By Chris Hedges, Truthdig, January 26, 2014
The most prescient portrait of the American character and our ultimate fate as a species is found in Herman Melville’s “Moby Dick.” Melville makes our murderous obsessions, our hubris, violent impulses, moral weakness and inevitable self-destruction visible in his chronicle of a whaling voyage. He is our foremost oracle. He is to us what William Shakespeare was to Elizabethan England or Fyodor Dostoyevsky to czarist Russia.
Our country is given shape in the form of the ship, the Pequod, named after the Indian tribe exterminated in 1638 by the Puritans and their Native American allies. The ship’s 30-man crew—there were 30 states in the Union when Melville wrote the novel—is a mixture of races and creeds. The object of the hunt is a massive white whale, Moby Dick, which in a previous encounter maimed the ship’s captain, Ahab, by dismembering one of his legs. The self-destructive fury of the quest, much like that of the one we are on, assures the Pequod’s destruction. And those on the ship, on some level, know they are doomed—just as many of us know that a consumer culture based on corporate profit, limitless exploitation and the continued extraction of fossil fuels is doomed.
“If I had been downright honest with myself,” Ishmael admits, “I would have seen very plainly in my heart that I did but half fancy being committed this way to so long a voyage, without once laying my eyes on the man who was to be the absolute dictator of it, so soon as the ship sailed out upon the open sea. But when a man suspects any wrong, it sometimes happens that if he be already involved in the matter, he insensibly strives to cover up his suspicions even from himself. And much this way it was with me. I said nothing, and tried to think nothing.”
Our financial system—like our participatory democracy—is a mirage. The Federal Reserve purchases $85 billion in U.S. Treasury bonds—much of it worthless subprime mortgages—each month. It has been artificially propping up the government and Wall Street like this for five years. It has loaned trillions of dollars at virtually no interest to banks and firms that make money—because wages are kept low—by lending it to us at staggering interest rates that can climb to as high as 30 percent. ... Or our corporate oligarchs hoard the money or gamble with it in an overinflated stock market. Estimates put the looting by banks and investment firms of the U.S. Treasury at between $15 trillion and $20 trillion. But none of us know. The figures are not public. And the reason this systematic looting will continue until collapse is that our economy [would] go into a tailspin without this giddy infusion of free cash.Friedrich Nietzsche in “Beyond Good and Evil” holds that only a few people have the fortitude to look in times of distress into what he calls the molten pit of human reality. Most studiously ignore the pit. Artists and philosophers, for Nietzsche, are consumed, however, by an insatiable curiosity, a quest for truth and desire for meaning. They venture down into the bowels of the molten pit. They get as close as they can before the flames and heat drive them back. This intellectual and moral honesty, Nietzsche wrote, comes with a cost. Those singed by the fire of reality become “burnt children,” he wrote, eternal orphans in empires of illusion.
Collapse comes throughout human history to complex societies not long after they reach their period of greatest magnificence and prosperity.
“One of the most pathetic aspects of human history is that every civilization expresses itself most pretentiously, compounds its partial and universal values most convincingly, and claims immortality for its finite existence at the very moment when the decay which leads to death has already begun,” Reinhold Niebuhr wrote.
That pattern holds good for a lot of societies, among them the ancient Maya and the Sumerians of what is now southern Iraq. There are many other examples, including smaller-scale societies such as Easter Island. The very things that cause societies to prosper in the short run, especially new ways to exploit the environment such as the invention of irrigation, lead to disaster in the long run because of unforeseen complications. This is what Ronald Wright in “A Short History of Progress” calls the “progress trap.” We have set in motion an industrial machine of such complexity and such dependence on expansion, Wright notes, that we do not know how to make do with less or move to a steady state in terms of our demands on nature.
And as the collapse becomes palpable, if human history is any guide, we, like past societies in distress, will retreat into what anthropologists call “crisis cults.” The powerlessness we will feel in the face of ecological and economic chaos will unleash further collective delusions, such as fundamentalist beliefs in a god or gods who will come back to earth and save us. The Christian right provides a haven for this escapism. These cults perform absurd rituals to make it all go away, giving rise to a religiosity that peddles collective self-delusion and magical thinking. Crisis cults spread rapidly among Native American societies in the later part of the 19th century as the buffalo herds and the last remaining tribes were slaughtered. The Ghost Dance held out the hope that all the horrors of white civilization—the railroads, the murderous cavalry units, the timber merchants, the mine speculators, the hated tribal agencies, the barbed wire, the machine guns, even the white man himself—would disappear. And our psychological hard wiring is no different.
