Author: staceymeeker

  • GA and the Lyric Scene

    When I began working on my book on Carole Landis, I recall that Antoine Philippe felt that the project was incompatible with GA; he wondered if I was proposing Carole as the divinity of a new religion, like the female messiah sought by the Saint-Simonians under Prosper Enfantin, or Clotilde de Vaux, whose death inspired Auguste Comte, the founder of positivism, to create a bizarre “religion of humanity.” I didn’t have a good answer for Antoine at the time; this Chronicle is a brief attempt at one.

    It might seem pretentious for me to write about poetry, given the extreme modesty of my poetic publication record (one poem in French, two or three in English). But I think the affiliation between GA and lyric poetry goes beyond the merely personal. What is unique and I hope enduring in GA is its focus on the scene. In The Scenic Imagination, I attempted to provide something of a prehistory of this focus. Thinking about the relationship of lyric poetry to the originary scene provides some additional insights.


    There are many varieties of lyric, but the only kind I have ever been able to practice with any degree of skill or enthusiasm falls within the category of love poetry. The Western erotic tradition can be traced from Sappho through other Greek and Latin poets, notably Sappho’s disciple Catullus, is renewed in the high middle ages with the troubadours and the dolce stil nuovo, and reaches a kind of formulaic perfection in Petrarch, widely imitated by the other poets of the Renaissance. In the nineteenth century, the lyric expands beyond the bounds of love poetry to include the meditations of the poetic Self before the universe, but the traditional lyric themes are never forgotten. They provide the basis, for example, for the apparently wholly divergent, “impersonal” poetry of Mallarmé, whose poetics of absence describes fundamentally the same scene of the beloved’s eclipse as Lamartine’s arch-romantic “Le lac.”

    My own poetry, for what it’s worth, is epitomized in “Promised Land,” which began as a brief French poem, “Terre promise,” and was then expanded in English word by word into what Ken Mayers called a “hypertext” poem. Biographical detail aside, the “promised land” identifies the beloved with the place to which access is forbidden; the Bronx Romantic, on the example of Alfred de Vigny, identifies with Moses, barred from the future land of Israel. The original French poem dates from 1970, nearly a decade before I began to put together the basic ideas of GA, indeed, a couple of years before Girard’s La violence et le sacré led me to take a second look at the master’s theory of desire.

    It would hardly be accurate to claim that either the French poem or its English successor (which dates from around the time of the publication–not the composition–of The Origin of Language in 1981) is somehow a “source” or even an inspiration for GA. But with the years I have been struck by the way in which these poems share GA’s concentration on the scene. This concentration is at the heart of the distinction between GA and Girard’s mimetic theory. The central, sparagmatic event of the scapegoat “mechanism” is barely worthy of being called a scene; its participants share a central focus only in the process of the climactic lynching. No doubt at the conclusion of this event, one might speculate that the participants, in awe of the peace-bringing victim, sacralize his remains with a (linguistic) sign. Yet not only is this second scene only speculatively attached to the first, it is one about which Girard himself, whose emphases can hardly be ignored, has never done more than drop an occasional hint.

    This is not to say that Girard should not be called a scenic thinker. The idea of refocusing Freud’s father-murder scene from Totem and Taboo, so unparsimonious as to be better described as a myth of origin, on an arbitrary victim as a mechanism for generating the originary human community, is a great advance on not only Freud but Durkheim, who remains bound to the rites instantiated in his empirical data, and who never sees that what makes the reinforcement of “solidarity” crucial is the danger of mimetic violence. But Girard’s scene is a place of aggression rather than awe; it lacks the element of deferral. Nor can I imagine Girard writing love poetry or books about beautiful actresses, and to the extent that these activities parallel GA’s focus on the scenic, they help explain its origins.


    Perhaps the connection can be made clearer by the following epigram:

    Gentlemen resent blondes

    In the dumb blonde we witness
    evolution’s peak
    more than the power to speak
    beauty is human fitness

    The existence of a genre of “dumb blonde” jokes reflects male resentment of the power of female beauty, for which the blonde has long been the archetype. It is not so much that males themselves are rarely admired for their physical beauty, but that they are vulnerable to the aura that attends on beauty, however they affect to despise it. (I probably don’t need to point out that the poem, itself made of words, embodies the usual paradox of transforming its subject by thematizing it, reasserting the transcendence of language as the only way of celebrating the priority of the blonde’s beauty over the words we use to celebrate her.)

    “Dumb blondes” (think of Marie Wilson, intelligent and sexy, enough in both departments to know that she could have a successful career in Hollywood only by playing dumb at Warner Brothers, and later as My Friend Irma on radio and TV) are not deprived of speech, but although speech is strongly selected for in the course of human development, leading to the descended larynx and specialized areas in the brain and all the rest of our speech apparatus, the most direct effect of human representation on selection for reproductive fitness is the institution of female beauty. The leading males may be good speakers, but they choose their mates for their looks.

    As far as I know, the history of beauty’s role in human evolution has yet to be written, and the literature on prettiness in our own era is far from able to deal with its Darwinian implications. The advantage of lyric is that it can express “scenically” what theory is unable to elaborate as a causal sequence. Female sexual attractiveness may well have become a selection factor even before the originary event, although it could hardly have served as its precipitating cause. But its refinements must have been vastly accelerated by the scenic character of the human, and must have been increasingly selected for as the attraction to the sacred scene grew stronger. The becoming-scenic of sexual desire, with all it implies of the conflation of the sacred with the sexual, has surely been of vast importance for the subsequent evolution of our species.

