High College Costs, Low Student Achievement, Driven by Warmish Climate-Change Trend – Researchers Say

Resist Trump Climate Justice Now

Opening Ceremony of Upstate Consolation University’s Conference on the Warmish Climate-Change Trend

In a conference convened by Upstate Consolation University, researchers from California State University, Van Nuys, and Central Michigan Teacher Pre-Preparation College, Farwell, claimed this week that the warmish climate-change trend is the primary cause of both the declining academic performance among North American college undergraduates and the rising costs associated with a baccalaureate degree.  The conference-goers revealed details of their three-week-long multiple-perspective study, carried out by a select committee recruited from the two schools.  The team systematically surveyed multiple self-evaluations and statistical-anecdotal probability memoranda culled from a wide variety of auto-probative and theosophical sources appearing in carefully vetted blogs posted on the Internet since February.  “This is one of the most exhaustive studies of its kind to be carried out by institutions of our accreditation-level, whether in California or Michigan, during the past seventeen and a half months,” said Dr. Michelle Mausse, a CSUVN Diverse Arts Practical Instructor, who is acting co-chair of the project and supervising gender-fairness editor of the semi-final quasi-executive summary of the project’s yet-to-be-published Full Report – the very same summary that has just been issued as a mass-email attachment.  Mausse also said that, when the Full Report appears, she expects a storm of hostility from commentators on the right.  She added that such commentary, obviously originating in structural racism, would itself exacerbate the warmish climate-change trend, thereby degrading student performance even further and raising the price of a college education even higher.

“Given the cutting-edge status of our conclusions and the transgressive methods employed during our strenuous three weeks of research,” Mausse said, “you can bet that President Trump, Fox News, and Chick-Fil-A will be working overtime to sap public confidence in our assertions.”  According to Mausse, the best way to undermine such bigoted resistance would be “to appoint Greta Thunberg to the Supreme Court, ban SUVs, and approach the Taliban with an ecologically friendly attitude.”  As stated in the semi-final quasi-executive summary, “Last year’s harsh winter in the Northeast and this summer’s record-breaking cool weather across the Upper Midwest prove incontrovertibly that the warmish up-trend is rising steeply.”  In an informative autobiographical aside in the summary, Dr. Mausse states that her consciousness about the warmish climate-change trend began in earnest in the late 1960s, when she had just entered high school, with the appearance of Dr. Anton Schmellij’s prophetic Heat-Death by 1970 – No Doubt about It.  Mausse attributes her conversion to environmentalism, not to her actually having read Schmellij’s book in its entirety, but to her having once perused the Utne Reader’s “condensed” version of the treatise while writing her Feminist Studies thesis at Mannless County Community College, near New Mytilene, Ohio, in 1994.

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Alec Nevala-Lee’s Study of John W. Campbell & Company

Astounding

Astounding by Alec Nevala-Lee: Cover (Daystreet Books)

I review at The University Bookman Alec Nevala-Lee’s Astounding, a study of the “Golden Age” of science fiction in the 1940s and its chief protagonists . Aficionados of The Orthosphere know of my interest in science fiction. Nevala-Lee’s account of John W. Campbell, editor of Astounding in its heyday, Robert Heinlein, Isaac Asimov, L. Ron Hubbard, A. E. van Vogt, and others disturbed me greatly. Whatever literary merit one ascribes to their work – and I am increasingly skeptical about their collective literary merit – in their intertwined personal lives, with the possible exception of van Vogt, the biographical details are disappointing if not, at base, repellent. I have come to the belief that the literary merit of 1940s and early 1950s science fiction resides elsewhere than in these authors. A recent attempt to reread Heinlein’s Stranger in a Strange Land (1960) failed about forty pages into the novel. Hubbard might be the central scoundrel, but Campbell abetted Dianetics, the early version of Scientology, and Heinlein and van Vogt were complicit in it, at least for a time. Asimov remained skeptical, but his lifelong Harvey-Weinstein-like behavior has forever tainted him in my opinion – not to mention that his prose is primitive and boasts no human depth whatsoever.