In our decline, hatred becomes our primary lust, our highest form of patriotism. We deploy vast resources to hunt down jihadists and terrorists, real and phantom. We destroy our civil society in the name of a war on terror. We persecute those, from Julian Assange to [Chelsea] Manning to Edward Snowden, who expose the dark machinations of power. We believe, because we have externalized evil, that we can purify the earth. And we are blind to the evil within us.
Melville’s description of Ahab is a description of the bankers, corporate boards, politicians, television personalities and generals who through the power of propaganda fill our heads with seductive images of glory and lust for wealth and power. We are consumed with self-induced obsessions that spur us toward self-annihilation.
“All my means are sane,” Ahab says, “my motive and my object mad.”Melville’s description of Ahab is a description of the bankers, corporate boards, politicians, television personalities and generals who through the power of propaganda fill our heads with seductive images of glory and lust for wealth and power. We are consumed with self-induced obsessions that spur us toward self-annihilation.
Melville, who had been a sailor on clipper ships and whalers, was keenly aware that the wealth of industrialized societies was stolen by force from the wretched of the earth. All the authority figures on the ship are white men—Ahab, Starbuck, Flask and Stubb. The hard, dirty work, from harpooning to gutting the carcasses of the whales, is the task of the poor, mostly men of color. Melville saw how European plundering of indigenous cultures from the 16th to the 19th centuries, coupled with the use of African slaves as a workforce to replace the natives, was the engine that enriched Europe and the United States. The Spaniards’ easy seizure of the Aztec and Inca gold following the massive die-off from smallpox and [other diseases] among native populations set in motion five centuries of unchecked economic and environmental plunder. Karl Marx and Adam Smith pointed to the huge influx of wealth from the Americas as having made possible the Industrial Revolution and modern capitalism. The Industrial Revolution also equipped the industrialized state with technologically advanced weapons systems, turning us into the most efficient killers on the planet.
“I see in [Moby Dick] outrageous strength, with an inscrutable malice sinewing it,” Ahab tells Starbuck. “That inscrutable thing is chiefly what I hate; and be the white whale agent, or be the white whale principal, I will wreak that hate upon him. Talk not to me of blasphemy, man; I’d strike the sun if it insulted me.”
The ship, described as a hearse, was painted black. It was adorned with gruesome trophies of the hunt, festooned with the huge teeth and bones of sperm whales. It was, Melville writes, a “cannibal of a craft, tricking herself forth in the chased bones of her enemies.” The fires used to melt the whale blubber at night turned the Pequod into a “red hell.”
Our own raging fires, leaping up from our oil refineries and the explosions of our ordinance across the Middle East, bespeak our Stygian heart. And in our mad pursuit we ignore the suffering of others, just as Ahab does when he refuses to help the captain of a passing ship who is frantically searching for his son, who has fallen overboard.
Ahab has not only the heated rhetoric of persuasion; he is master of a terrifying internal security force on the ship, the five “dusky phantoms that seemed fresh formed out of air.” Ahab’s secret, private whale boat crew, who emerge from the bowels of the ship well into the voyage, keeps the rest of the ship in abject submission. The art of propaganda and the use of brutal coercion, the mark of tyranny, define our lives just as they mark those on Melville’s ship. The novel is the chronicle of the last days of any civilization.