    Among the characteristic apotropaic tendencies of our victimary age, we tend unthinkingly to treat any aspect of sexuality beyond the bare necessities of reproduction, whether it be the female orgasm or romantic love, as culturally dependent (“socially constructed”). There is certainly something new about the “courtly love” begun in the eleventh century by the Provençal and then Italian and other European poets. But the sacralization of the object of sexual desire is already fully present in Sappho and surely goes back far earlier. Sappho’s writings, unfortunately nearly completely lost, follow the expansion of writing to include what can begin to be called “literature,” a phenomenon often associated with the transcription of Homer’s poems in the 8th century BC. Oral love poems or songs addressed to the beloved may be as old as language, at least what we call “mature” language. Since human sexuality, whatever the attractions of polygamy in certain circumstances, is essentially a monogamous phenomenon, the sacralization of sexual desire as a means of counteracting the male libido’s lability and susceptibility to mimetic contagion has clear benefits to social organization.

    I have never accepted the abject relativism of “beauty is in the eye of the beholder.” It is almost always more productive to trust our intuition as a starting point than to take the knee-jerk relativistic view that everything we feel is “socially constructed.” No doubt there are nuances of taste, but not only is there a very high correlation concerning the people and things that people all over the world consider beautiful, this even applies throughout the animal kingdom. If we find flowers beautiful, and the animals and insects that the flowers attract seem in their own way to agree, why should we not trust our judgment equally well when, for example, we see no beauty in female chimpanzees? No doubt male chimps are attracted to their females, but from everything I have read on the subject, esthetic appearance rates low on their list of desiderata. I need not rehearse the effect on sexual selection of the esthetic differences that separate the human female from the chimpanzee. What is of interest here is rather the emergence of beauty as a criterion of sacralization. That even today, with women as Secretary of State and Speaker of the House, a beautiful woman entering a room arouses a sense of awe among members of both sexes is not something to be taken lightly. In Agnes Varda’s Cléo de 5 à 7, replace Corinne Marchand by just about anyone else and the whole point of the film would be lost. There is no shortage of obvious examples of the power of beauty; what is lacking is rather the willingness to overcome the inanities of PC to look at them with an open mind.

    Beauty combines desire with interdiction in an experience analogous to the originary experience of the sacred. The lyric, of all literary genres, remains closest to the originary operation of the sign as designating/sacralizing the center from the periphery, whereas drama replays the originary scene as the political problem of human centrality in hierarchical society and narrative transforms the world–in the first place, the battlefield–into a “theater” of human action. The lyric poem shares with the hypothetical originary event a peripheral relation to a central object of desire whose very desirability makes it forbidden to the desiring human on the periphery, who emits a sign to re-present to his fellow humans what he cannot possess.

    The lyric configuration applies as well to the “natural esthetic” by which we find beauty in “nature.” The typical assimilation of beauty to appetitive attractiveness in studies that seek the evolutionary basis of our preference for certain types of natural scenes not surprisingly eliminates the universal human element of representation and its link to interdiction. Beauty is always an object of implicit interdiction; landscapes solicit representation in the same way as do beautiful women. Why should finding beauty in gardens and forests be fundamentally different from finding it in the object of our sexual desire? It is hardly a coincidence that Western culture’s archetypal locus amoenus, the Garden of Eden, is centered around a place of interdiction.

    Likewise, the oscillation between representation and imaginary construction that I have described elsewhere as the fundamental experience of the esthetic is present in an inchoate form in the experience of beauty outside the artwork. The aura that surrounds the beautiful woman is like a frame that separates her from the world and makes her resemble a representation of herself, so that we oscillate between perception and imagination as if we were contemplating a statue. The absence of the will of the artist that guarantees the coherence of the painting is partially made up by the woman’s own will to present herself as an esthetic whole; this is Kant’s notion of the judgment of beauty as a reaction to autonomy. But even when we attribute beauty to phenomena such as natural landscapes that are not products of human will or even human-centered natural selection, desirability itself creates a barrier of interdiction, as though we fear even when alone the implicit force of mimetic rivalry. That natural beauty is traditionally attributed to the creative power of God is just a variation on the originary equation of the sacred with the universally desirable.

    There are no real coincidences in history, so the apparently anachronistic nature of my defense of the sacred nature of beauty cannot be dissociated from the power of the originary hypothesis as a minimal model for the origin of the human. Just as Girard’s anthropology (and, as I have recently had occasion to note, Bruno Latour’s) are in their own way products of the victimary era, so is GA, and each of these theories, also in its own way, goes against the victimary grain. Girard insists on the productivity of violence and the contravening power of Christianity; Latour’s renunciation of the “Western” myth of modernity seeks reconciliation through the reciprocal recognition of fundamental human equality rather than the triumph of victimary resentment; and GA turns against the victimary mindset altogether by recognizing the originary nature of resentment toward the center–except that this resentment is not rejected with Nietzschean contempt as an abjection to be overcome by the “superman”/artist but is understood as inherent in human desire, to be transcended constantly by all rather than in great gestures by the happy few. By adding sacred interdiction to raw sexual attractiveness, beauty inspires love and thereby acts to diminish resentment, despite the secondary resentment this transcendence itself inspires. Dumb blonde jokes are a small price to pay for beauty’s gifts to humanity.


    We can add one more piece to the puzzle. The most determined opposition currently faced by modern-Western-industrial-consumer-market society is Islamic extremism, which I think may be most simply understood as the (hopefully) last stand of ritual-traditional society against the forces of the market. (Such aberrations as North Korea originate as offshoots of the internal opposition to the market embodied in Marxian socialism.) The context of this final conflict (see Chronicle 338) lends particular anthropological significance to the fact that the most visible difference between the two social orders is in the public appearance of women. I have no desire to weigh in on the wisdom of France’s recent ban of the burka and other total modes of veiling, but whatever one’s view, one must respect French society’s sense that it is threatened by a way of sacralizing female beauty diametrically opposed to its celebration by modernity. There could hardly be a more unambiguous recognition of the sacred nature of female beauty than total veiling. We should recall that the medieval Western sacralizers of the beloved were inspired by Arabic sources. Yet one wonders how highly erotic poetry is appreciated by the Taliban or Saudi Arabia’s Committee for the Promotion of Virtue and the Prevention of Vice.