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Woke: Cthulhu Awakens

Cthulhu 01

Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’nagl fhtagn.

H. P. Lovecraft wrote his famous story, The Call of Cthulhu, in 1926 and saw it published in Weird Tales in the February 1928 number of that pulp periodical. The story pieces itself together through the gimmick of having its narrator, the nephew of a mysteriously deceased scholar of ancient Semitic languages, sort through his uncle’s papers – among which figure prominently a cache of documents under the label of “CTHULHU CULT.” In the last few years of his life Professor Angell had fixed his interest on this esoteric topic.  Evidence indicates that the cult, traces of which appear worldwide, dates back to prehistory; it also manifests its existence in the archaeology of historical religions, particularly those that center on human sacrifice.  The deceased scholar had concluded that the cult’s reality extends into the present and that, after a dormant period, it had resumed its activity.  As the reader makes his way through Lovecraft’s deliberately fragmented story line, he learns that Cthulhu, the entity whom the cultists worship as a deity, belongs not to the category of the supernatural (nothing in Lovecraft does) but rather to that of the superhuman in an implacably materialistic and Darwinian version of the cosmos.  In the immensely distant past, Cthulhu, one of the “Great Old Ones,” descended to Earth from a distant star and enslaved the primitive humanity through his faculty of telepathic manipulation.  A rival power, indifferent to humanity, checked Cthulhu and condemned him to hibernation in the sunken city of R’lyeh in the South Pacific.  In the final paragraphs of the story’s first section, the executor describes a sheaf of newspaper clippings that Professor Angell had collected.  These items, the narrator avers, “touched on cases of panic, mania, and eccentricity,” which betoken Cthulhu’s return to potency.  As the nephew records: “A fanatic [from South Africa] deduces a dire future from visions he has seen; and “a dispatch from California describes a theosophist colony as donning white robes en masse for some ‘glorious fulfillment’ which never arrives, whilst items from India speak guardedly of serious native unrest toward the end of March.”

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There Is No Such Thing As Rule of Law

Rule of Law is often cited as one of the distinctive characteristics of the West, and of Western cultures, which has enabled the West and kindred cultures to rise above despotism, corruption, and poverty. And so it is. The keeping of the Law is traditional in the West.

But, the Law is only as good – can do only so much good – as the men who keep it. It is men who by their acts keep to the Law, enforce and adjudicate it honestly and as fiduciaries of the nation, or who do not; who transmit the tradition they have inherited, or who traduce it.

Rule then is always of men.

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Apologetical Weapons: Projection Manifests a Conviction of Personal Evil

It is a commonplace of neoreactionary and reactionary discourse that Social Justice Warriors always project. Once you’ve digested a Red Pill, in respect to any domain of life, you cannot help but notice this phenomenon. No one in the modern West is as hateful as the haters of haters; no one in the modern West is as blind to his own hatred.

It is worth remembering, then, that as Jung first developed the notion of projection from his own vast clinical experience, projection is of those traits that people most abhor in themselves. It arises from their deep conviction of their own personal evil. What we most hate in others then is – so Jung found – a pretty reliable indication of what we hate in ourselves, but would rather not confess to ourselves, or of course a fortiori to anyone else.

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Apologetical Weapons: It’s Not About You

I have noticed that our adversaries often mistake our critique of their notions as ad hominem condemnation of them as persons. They then react defensively, levying just the sort of vicious ad hominem attacks they say they abhor. This mystifies me.

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Chastek Asks a Good Question

James Chastek’s Just Thomism is one of the sites I read without fail. I like it because he teaches me lots of things. He closed comments a while ago because responding to them took up too much time. So here is what I would have commented at his blog if he still allowed comments, in response to this post:

Many of the books in the “decline of the West” genre – which was already old by the time Weaver published Ideas have Consequences in 1948 but which still sells (Deneen’s Why Liberalism Failed) – tell a curious narrative of decline over very large time scales. If Nominalism or Hobbesianism were as harmful as claimed, why is the diseased host still alive a half-millennium later?