And yet Ahab is no simple tyrant. Melville toward the end of the novel gives us two glimpses into the internal battle between Ahab’s maniacal hubris and his humanity. Ahab, too, has a yearning for love. He harbors regrets over his deformed life. The black cabin boy Pip is the only crew member who evokes any tenderness in the captain. Ahab is aware of this tenderness. He fears its power. Pip functions as the Fool did in Shakespeare’s “King Lear.” Ahab warns Pip of Ahab. “Lad, lad,” says Ahab, “I tell thee thou must not follow Ahab now. The hour is coming when Ahab would not scare thee from him, yet would not have thee by him. There is that in thee, poor lad, which I feel too curing to my malady. Like cures like; and for this hunt, my malady becomes my most desired health. … If thou speakest thus to me much more, Ahab’s purpose keels up in him. I tell thee no; it cannot be.” A few pages later, “untottering Ahab stood forth in the clearness of the morn; lifting his splintered helmet of a brow to the fair girl’s forehead of heaven. … From beneath his slouched hat Ahab dropped a tear into the sea; nor did all the Pacific contain such wealth as that one wee drop.” Starbuck approaches him. Ahab, for the only time in the book, is vulnerable. He speaks to Starbuck of his “forty years on the pitiless sea! … the desolation of solitude it has been. … Why this strife of the chase? why weary, and palsy the arm at the oar, and the iron, and the lance? How the richer or better is Ahab now?” He thinks of his young wife—“I widowed that poor girl when I married her, Starbuck”—and of his little boy: “About this time—yes, it is his noon nap now—the boy vivaciously wakes; sits up in bed; and his mother tells him of me, of cannibal old me; how I am abroad upon the deep, but will yet come back to dance him again.”
And so we plunge forward in our doomed quest to master the forces that will finally smite us. Those who see where we are going too often lack the fortitude to actually rebel. Mutiny was the only salvation for the Pequod’s crew. It is our only salvation. But moral cowardice turns us into hostages.
I am reading and rereading the debates among some of the great radical thinkers of the 19th and 20th centuries about the mechanisms of social change. These debates were not academic. They were frantic searches for the triggers of revolt. Lenin placed his faith in a violent uprising, a professional, disciplined revolutionary vanguard freed from moral constraints and, like Marx, in the inevitable emergence of the worker’s state. [Pierre-Joseph] Proudhon insisted that gradual change would be accomplished as enlightened workers took over production and educated and converted the rest of the proletariat. [Mikhail] Bakunin predicted the catastrophic breakdown of the capitalist order, something we are likely to witness in our lifetimes, and new autonomous worker federations rising up out of the chaos. [Peter] Kropotkin, like Proudhon, believed in an evolutionary process that would hammer out the new society. Emma Goldman, along with Kropotkin, came to be very wary of both the efficacy of violence and the revolutionary potential of the masses. “The mass,” Goldman wrote bitterly toward the end of her life in echoing Marx, “clings to its masters, loves the whip, and is the first to cry Crucify!”
It is not the poor who make revolutions. It is those who conclude that they will not be able, as they once expected, to rise economically and socially. This consciousness is part of the self-knowledge of service workers and fast-food workers. It is grasped by the swelling population of college graduates caught in a vise of low-paying jobs and obscene amounts of debt. These two groups, once united, will be our primary engines of revolt. Much of the urban poor has been crippled and in many cases broken by a rewriting of laws, especially drug laws, that has permitted courts, probation officers, parole boards and police to randomly seize poor people of color, especially African-American men, without just cause and lock them in cages for years. In many of our most impoverished urban centers—our internal colonies, as Malcolm X called them—mobilization, at least at first, will be difficult. The urban poor are already in chains. These chains are being readied for the rest of us. “The law, in its majestic equality, forbids rich and poor alike to sleep under bridges, beg in the streets or steal bread,” Anatole France commented acidly.
Erica Chenoweth and Maria J. Stephan examined 100 years of violent and nonviolent resistance movements in their book “Why Civil Resistance Works.” They concluded that nonviolent movements succeed twice as often as violent uprisings. Violent movements work primarily in civil wars or in ending foreign occupations, they found. Nonviolent movements that succeed appeal to those within the power structure, especially the police and civil servants, who are cognizant of the corruption and decadence of the power elite and are willing to abandon them. And we only need 1 to 5 percent of the population actively working for the overthrow of a system, history has shown, to bring down even the most ruthless totalitarian structures. It always works on two tracks—building alternative structures such as public banks to free ourselves from control and finding mechanisms to halt the machine.