    Thus the great conflict of our era, which awaits only the Iranian bomb to burst forth in who knows what disastrous cataclysm, may be most simply defined by the irrevocable opposition of two ways of handling the characteristic configuration of lyric poetry–one of which, by extending and generalizing the lyric scene, unleashes the vast creativity of the market system and leads to GA’s “new way of thinking” about the human. I would not claim that we need the originary hypothesis to put the opposition in these simple if rarely expressed terms. My point is rather that Bronx Romanticism grants privileged access to such ideas, and that this privilege is also central to the scenic vision that discovered/invented the originary hypothesis.

    ***

    Let me conclude this Chronicle by paying my respects to a beautiful blonde who was sadly too smart for her own good.


  • Poetry and the N-Principle

    As some readers know, I occasionally write poetry. Some poets like to say they write for themselves, others for their beloved, but we all know that the real destinataire of any writing is “the public,” the amorphous but in principle universal community of readers–”universal” in whatever terms provide in a given context the deepest sense of human universality, which may mean implicitly excluding certain classes of readers as insufficiently refined, or for less worthy reasons.

    Of all the arts today, poetry strikes me as the most “broken.” The public has no established criteria by which to distinguish good from bad poetry, and no reliable set of representatives capable of separating the two, presumably leading eventually to the general recognition of the best poetry of the time. Quantity seems the only guarantee of poetic status; our “professional” poets churn out each year more poetry than I have written in a lifetime.

    Over a decade ago, Stacey and I decided to submit some of my work to poetry journals. The accepted procedure was/is to send two or three pages of poems with a SASE and a cover letter. We dutifully extracted thirteen chunks from my oeuvre, printed out thirteen cover letters and envelopes, put together thirteen SASEs with thirteen first-class stamps, and mailed them off to thirteen different poetry magazines. A month or so later, we had a collection of thirteen rejection slips, identical except for color. One or two included a note suggesting I send something else, presumably not because it would be better than the first offering, but because it would confirm my status as a “poet,” whose defining quality is the production of a never-ending stream of poetry.

    I’m fairly confident of my literary judgment, but no one can serve as judge in his own case. What I find disturbing is that there is no one else whose independent judgment I or anyone else can rely on. There is no doubt a poetry establishment, but my impression is that its members belong less to a profession than a cult, not to say a clique, and the fact that they have produced and praised so much mediocrity makes it hard to trust their judgment. Yet asking persons outside this clique is even less satisfactory. Personal acquaintances, whether they love or hate my poetry, would not presume to judge it “objectively.” People who can tell you what they think of a movie or a song or a novel find relief in admitting that they have no way of judging the quality of a poem.


    On this subject, Trevor Merrill recommended to me an article by former NEA director Dana Gioia, “Can Poetry Matter?” This piece appeared in 1991 in the Atlantic Monthly and gave its title the following year to a volume of Gioia’s essays. Written from within the poetry establishment with which I have had only the most tenuous of relations, it was most enlightening. Before reading it, influenced perhaps unduly by PBS interviews that have proliferated since Ruth Lilly’s 2002 gift of $200m to the Poetry Foundation, my idea of a poet was a sixtyish person with unkempt hair and blue jeans located in the middle of a field or wood whose vegetation is expected to supply seasonally appropriate figures of death and renewal. I learned from Gioia that the typical poet, jeans or not, is an associate professor of creative writing in a university English department, whose literary production is driven less by spontaneous creative urges than by the very same academic forces that incite the rest of the English faculty to churn out articles of literary analysis. Save that the latter, whatever their worth, are unambiguously addressed to other specialists and proto-specialists, whereas all this poetry, ostensibly written for “the public,” is perused almost exclusively by fellow members of the poetry profession.

    Gioia’s article appeared nearly 20 years ago, but I imagine things haven’t changed very much, save no doubt for the worse, with the gradual disappearance of the aging survivors of the pre-academic poetry world, whom Gioia already described with nostalgia.

    The artificial inflation of poetic demand by:

    • the necessities of academic promotion, where as Gioia points out, measuring quality is very difficult but measuring quantity takes only a scale and an adding machine
    • endless “creative writing” classes to justify the “poet-in-residence’s” employment
    • the publications created to support all this production, which subsequently acquire “needs” of their own
    • the Lilly gift, which would better have gone to the lady’s cat

    is not designed to improve the overall quality of poetry.

    One way of understanding the difficulty of judging poetry, perhaps the primary cause of the “death of poetry” whose first expression Gioia traces back to a piece by Edmond Wilson in 1934, is that poetry lacks a mode of transmission satisfactorily adapted to today’s media world. I am no fan of contemporary painting and sculpture, but at least the museum/art exhibit is a reasonable way to present viewers with artworks they wish to examine, whether the small engraving you lean over to see up close or the 100+-foot monstrosity exhibited in a pseudo-Italian church at Forest Lawn Memorial Park in Glendale. You glance at all the works and choose some to examine in depth, which can in most cases be compared with related works hanging nearby, and all for a reasonable price of admission.

    But think about poetry. Poems are meant to be read individually, not collectively, but there is no “natural” way to communicate an individual poem to a reader. The opacity of the transmission link is such that the writer of poetry is forced to choose between writing for himself and perhaps a few friends and becoming a “poetry professional” obliged to publish a collection every year or two. As a result, most poetry is published, and judged, in books. For most of us, reading an entire book of verse (not even an anthology of the writer’s best work) by any but a world-class poet is a time-consuming and at best fitfully entertaining activity. I’d have trouble respecting the judgment of anyone who finds the average poetry volume worth reading.

    As an alternative, there are lots of little poetry magazines, one of which (not among the thirteen) published a couple of my poems some years ago. But most of the stuff in these magazines is atrocious, and as Gioia puts it, the poems are jammed together like immigrants in the hold of a ship. Gioia’s preferred venue, the mixed-form “literary magazine,” such as the Saturday Review whose double-crostics I used to do long ago, has largely disappeared from general circulation. I imagine that just about all the literary magazines that appear today, whether or not exclusively limited to poetry, are published by English or Creative Writing departments. As for the few poems that appear in prestigious glossy magazines like the New Yorker, I am not sure their readers attend to them as more than ironic filler among the “serious” material in prose.


