strongly informed by the Symbolist and Impressionist writers of the fin de siècle, ought to commemorate Brackett (1915 – 1978), who deserves the multiple titles of the True Queen of the Pulps and the undeniable Empress, as it were, of Planet Stories.

In her heyday of the 1940s Brackett’s contribution could be counted on almost invariably to “get the cover,” as the publisher-argot of the time put it.[iii]  Brackett also saw print regularly in the double-columns of Thrilling Wonder Stories, Startling Stories, and Astounding, where again she often “got the cover.”  But it was Planet Stories that heartily encouraged her strong suit of heroic romance in an extraterrestrial setting, usually Mars or Venus, with plentiful action.  Brackett’s stories in that hyperbolically romantic venue set the artistic benchmark for others, and many were the others who imitated her. Brackett’s stories furthermore always inspired the cover-illustrators to their lurid and enthralling best: Who could not have wanted to devour the récit implied by the Planet Stories cover of the Summer 1946 number illustrating Brackett’s Lorelei of the Red Mist?  Ray Bradbury had finished the last third of Lorelei when cinema auteur Howard Hawks invited the saga’s primary author to write dialogue with William Faulkner for The Big Sleep.[iv]  Hawks had read Brackett’s No Good from a Corpse, a hard-boiled detective novel that appeared in 1944.  He wanted its wordsmith for the tough-guy film he was then developing as a vehicle for Humphrey Bogart.  Hawks, assuming the name Leigh to belong to a man, expressed surprise when a slight but athletic woman in her early thirties showed up at his office.[v]

Letter To an Investor

A client wrote me over the weekend, asking if I thought recent news of apparent flattening of the curve of new infections of Chinese Flu in Italy, Spain and, perhaps, even New York City, portended incipient prevalence over the virus. I responded:

Everything You Do Is Worship

We think of worship as something we do mostly in church. It is time we dedicate especially to God. But every moment of our lives is dedicated to something or other; and we would not be doing anything we do if those things to which they are dedicated were not important to us; if we did not think them worthy of our attention, and of our effort.

Two Kinds of Sacrifice: René Girard’s Analysis of Scapegoating

Mimesis and scapegoating

Humans are intensely mimetic. We learn to talk, walk, and nearly everything else by imitation. But because we also imitate each other’s desires, other people become our rivals, as we compete for the same things. Taboos and prohibitions can be sufficient to mitigate this problem much of the time, but when there is a crisis, such as a flood, famine, plague, or war, and the social structure based on rules and hierarchies collapses, we find ourselves in a state of horrible equality. The natural hierarchy between a parent and a younger child, or between humans and animals, high status and low status individuals, reduces conflict. In a crisis, each person becomes another’s rival, chaos ensues, and violence breaks out.  It is a war of all against all. Without a public justice system, each of us wants to retaliate for the latest offense.  If not against you, then against a family member. There is no logical end to the conflict. A common resolution is if we all agree that a single person or a group of people are to blame.  This is the scapegoat.  We are scandalized by the scapegoat.  A “scandal” is etymologically a stumbling block.