The most important dilemma facing us is not ideological. It is logistical. The security and surveillance state has made its highest priority the breaking of any infrastructure that might spark widespread revolt. The state knows the tinder is there. It knows that the continued unraveling of the economy and the effects of climate change make popular unrest inevitable. It knows that as underemployment and unemployment doom at least a quarter of the U.S. population, perhaps more, to perpetual poverty, and as unemployment benefits are scaled back, as schools close, as the middle class withers away, as pension funds are looted by hedge fund thieves, and as the government continues to let the fossil fuel industry ravage the planet, the future will increasingly be one of open conflict. This battle against the corporate state, right now, is primarily about infrastructure. We need an infrastructure to build revolt. The corporate state is determined to deny us one.
The state, in its internal projections, has a vision of the future that is as dystopian as mine. But the state, to protect itself, lies. Politicians, corporations, the public relations industry, the entertainment industry and our ridiculous television pundits speak as if we can continue to build a society based on limitless growth, profligate consumption and fossil fuel. They feed the collective mania for hope at the expense of truth. Their public vision is self-delusional, a form of collective psychosis. The corporate state, meanwhile, is preparing privately for the world it knows is actually coming. It is cementing into place a police state, one that includes the complete evisceration of our most basic civil liberties and the militarization of the internal security apparatus, as well as wholesale surveillance of the citizenry.
That God could “make a way out of no way” in Jesus’ cross was truly absurd to the intellect, yet profoundly real in the souls of black folk. Enslaved blacks who first heard the gospel message seized on the power of the cross. Christ crucified manifested God’s loving and liberating presence in the contradictions of black life—that transcendent presence in the lives of black Christians that empowered them to believe that ultimately, in God’s eschatological future, they would not be defeated by the “troubles of this world,” no matter how great and painful their suffering. Believing this paradox, this absurd claim of faith, was only possible in humility and repentance. There was no place for the proud and the mighty, for people who think that God called them to rule over others. The cross was God’s critique of power—white power—with powerless love, snatching victory out of defeat.
Reinhold Niebuhr labeled this capacity to defy the forces of repression “a sublime madness in the soul.” Niebuhr wrote that “nothing but madness will do battle with malignant power and ‘spiritual wickedness in high places.’ ” This sublime madness, as Niebuhr understood, is dangerous, but it is vital. Without it, “truth is obscured.” And Niebuhr also knew that traditional liberalism was a useless force in moments of extremity. Liberalism, Niebuhr said, “lacks the spirit of enthusiasm, not to say fanaticism, which is so necessary to move the world out of its beaten tracks. It is too intellectual and too little emotional to be an efficient force in history.”
The prophets in the Hebrew Bible had this sublime madness. The words of the Hebrew prophets, as Abraham Heschel wrote, were “a scream in the night. While the world is at ease and asleep, the prophet feels the blast from heaven.” The prophet, because he saw and faced an unpleasant reality, was, as Heschel wrote, “compelled to proclaim the very opposite of what his heart expected.”
Primo Levi in his memoir “Survival in Auschwitz” tells of teaching Italian to another inmate, Jean Samuel, in exchange for lessons in French. Levi recites to Samuel from memory Canto XXVI of Dante’s “The Inferno.” It is the story of Ulysses’ final voyage.
We cheered, but soon that cheering turned to woe,
for then a whirlwind born from the strange land
battered our little vessel on the prow.
Three times the boat and all the sea were whirled,
and at the fourth, to please Another’s will,
the aft tipped in the air, the prow went down,
Until the ocean closed above our bones.
“He has received the message,” Levi wrote of his friend and what they shared in Dante, “he has felt that it has to do with him, that it has to do with all men who toil, and with us in particular.” Levi goes on. “It is vitally necessary and urgent that he listen, that he understand … before it is too late; tomorrow he or I might be dead, or we might never see each other again.”
The poet Leon Staff wrote from the Warsaw ghetto: “Even more than bread we now need poetry, in a time when it seems that it is not needed at all.”
It is only those who harness their imagination, and through their imagination find the courage to peer into the molten pit, who can minister to the suffering of those around them. It is only they who can find the physical and psychological strength to resist. Resistance is carried out not for its success, but because by resisting in every way possible we affirm life. And those who resist in the years ahead will be those who are infected with this “sublime madness.” As Hannah Arendt wrote in “The Origins of Totalitarianism,” the only morally reliable people are not those who say “this is wrong” or “this should not be done,” but those who say “I can’t.” They know that as Immanuel Kant wrote: “If justice perishes, human life on earth has lost its meaning.” And this means that, like Socrates, we must come to a place where it is better to suffer wrong than to do wrong. We must at once see and act, and given what it means to see, this will require the surmounting of despair, not by reason, but by faith.