    When Camille Claudel, the sculptress who was Paul Claudel’s sister and Auguste Rodin’s pupil and mistress, who went mad, who looked a bit like Isabelle Adjani who played her on the screen, and who, a trip to the Musée Rodin will demonstrate, was quite as good at sculpture as her mentor, was asked the name of her favorite artist, she had the chutzpah to answer, moi-même. Let’s just say that my own stuff is the modern American poetry I most enjoy reading. Yet its fidelity to the lyric tradition from Sappho to Petrarch risks appearing, in the context of contemporary poetry, horribly old-fashioned.

    The poet must present his work as the creation of a master of language. In previous centuries, when European culture, at least among the educated classes, was relatively uniform, this meant demonstrating familiarity with classical and sometimes biblical sources. The poet created new metaphors and sound patterns without introducing material fundamentally unfamiliar to his readers. A poet like Victor Hugo exploited exotic elements of this cultural heritage that many might find unfamiliar, but their overall context always was, and the language and images were always understandable.

    I have never felt the need to change my old thesis that the romantics created paradises of the signified (originary ideas and images) and the symbolists, paradises of the signifier (originary words and sounds). The political fiasco of 1848-51 destroyed the illusion of romantic communion with the reader. Baudelaire’s images are fragmented; he rarely paints a coherent picture, and when he does, as in “La charogne” or “Une martyre,” the effect is most often savagely ironic. Yet Baudelaire is never obscure. His moral meaning flows from verse to verse and at its most difficult, we strain to find the moral pattern, not to grasp the meaning. Obscurity belongs rather to the poetry of the arch-bourgeois Third Republic. The poet can demonstrate authentic mastery only by remaining opaque to the “bourgeois,” whose education is similar but whose attachment to things of this world denies him the time and inclination to participate in the poet’s quest to reconstruct an originary language–donner un sens plus pur aux mots de la tribu [give a purer meaning to the words of the tribe], in the words of Stéphane Mallarmé, that most bourgeois and anti-bourgeois of poets.

    Modernism is different. The last French poet I really enjoy reading, Guillaume Apollinaire, whose most famous poem begins with the arch-modernist line “A la fin tu es las de ce monde ancien” [Finally you’re tired of/fed up with this old/ancient world], demonstrates that Mallarméan obscurity is unnecessary when the poet is able to access his own modernity, a presentness that detaches him from the mediations of bourgeois life. A similar, if more aggressive, motivation lies behind the surrealists’ obsession with accessing their “unconscious” through “automatic writing” that supposedly bypasses the constraints of bourgeois society–constraints they hoped at one point would be abolished in a forthcoming Marxist utopia. In a very different vein, Marcel Proust, today perhaps the most prestigious modernist of all, transcended the superficial motivations of daily life through subtlety rather than obscurity, acting on the faith that one does indeed have access to the originary sources of the Self, provided one has the forbearance to maintain them in a state of deferral and not prematurely precipitate them out in “goal-directed activity.”

    But in the US, the most influential strand of modernism even today has been that of the “high modernism” of Woolf, Joyce, Stevens, Pound, and the supreme Anglo-American, T. S. Eliot. The latter’s iconic The Waste Land exemplifies a modernist poetics without significant parallel in France, one that since its publication in 1922 no English-language poet can ignore. The poem cries out for interpretation and gloss, with the author’s own quasi-erudite notes as our guide. But what interests me is rather the need to meta-interpret the new, indeed, revolutionary conception of mastery that Eliot’s poem exemplifies and that he challenges all future poets to emulate. I suspect that this is the main source of the poem’s historical importance.

    In the extreme case, modern art may be overtly premised on the idea, both magical and cynical, that it suffices to have access to the institutional mechanisms of presentation-as-art to transfigure anything at all into an artwork. In honor of the philosopher of the Wille zur Macht, I shall call the affirmation, “This is art because I present it as such” the “Nietzschean” or “N” principle. Duchamp’s readymades are no doubt the most obvious examples. But the naked demonstration of the N-principle by placing a urinal in an art exhibit is of great meta-esthetic but little esthetic interest. Once the thrill subsides, the spectator is left with little desire to examine the newly christened work of art and elucidate its “meaning.” The really profound revelation embodied in the N-principle is that henceforth our experience of even the most consequential art, whether literary, plastic, or musical, will always be contaminated by our awareness that we can no longer know what part of the work’s “esthetic value” is owed to the artist’s sheer willfulness. To access an artwork, we have always submitted to the will of the artist, but this submission, the complement of the N-principle, had never before been foregrounded within the artwork itself. Artists, whether poets or sculptors, were craftsmen, and it was assumed without question that whatever their specific background, they adhered to the rules of their craft. Duchamp was himself a serious artist who had demonstrated his craft status well before exhibiting his first readymade in 1913. Today, artists and poets still generally act under the cover of guild membership, but the guilds no longer impose rules of craft, which in the case of poetry can no longer even be credibly formulated.

    Eliot’s poem illustrates the N-principle on many levels. The unique mixture of refinement and vulgarity, citation and originality, poetic power and heavy-handed cultural-anthropological reference defines the modern world of art and the mastery it both requires and assumes, one in which the highest levels of pretentiousness and literary skill are irrevocably bonded. If there is one domain where I wish the world could obey Bruno Latour’s utopian admonition to stop pretending to be modern, it is in rejecting the insufferable snobbery that is inseparable from the often exquisite art of English-language high modernism.

    Eliot is surely a great poet, and in The Waste Land there is much to admire, but if the references to Buddhism or Jessie Weston or Shakespeare or Ovid are all the more impressive because they are irritating, I find them ultimately more irritating than impressive. We don’t really need Weston and Fraser to tell us about the deepest layers of human culture, nor does what Eliot had recently baptised the “objective correlative” of the Buddha’s fire sermon quite justify the appeal to its religious authority. Such criticisms inevitably provoke the counter-accusation that one is a Philistine who can’t appreciate any poetry after Tennyson. Once the N-principle enters the fray, there is no right answer; on what basis can we criticize poetry whose very point is to impose the artist’s will beyond good and evil, to make it new? In contrast with faux-naïf Apollinaire who begins the world all over again with himself, the High Modernist uses footnotes and allusions to construct not a simple Self but a Master creating newness from the infinity of the tout est dit.