Now that’s a good question. I myself have contributed a fair bit to the literature wailing and bemoaning nominalism. How do I answer the question?

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Is Traditional Culture Even Possible Henceforth?

The acid eating at tradition is cheap information. This is to say that the acid eating away at cultures – all cultures, properly so called – is cheap information.

And information is from now on essentially free.

Can there then ever again be such a thing as a coherent traditional society?

Sure, tradition is necessary; it is the atomic stuff of culture as such. But is it even possible anymore? Are we looking at the death of culture?

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Monstrous Theologies: The Theme of Anti-Sacrifice in the Sci-Fi Pulps – Part II

Finlay 03 Demonic Universe

Virgil Finlay (1914 – 1971): Illustrator of the Demonic Universe

[NOTE: This post is the continuation of the article — or sequence of linked essays — that begins in the post immediately preceding it. I published “Monstrous Theologies” in the mid-1990s in the journal Anthropoetics, but for this re-posting I have extensively edited and re-written it.]

III. Moore’s “Vintage Season” and Sacrificial Aesthetics. “Vintage Season” (1946) – attributed to Moore’s husband and collaborator Henry Kuttner but written in fact solely by Moore – deals with the creation of a work of art by an artist of the future who visits the earth in the immediate post-World War Two years, when the story was written.  But this act of creation is also an act of sacrifice, and the work of art that stems from the event has the character of an immolatory token. In fact, because “The Vintage Season” is a time-travel story involving the usual paradox, it resists any straightforward rehearsal. The basic elements of the narrative are, nevertheless, these: Oliver Wilson owns a house that three eccentric “vacationers” who call themselves the Sanciscos want to rent; to one of them, a woman named Kleph, Wilson feels considerable attraction, and he therefore lets the house despite the fact that he might garner a windfall from it if he sold it outright to a buyer. Wilson’s fiancée Sue pesters him to renege on the deal and to sell, but Oliver refuses.  The interest in this detail lies in Moore’s opposition of the market to the Bohemian group. The group represents culture and seems to promise something superior to the bourgeois world of exchange.  Moore’s Smith regrets leaving the comforts of marriage and participation in the nomos.  Moore’s Wilson, vulnerable to the temptations of art, cult, and difference, regrets his prior immersion in what strikes him now as the tediously normative.  He is an alienated bourgeois taking the usual route of opposition to the market for the mere sake of opposition.  If resentment is the sacred, as Girard so often intimates, then Wilson’s alienation renders him particularly vulnerable to the Bohemianism of the foreigners.

The Sanciscos behave like Wildean aesthetes: “There was an elegance about the way [their] garments fitted them which even to Oliver looked strikingly unusual”; and “the feeling of luxury which his first glance at them has evoked was confirmed by the richness of the hangings they had apparently brought with them”; Kleph’s coiffure strikes Wilson as perfectly sculpted, “as if it had been painted on, though the breeze from the window stirred now and then among the softly shining strands.”  From such behavior, Wilson infers that their depth of culture radically exceeds his own, an inference sustainable, as it turns out, in aesthetic terms only and not in any ethical sense. As in the case of the magic shawl in the Northwest Smith story, phenomenal beauty guarantees nothing about ethical acceptability. A certain type of intense beauty indeed radiates from a certain type of archaic violence, which the beauty tactically conceals. Kleph shows some reciprocal although, ultimately, only a condescending interest in Wilson, who visits her in her room one afternoon while the others are away. The foreign accouterments of Kleph’s room include a peculiar “picture of blue water” hung above her bed the marvels of which entrance Wilson. Describing Wilson’s response to this, Moore employs the language of of fascination: “The waves there were moving. More than that, the point of vision moved. Slowly the seascape drifted past, moving with the waves, following them toward the shore.”  The images compel Wilson’s attention; he cannot peel his eyes from them, and they in their turn temporarily absorb and obliterate his sense of self. Smith has the same problem when he gazes too intently at the weird shawl.

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