“One of the only coherent philosophical positions is revolt,” Camus wrote. “It is a constant confrontation between man and his obscurity. … It is not aspiration, for it is devoid of hope. That revolt is the certainty of a crushing fate, without the resignation that ought to accompany it.”
“… [T]he people noticed that Crazy Horse was queerer than ever,” Black Elk said in remembering the final days of the wars of Western expansion. He went on to say of the great Sioux warrior: “He hardly ever stayed in the camp. People would find him out alone in the cold, and they would ask him to come home with them. He would not come, but sometimes he would tell the people what to do. People wondered if he ate anything at all. Once my father found him out alone like that, and he said to my father: ‘Uncle, you have noticed me the way I act. But do not worry; there are caves and holes for me to live in, and out here the spirits may help me. I am making plans for the good of my people.’ ”
Homer, Dante, Beethoven, Melville, Dostoevsky, Proust, Joyce, W.H. Auden, Emily Dickinson and James Baldwin, along with artists such as the sculptor David Smith, the photographer Diane Arbus and the blues musician Charley Patton, all had it. It is the sublime madness that lets one sing, as bluesman Ishman Bracey did in Hinds County, Miss., “I’ve been down so long, Lawd, down don’t worry me.” And yet in the mists of the imagination also lie the absurdity and certainty of divine justice:
I feel my hell a-risin’, a-risin’ every day;
I feel my hell a-risin’, a-risin’ every day;
Someday it’ll burst this levee and wash the whole wide world away.
I feel my hell a-risin’, a-risin’ every day;
Someday it’ll burst this levee and wash the whole wide world away.
Shakespeare’s greatest heroes and heroines—Prospero, Antony, Juliet, Viola, Rosalind, Hamlet, Cordelia and Lear—all have this sublime madness. King Lear, who through suffering and affliction, through human imagination, is finally able to see, warns us all that unbridled human passion and unchecked hubris mean the suicide of the species. “It will come,” Albany says in “Lear.” “Humanity must perforce prey on itself, Like monsters of the deep.” It was the poems of Federico Garcia Lorca that sustained the republicans fighting the fascists in Spain. Music, dance, drama, art, song, painting [have been] the fire and drive of resistance movements. The rebel units in El Salvador when I covered the war there always traveled with musicians and theater troupes. Art, as Emma Goldman pointed out, has the power to make ideas felt. Goldman noted that when Andrew Undershaft, a character in George Bernard Shaw’s play “Major Barbara,” said poverty is “[t]he worst of crimes” and “All the other crimes are virtues beside it,” his impassioned declaration elucidated the cruelty of class warfare more effectively than Shaw’s socialist tracts. The degradation of education into vocational training for the corporate state, the ending of state subsidies for the arts and journalism, the hijacking of these disciplines by corporate sponsors, sever the population from understanding, self-actualization and transcendence. In aesthetic terms the corporate state seeks to crush beauty, truth and imagination. This is a war waged by all totalitarian systems.
Culture, real culture, is radical and transformative. It is capable of expressing what lies deep within us. It gives words to our reality. It makes us feel as well as see. It allows us to empathize with those who are different or oppressed. It reveals what is happening around us. It honors mystery. “The role of the artist, then, precisely, is to illuminate that darkness, blaze roads through the vast forest,” James Baldwin wrote, “so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.”
“Ultimately, the artist and the revolutionary function as they function, and pay whatever dues they must pay behind it because they are both possessed by a vision, and they do not so much follow this vision as find themselves driven by it,” wrote Baldwin. “Otherwise, they could never endure, much less embrace, the lives they are compelled to lead.”
I do not know if we can build a better society. I do not even know if we will survive as a species. But I know these corporate forces have us by the throat. And they have my children by the throat. I do not fight fascists because I will win. I fight fascists because they are fascists. And this is a fight which in the face of the overwhelming forces against us requires us to embrace this sublime madness, to find in acts of rebellion the embers of life, an intrinsic meaning that lies outside of certain success. It is to at once grasp reality and then refuse to allow this reality to paralyze us. It is, and I say this to people of all creeds or no creeds, to make an absurd leap of faith, to believe, despite all empirical evidence around us, that good always draws to it the good, that the fight for life always goes somewhere—we do not know where; the Buddhists call it karma—and in these acts we sustain our belief in a better world, even if we cannot see one emerging around us.