    Contemporary poetry continues to follow the N-principle, “democratized” in a unique American way to accept the claim of “anyone” to be a poet, so long as he writes something he calls a “poem.”

    Can we put the N-genie back in the bottle? Surely not all at once; but perhaps we can maneuver him gradually inside by cultivating, for a public of educated non-specialists, a poetics of educated simplicity. For to accept that “poetry is dead” is ultimately to believe that culture is dead, with the human race shortly to follow. Only a handful of bombs would be needed for the demonstration. If we hope to rid ourselves of our passivity in the face of Western decadence, we would do better not to abandon our faith in poetry.


  • Haven’t we always been modern?

    The text that follows is that of my talk at the fourth annual Generative Anthropology Summer Conference held at Westminster College in Salt Lake City and Brigham Young University in Provo from June 24 through 26. The talk itself took place at BYU on Friday, June 25.

    ***

    Of the many esthetic reflections on the modern, perhaps the most subtle is Antoine Compagnon’s Cinq paradoxes de la modernité, which appeared in 1990—remember that date—and whose ultimate perspective is the resigned acceptance of Charles Baudelaire: Paris change! Mais rien dans ma mélancolie / N’a changé. But rather than recording the often less than happy traces of modernity in Western culture, I think our more urgent concern is to define the terms of a positive attitude toward the movement of history, one that gives us the best chance of adapting the “eternal” qualities of the human to the tasks our historical situation assigns to us.

    In this respect, the accepted definition of these times as “postmodern” is troublesome. A theatrically self-effacing modesty combines with an enormous arrogance in the idea that we used to be but are no longer modern, having recoiled at the horrors of modernity in the first half of the twentieth century. For me, 1945 isn’t all that long ago; I can still remember celebrating VE Day with my parents in Times Square. For most of you, that is not likely to be the case. Yet our era is still shaped by our reaction to World War II, to the Holocaust and Hiroshima, absolute inhumanity and the possibility of self-annihilation.


    For the moment, however, let us turn rather to another date, less significant perhaps, but one that most of us remember better and that has played a major role in some recent reevaluations of history: 1989, the year of the fall of the Berlin Wall and the incipient end of communism as a world-historical movement—not coincidentally also the year of the massacre in Tienanmen Square. I would like to discuss two significant reflections on modernity that take 1989 as their inspiration.

    The first is Francis Fukuyama’s The End of History and the Last Man— which I sometimes think I am the “last man” to take seriously—published in 1992 but anticipated in its essential points in a celebrated article that appeared in The National Interest shortly after the events in question. In the strong form of Fukuyama’s thesis, derived from Alexandre Kojève’s reading of Hegel, the end of history took place, not in 1989, but with Hegel’s witnessing of Napoleon’s victory at Jena in 1806. But the impetus for this claim is nonetheless the present:

    What we may be witnessing is not just the end of the Cold War, or the passing of a particular period of post-war history, but the end of history as such: that is, the end point of mankind’s ideological evolution and the universalization of Western liberal democracy as the final form of human government.

    Fukuyama bases his progressive notion of modern history on what he calls the Mechanism of natural science, which unlike other human institutions is reliably cumulative. Thus we may equate the “end of history” with a peculiar form of postmodernity, one that is ambivalently Marx’s open-ended “realm of freedom” and, as Fukuyama—really more a Nietzschean than a Hegelian—unfortunately tends to prefer, an endless postmortem in which the “last man” no longer has any inspiring tasks to perform. In a 2002 work, Our Posthuman Future—the title refers to genetic manipulation rather than cyborgs—Fukuyama lightens this bleak vision a bit by suggesting that we should exempt the ever-evolving world of science and technology from the “end of history.”

    The idea that human history can end while that of “science” continues puts Fukuyama in diametrical opposition with the author of another significant reaction to 1989: Bruno Latour’s Nous n’avons jamais été modernes, which appeared in 1991. Latour attempts to show that the watershed year of 1989 is not, as Fukuyama affirms, the triumph of “capitalism” over “communism,” but despite appearances, the defeat of both. As a consequence, we are at a very different “end of history” from Fukuyama’s, one that requires we renounce the illusion of being “modern,” a term that, although his analysis is considerably more probing, Latour likewise defines by the presumably irreversible progress of science and technology. Latour’s vision too can be seen both as one of infinite stasis, as suggested by the rather uninspiring term non-modern that we must accept having always been, and at the same time, as a result of this liberation from the false consciousness of being “modern,” a similarly ambivalent “realm of freedom,” one threatened less by boredom than by the emergent problem of ecological sustainability.

    Thus our two thinkers find in 1989 diametrically opposed lessons about the symmetry or asymmetry of human interaction, the latter term of which we can sharpen by designating its initiative-taking side by the Peircean (and Katzian) notion of firstness. Fukuyama sees 1989 as a triumph of firstness that ends the illusory symmetry between two “world systems.” The liberal-democratic triumph is irreversible; all future conflicts will be and already are by definition epiphenomenal.

    In contrast, Latour sees 1989 as restoring a denied but always latent symmetry, as underlined in his subtitle, essai d’anthropologie symétrique. His provocative, if unsustainable, parallel between the defeat of “socialism” in eastern Europe and what he at first calls the defeat of “capitalism” (replaced after the opening pages by the more modest term “naturalism,” the modernist idea of a nature wholly distinct from the human), a defeat symbolized by a set of “conferences about the global state of the planet” in Paris, London, and Amsterdam, is clearly designed to problematize the West’s asymmetrical Cold War victory. Firstness generates resentment; since its origin humanity has been preoccupied with redistributing the benefits of the former and recycling the energy of the latter. The first glimmers of environmentalism (which long antedate the conferences of 1989) may not spell the end of capitalism, but they fill an inevitable antithetical position in the historical dialectic that Fukuyama sees as closed off—a role that has been occupied more visibly in the past decade by Islamic radicalism.

