The Quintessence of the Reasoned Response of the Left to Dobbs

The egregor of the Left is in full control of this gal. I tell you, she’ll go down in history. This photo could be right up there with the shot of the Marines raising the flag on Mount Suribachi. Look at it closely, blow it up if you dare. You will never be able to unsee it; the quivering glossy ululating uvula of existential protest!

Man, I tell you, this is who we are, as Americans. It is the core of our democratic society.

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Superstition & Subscendence: An Essay in Honor of Tom Bertonneau

Bear with me here. I hardly know where I am going with this, although I feel I have caught the spoor of something Tom would find delightful – that he would join with me joyfully in this new hunt. I’m confused because all I have is that spoor, and my spirits are in a hurry and a muddle due to his too soon death. I miss my friend of many years – of too few! I am not yet sure how to do with the world that, henceforth, shall miss him.

Tom has been a valued colleague since we first encountered each other. We corresponded often – not often enough, alas – about our hopes and worries in respect to our work, much of it coordinate here. We sometimes asked each other for editorial advice upon that work. I could rely on Tom for sound counsel. I hardly know how I shall manage without his sagacity.

But I must. I bid you all help me in that project, in which we may hope we can all together proceed for many more years to come. That would be a fitting legacy of his penetrant honest cheerful mind.

I propose that this essay be an early installment in something like a festschrift for Tom. Let us all try to limn what it was that he taught us. Perhaps we might make a book out of it. Or maybe just something on the scale of an issue of Amazing Stories, circa 1935: the sort of thing that was an important source of grist for the mill of his wits. That would please him, perhaps above all things we might do to honor him.

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Poe’s Psychic-Atomist Critique of Wayward Modernity – Part I

Light and Colour (Goethe's Theory)  - the Morning after the Deluge - Moses Writing the Book of Genesis exhibited 1843 by Joseph Mallord William Turner 1775-1851
Joseph Mallord Turner (1775 – 1851) – Light and Colour (1840)

Many people know of the “Big Bang” or singularity theory of cosmic origin, but far fewer know that the author of the singularity theory was a Belgian scientist-priest, Georges Lemaître (1894 – 1966), who, in addition to his work in mathematics and physics, served as an artillery officer in the Belgian Army in World War I.  The name Lemaître rarely crops up in textbook discussions of the singularity theory although it does appear in the Introduction to the Wikipedia article on that topic.  The name of Edgar Allan Poe (1809 – 1849) goes absent in the Wikipedia article about Lemaître, where it would in fact assume some relevance, an observation that one can extend to Lemaître’s own published writings.  Lemaître enjoyed broad cultivation.  A typical Jesuit, he knew the humanities and arts as well as the sciences.  He could hardly have remained unaware of Poe’s self-described masterpiece, the “prose-poem” Eureka (1848), which Charles Baudelaire had translated into French in 1863.  To Poe belongs the actual invention of what Lemaître would call, in a popularizing essay of that name, “The Primeval Atom” (1946).  Even the details of “The Primeval Atom” find anticipation in Eureka, which formed the basis of lectures that Poe gave to bewildered audiences in the last year of his life.  One wonders whether Lemaître’s omission of Poe’s name was calculatedly prudential.  Disclosing the inspiration of Poe’s cosmology would no doubt have occasioned supercilious commentary.  Better not to complicate the issue by tying the theory to a bizarre literary text by a known eccentric, full of heavy satire and laced throughout with manifold irony.  Better not to adduce the author of “The Tell-Tale Heart” or “The Masque of Red Death.”

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Robert E. Howard’s Conan: A Paracletic Hero?

Conan Imagery 02

Robert E. Howard (1906 – 1936) faded rapidly into obscurity after his self-inflicted demise in 1936 following the death of his mother from tuberculosis.  Ironically, Howard’s reputation had increased steadily in the lustrum preceding his suicide.  Farnsworth Wright, the editor of Weird Tales, remained as parsimonious as ever, but other publications were clamoring for Howard’s work, which had branched out from weird fiction and barbarian stories into westerns, boxing yarns, and “spicy” tales.  In the last year of Howard’s truncated life, he made a respectable living by writing and the prospect going forward looked good.  The drop-off in his literary notoriety stemmed from the fact that, his work having disappeared from the pages of the pulps, and having never made it into book form, no persistent token presented itself that would remind the readership of his existence.  Imitators filled the vacuum left by his disappearance although his literary executor, Otis Adelbert Kline, managed to place a few stray manuscripts posthumously.  In 1946, August Derleth’s Arkham House issued an anthology of Howard’s short fiction, Skull Face and Others, but in a small edition aimed at aficionados.  Howard’s popularity would revive only with the paperback explosion of the 1960s, helped by Frank Frazetta’s cover illustrations, but even then many of the stories that entered into print were extenuations of outlines and incomplete drafts undertaken by L. Sprague de Camp, Lin Carter, and others.  It would take thirty, forty, or even fifty years for something resembling an authentic version of Howard’s authorship to come on the market and for his copious correspondence with Derleth and H. P. Lovecraft to make its way into the catalogues.  Hollywood’s contribution in the form of Arnold Schwarzenegger as Howard’s most notable character, Conan the Barbarian, in 1982 and 1984, exploited Howard’s name but did nothing to represent his achievement.  Vincent D’Onofrio’s biopic, The Whole Wide World (1996), based on Novalyne Price’s memoir of her relationship with Howard, by contrast, told the Conan-author’s story with genuine pathos, but enjoyed only a limited release.

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Training in the Virtues – All of Them – With a Frisbee

As being perhaps the most practical, humble, and yet far reaching in its potential consequences, this may be the most important post I have written.

It is about a Frisbee game I played with a good friend and neighbour when we were young. I read of it in the old Whole Earth Catalog – an important early influence upon me. It is worth passing along. The rules are simple:

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J. P. Sears is an American Hero

For those unfamiliar with comedian-genius J. P. Sears — you should familiarize yourself with his work before YouTube liquidates his public presence. Download his videos (this is what I am doing). Spread the word about him. Appreciate him.

On to Martyrdom & Everlasting Victory

Whatever the outcome of the present electoral controversy in the United States, it seems that we are bound soon to some radical political crisis, that will profoundly shape the American future – and, so, the future of all Christendom, such as she still is.

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Raising the Fallen World: Richard Wagner and the Scenic Imagination

Giuseppi Tvoli (1854 1925) - Richard Wagner (ca. 1865)

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.

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