The Turkish poet Nazim Hikmet, who spent most of his adult life in prison or in exile, knew something of despair. But he knew something too of resistance, of that rebellious spirit which must define us in times of terrible oppression and woe if we are to remain fully human. Any act of resistance is its own eternal triumph. Hikmet captured this in his poem “On Living.”
Living is no laughing matter:
you must live with great seriousness
like a squirrel, for example—
I mean without looking for something beyond and above living,
I mean living must be your whole occupation.
Living is no laughing matter:
you must take it seriously,
so much so and to such a degree
that, for example, your hands tied behind your back,
your back to the wall,
or else in a laboratory
in your white coat and safety glasses,
you can die for people—
even for people whose faces you’ve never seen,
even though you know living
is the most real, the most beautiful thing.
I mean, you must take living so seriously
that even at seventy, for example, you’ll plant olive trees—
and not for your children, either,
but because although you fear death you don’t believe it,
because living, I mean, weighs heavier.
you must live with great seriousness
like a squirrel, for example—
I mean without looking for something beyond and above living,
I mean living must be your whole occupation.
Living is no laughing matter:
you must take it seriously,
so much so and to such a degree
that, for example, your hands tied behind your back,
your back to the wall,
or else in a laboratory
in your white coat and safety glasses,
you can die for people—
even for people whose faces you’ve never seen,
even though you know living
is the most real, the most beautiful thing.
I mean, you must take living so seriously
that even at seventy, for example, you’ll plant olive trees—
and not for your children, either,
but because although you fear death you don’t believe it,
because living, I mean, weighs heavier.
II
Let’s say we’re seriously ill, need surgery—
which is to say we might not get up
from the white table.
Even though it’s impossible not to feel sad
about going a little too soon,
we’ll still laugh at the jokes being told,
we’ll look out the window to see if it’s raining,
or still wait anxiously
for the latest newscast . . .
Let’s say we’re at the front—
for something worth fighting for, say.
There, in the first offensive, on that very day,
we might fall on our face, dead.
We’ll know this with a curious anger,
but we’ll still worry ourselves to death
about the outcome of the war, which could last years.
Let’s say we’re in prison
and close to fifty,
and we have eighteen more years, say,
before the iron doors will open.
We’ll still live with the outside,
with its people and animals, struggle and wind—
I mean with the outside beyond the walls.
I mean, however and wherever we are,
we must live as if we will never die.
Let’s say we’re seriously ill, need surgery—
which is to say we might not get up
from the white table.
Even though it’s impossible not to feel sad
about going a little too soon,
we’ll still laugh at the jokes being told,
we’ll look out the window to see if it’s raining,
or still wait anxiously
for the latest newscast . . .
Let’s say we’re at the front—
for something worth fighting for, say.
There, in the first offensive, on that very day,
we might fall on our face, dead.
We’ll know this with a curious anger,
but we’ll still worry ourselves to death
about the outcome of the war, which could last years.
Let’s say we’re in prison
and close to fifty,
and we have eighteen more years, say,
before the iron doors will open.
We’ll still live with the outside,
with its people and animals, struggle and wind—
I mean with the outside beyond the walls.
I mean, however and wherever we are,
we must live as if we will never die.
III
This earth will grow cold,
a star among stars
and one of the smallest,
a gilded mote on blue velvet—
I mean this, our great earth.
This earth will grow cold one day,
not like a block of ice
or a dead cloud even
but like an empty walnut it will roll along
in pitch-black space . . .
You must grieve for this right now
—you have to feel this sorrow now—
for the world must be loved this much
if you’re going to say “I lived”. . .
This earth will grow cold,
a star among stars
and one of the smallest,
a gilded mote on blue velvet—
I mean this, our great earth.
This earth will grow cold one day,
not like a block of ice
or a dead cloud even
but like an empty walnut it will roll along
in pitch-black space . . .
You must grieve for this right now
—you have to feel this sorrow now—
for the world must be loved this much
if you’re going to say “I lived”. . .