    Latour is not a typical European intellectual, most of whom remain believers in some kind of post-Marxist socialism; nor is the Nietzsche- and Kojève-quoting Fukuyama a typical American political scientist. Yet it remains fair to say that our two thinkers are representative of the old and new worlds. Fukuyama, as an American conservative, has been vaccinated against postwar victimary thinking, which he argues against at great length, if perhaps too optimistically. In contrast, Latour’s constructive variant on the postwar critique of “hegemonic” asymmetry of makes him, no doubt unawares, perhaps the last major victimary thinker and intellectual heir of the Holocaust. The two differ as well in their style. Latour is a resolutely paradoxical thinker—an important and, I think, justified source of his vast popularity—who keeps his reader off balance by his constant complicitous redefinition of “we” as alternatively naïve and wise, good guy and bad guy, dupe of or wise to the myth of modernity, whereas Fukuyama defends his asymmetrical stance with 300 pages of unselfconscious authorial asymmetry.

    Reflecting my own hybrid status, my substantive-historical sympathies lie with Fukuyama, but my stylistic-anthropological affinities are with Latour’s richer and more paradoxical vision of the “end of modernity.” I do believe that liberal democracy, the active and successful participation in the global marketplace, coupled eventually with democracy’s recycling of resentments (which Fukuyama places under the Platonic rubric of the thymotic—as opposed to the erotic, desire for recognition rather than pleasure), whether on a national, regional, or someday on a world scale, is the minimal mode of organization—in no sense a steady state!—toward which polities are bound in the long run to tend—although not necessarily with success! But even if this is true when properly understood, how do we produce this understanding? In our “post-millennial” world, the resentments generated by the West, the US, the Jews in general and Israel in particular are not about to go away. Dismissing these resentments as epiphenomenal is, however tempting, a failure of anthropology, a subordination of the human to metaphysical “reason” along the self-satisfied lines of the Enlightenment.


    Latour’s definition of modernity is inspired by Steven Shapin & Simon Schaffer’s pioneering 1986 Leviathan and the Air-Pump, which opposes Hobbes’ Leviathan, the first generative analysis of human organization (and not coincidentally the subject of the first chapter of The Scenic Imagination), to Boyle’s contemporaneous air pump, the apparatus that produced the first more or less reliable vacuum and thereby defined the first “laboratory” space. Shapin & Schaffer’s point, sharpened by Latour—who rejects the book’s unexpected last-minute postmodern tilt to Hobbes’ state-approved knowledge over Boyle’s experimentalism—is that, although thinkers have tended to understand the origins of political and scientific modernity in mid-17th century England as separate issues, or at best, parallel ones, Hobbes and Boyle are in fact symmetrical and competing sources of what Latour elaborates in some detail as the Constitution of modernity. Here the rivalry of politics and experimental science is resolved by wholly separating the object-world of the sciences (which acquired its independence in Boyle’s day by soliciting the empirical observations of the “gentlemen” of the Royal Society, the first true “scientific community”) from the subject-world of politics, the world of les hommes entre eux. Latour’s Constitution establishes far more than a simple dichotomy; it sets up “society” and “nature” as transcendent entities, liberating the “subject” to conquer the “object” and produce the vast outpouring of productive energy we call “capitalism,” which Latour characteristically describes as operating through multiple networks and “hybrids” of humans and things, while all the while denying the reality of anything other than the two poles of the human subject and the material object.

    As a result of what Latour sees as the twin events of 1989, we can now understand the Constitution of modernity from without in a state of non- but not postmodernity. For Latour rejects along with modernism the nihilist irony of the postmodern as well as the reactionary negativity of the “antimodern.” Renouncing the false albeit highly productive consciousness founded on the dichotomy of subject and object returns us to an authentic awareness of the “non-modern” state that we never really left, a non-dichotomous interpenetrating universe of networks and hybrids defined by the same continuity of subject and object as the “primitive” cultures studied by ethnologists, and which can now be examined through the lens of Latour’s anthropologie symétrique. Under these conditions, the conquests of modernity and even of postmodernity can be recuperated. Thus Latour recognizes the anthropological value of deconstruction:

    … we can save deconstruction—but as it no longer has a contrary [i.e., metaphysical “presence”], it becomes constructivism and is no longer bound up with self-destruction (183)

    This reversal of deconstructive analysis into the construction of a prior synthesis is in the same spirit as the use we make of Derrida’s concepts of deferral and supplementation in the originary hypothesis.

    Indeed, Latour’s insistence on the common basis of modern and premodern societies has fundamental affinities with GA. Latour points out that ethnologists have no trouble seeing the links between the premoderns’ view of nature and their understanding of themselves; it is only in modern times that we claim to access through scientific knowledge an “objective” nature wholly independent of the human. Latour invites us to explore a vertical dimension of human reality positioned orthogonally to the horizontal line joining subject and object, to which the modern Constitution restricts us. If for Kantian philosophy the “phenomenon” is no more than the meeting point of the two ontologically significant positions of subject and object, Latour’s vertical dimension suggests the depth of real-world interactions of thought and matter that characterize both the hybrid subjects (people exercising professional skills) and objects (processed materials and the tools and machines that process them) of the real human world. In a later work, Latour coins for these “hybrid” objects the term factish, a combination of fact and fetish, to which I much prefer his French translation faitiche, whose inaudible difference from fétiche makes it Latour’s différance.

    We should appreciate the generativity of Latour’s intuition of the human-as-mediator, not a metaphysical “subject” faced with an “object” but engaged in a constant work of transcendence. Latour presents his attempt to liberate the reader from the myths of modernity under the banner of democracy:

    Modernism—and its anti- and postmodern corollaries—was nothing but a selection made by a small number in the name of all. If more of us make use of our ability to select for ourselves the elements that will be part of our time, we will find the freedom of movement that modernism denied us, a freedom that in fact we had never really lost. We didn’t emerge from an obscure past that conflated natures and cultures into a future where the two will finally be cleanly separated thanks to the continual revolution of the present. . . . Modernization has never taken place. (103-104)

    Here Latour abstractly but pointedly links modernism to elitism of nation and class, as the ideology of those who use their claim of liberation from the “premodern” as an excuse for oppression. But what separates this from the sterility of the usual victimary critique is that the attitudinal liberation Latour calls for is proliferation rather than redistribution, a worthy example of the sharing of firstness. Nor is it too much of a stretch to read Latour’s post-9/11 exhortation to the West in his 2002 pamphlet War of the worlds to defend itself against its (diplomatically unnamed) enemies as if in a real war (“Westerners, get up on your feet! It’s up to you now to fight for your place in the sun!” [37]) as a demonstration that one may derive an affirmation of firstness from a prior state of symmetry—even if Latour fails to recognize that symmetry is constructed by firstness rather than the other way around.

    I think this brief summary suffices to show that there is much to like, to admire, and, particularly for a humanist, to learn from in Latour’s vision of modernity. This is not “French theory,” but no doubt the most original French thought in a generation.

    There are, no doubt, a few problems. In insisting on modernity’s false consciousness, Latour creates an impermeable barrier between the different levels of discourse necessary to the functioning of the social order, so that the pragmatic thinking that gets things done in each specialized sector of the modern scientific-politico-industrial system is excluded from the universal purview of the “modern” ideology that is the object of his “symmetrical” critique. For example:

    The moderns were not wrong in wanting non-humans [=things] to be objective and societies to be free. The only thing false was their certitude that this double production required the absolute distinction between the two terms and the continual repression of the work of mediation. (192)

    Latour has been telling us all along that the “work of mediation” is the real achievement of the modern. What is “repressed” is not the work itself but, presumably, our consciousness of it. Yet he does not demonstrate that the philosophers he cites as expressing the ideology of modernity prevented more practical thinkers from organizing and articulating these mediations, whether or not in terms ideologically compatible with the philosophers; were both groups “believers” in the Constitution of modernity? Nor is it clear how Latour’s proposed revisions to this Constitution would affect the actual operation of these mediations, or lead us to organize them differently. For example, his ideal non-modern “Parliament of Things”:

    The mediators occupy the whole space. . . . Natures are present, but with their representatives, the scientists, who speak in their name. Societies are present, but with the objects that have always weighed them down. Let one of the representatives speak of the ozone hole, let another represent the chemical industries of the Rhone-Alps region, a third the workers of that same industry, another the voters of Lyon, a fifth the weather of the polar regions, and another speak in the name of the State, it doesn’t matter, so long as they all are talking about the same thing, about this quasi-object they have all created, this object-discourse-nature-society whose new properties astonish all of us and whose network extends from my refrigerator to the Antarctic via chemistry, law, the State, the economy, and the satellites. (197)

    Yes, but who is going to organize this “parliament”? How will it make and enforce its decisions? Latour’s compelling portrait of our vast network of techno-econo-political interactions only makes the need for clearly defined political authority all the more evident. (I don’t have time to discuss Latour’s attempt to deal with these questions in his 1999 Politiques de la nature, which goes into great detail while remaining in a wholly abstract universe. The book begins, “Que faire de l’écologie politique? Rien. Que faire? De l’écologie politique!” [What should we do about ecological politics? Nothing. What should we do? Ecological politics!])

    More fundamentally, Latour’s refusal to dissociate the human and the “non-human” is reminiscent of Rousseau’s (as opposed to Hobbes’) state of nature, where man is not yet cut off from natural goodness by the social vice of amour-propre. As someone familiar with the practice of working scientists, Latour sees the continuity between their solicitation of the natural world and the mimetic practices of traditional culture as more fundamental than the discontinuity defined by the “modern.” But in reproaching the moderns with refusing to recognize the complicity of humans and non-humans, Latour fails to recognize that our relationship to things is transcendentally mediated from the beginning by the scene of representation.

    Latour’s conceptual universe has no place for the scenic structure defined by the asymmetry of periphery and center. His arsenal lacks the fundamental scenic notion of deferral, and as a consequence, that of firstness through which the initiative of deferral is carried out. An indication of the decentered nature of his anthropology is the preference for Gabriel Tarde’s theory of imitation over Durkheim’s centralized model of social cohesion, reflected in Latour’s co-authored 2009 booklet The Science of Passionate Interests, an English translation of an introduction to Tarde’s “economic anthropology.” Tarde’s understanding of imitation lacks the key element shared by Durkheim, Girard, and GA. For these, human imitation originates around a center, whereas Tarde sees only that everyone imitates everyone else. As Bergson’s predecessor in the chair of Modern Philosophy at the Collège de France, Tarde is an ancestor of Deleuze’s rhizome more than of GA’s originary scene.

    Yet ultimately I think it is more important to point out that Latour’s concrete analyses, whether of Pasteur’s struggles against spontaneous generation or Joliot-Curie’s prewar attempts to create a French A-bomb, display a refined sense of scenicity and of scenic productivity. Latour does not theorize the scene but his descriptions of scientific activity break down the interactions of his networks into series of scenes, more or less consequential, more or less dramatic.


    We can express both the historical truth of Fukuyama’s thesis and the limitations of his presentation of it by observing that the most dangerous thing about our “global” economy is precisely that there are really no alternatives. Not only are modern scientific knowledge and its constructions without alternatives among “non-Western” cultures, there is really no such thing as a “non-Western” culture. Even the most backward societies depend on modern industrial countries for armaments and medicines, cell phones and plastic jugs. The world’s less successful societies all seek, subject to their various cultural constraints, the same goals as the West: the application of modern techniques to the production of prosperity and health. The nonstate forces of radical Islam are only an apparent exception; happy to exploit Western technology when it suits its ends, jihadism is best defined not by its announced goal of creating a worldwide caliphate but as a resentful reaction against a “West” it dreams from within of destroying rather than replacing from without.

    Latour’s turn to the non-modern is conceivable only within the context of the modern social order. The “developing” world, whatever the varieties of its cultures, offers no alternative visions of nature, let alone modes of relating subject and object, to challenge the structures of modernity and its global marketplace. Its resentments of the “hegemonic” West, justified or not, are wholly ethical. Whether or not participation in the economic market at the highest level need be accompanied by the political marketplace of “liberal democracy”—China is clearly the main test case here—it is impossible to deny the “modern” economic dynamic of all societies, Western and non-Western, democratic or not. There are everywhere only local variants of the “networks” and “hybrids” in which Latour quite rightly locates the key activities of modern industrial societies.

    Hence whether we understand “nature” in the modern-naturalist sense or the non-modern-ecological sense, we remain in the orbit of the global “Western” Hobbes-Boyle scientific-industrial complex. Postwar Europe’s “white guilt,” what Pascal Bruckner calls its “penitence” for its sometimes bloody attempts to impose its form of modernity on the rest of the world, does not extend to modern science or in any concrete sense even to the market system, despite the persistent disdain it inspires among most European intellectuals. Nor does the ecological turn of recent years that is so central to Latour’s thinking signal a return to “premodern” values. On the contrary, the “developing” world, which has always been characterized less by the romantic notion of symbiotic concern for nature than by a fortunately limited capacity to destroy it, has no use for such things as carbon allowances except insofar as they can be used to extract subsidies from the West.


    It is because, nuances aside, modernity is the status of the present that both our authors deal with it as spokesmen for a particular ethical stance, and implicitly address themselves to a Western rather than universal audience. Although Fukuyama presents the end of history as a global fait accompli, the rhetoric of his book, which begins with a chapter entitled “Our Pessimism,” exhorts his reader to maintain faith in liberal-democratic values, as if anticipating the complex of Western demoralization and Islamic aggression that would shortly follow the triumph of 1989. Latour, in contrast, openly espouses a duty to his Western reader to promulgate a non-modern ethic that will permit the West to abolish its asymmetry with the Rest, bringing together all the humans who never really separated themselves from the non-humans in a potentially less conflictive, not to say, utopian marketplace of universal mediation.

    In the light of the originary hypothesis, theorizing about modernity is necessarily paradoxical; what we claim as essential in the human present is ipso facto claimed for all time and consequently loses its historical specificity. Read from the standpoint of originary anthropology, Fukuyama’s historical asymmetry becomes anthropological symmetry. For to accept the “post-historical” status of liberal democracy as the ultimate revelation of the human condition is to recognize that this condition has always already existed in principle as the trace of the exchange of signs and things in the originary event.

    Unlike Fukuyama, Latour is aware of the paradoxical nature of the historical liberation he is promoting; the “realm of freedom” is to be found not in following the modernist forward movement of history but in turning back from it to what I would call an inchoate form of originary anthropology. Latour would liberate us from the “disenchantment” of modernity by showing that modern and pre-modern societies have fundamentally the same relationship to the sacred.

    Although most of his readers don’t seem to notice, Latour returns insistently to the question of religion. I don’t have time here to discuss his fascinating personal meditation Jubiler, ou les tourments de la parole religieuse, written on the occasion of the new millennium, but already in Nous n’avons jamais… one of the beneficial effects of renouncing our spurious modernity is that:

    … the barred [= “watchmaker”] God, in this new [non-modern] Constitution, finds himself liberated from the undignified position he had been forced to occupy[.] The question of God is reopened and the non-moderns no longer need try to generalize the improbable metaphysics of the moderns who forced them to believe in “belief” [the reduction of God to the subject of metaphysical propositions] (194)

    The conclusion of “Sur le culte moderne des dieux faitiches” (originally published in 1996) is more specific :

    We need no longer oppose the disenchanted world, virtual, absent, deterritorialized, to another, richer, more intimate, more compact and more complete, that of the primitive—who in any case never lived in the fetal quietude of our dreams of good savages. (75)

    GA shares Latour’s anthropological universalism, if not his utopianism—itself more performative than substantive. We know that language and the human world it creates are themselves “religious” phenomena. No doubt we also know that it will not suffice for the West to renounce its mythical superiority over the pre-modern Rest for the latter’s resentments to be assuaged. Nonetheless, Latour’s rehabilitation of the sacred is of great relevance to our times. Both the current “asymmetric” crisis with Islam as well as any future “symmetrical” one with China will provide the West with plenty of opportunity to renew its acquaintance with religion. One thing we can say with certainty is that societies that lack the religious cohesion to reproduce themselves, as many European peoples appear to do today, will give way to those that do. We need not envisage sophisticated atheist intellectuals converting to Mormonism or Islam. The children produced by the latter will fill the places of the missing children of the former, and it is in their hands that the fate of “secularization” will lie.

    All debates about modernity are really about the firstness of Western civilization, the litanies of guilt for which have, I dare say, become as unproductive as they are tiresome. Thus I think the most useful way to read both our authors is as defenders of this firstness, provided it be understood in both cases not as a static assertion of superiority but as a potential gift to humanity as a whole. To discover or invent anything, someone must go first, but the true value of the discovery is realized only when it has been shared with others. Rightly understood, Latour’s non-modern symmetry is as much a Western gift to the global universe as Fukuyama’s liberal democracy.

    Someone might point out that the Hebrews who discovered / invented the One God and subsequently shared Him with humanity have continued to suffer for it at the hands of legions, crusaders, Nazis, jihadis, and Helen Thomas. Firstness arouses resentment; it did then, and it does now. Our job as representatives of this firstness is to circulate its benefits as widely as possible while avoiding the contagion of the Other’s resentment: a modest ethic for the eternal present of human modernity.


  • The Meaning of Meaning in Kafka’s The Castle

    The first enemy of the aesthetic was meaning.
    —Roberto Calasso

    1. The Question of Transcendence

    The Castle is Franz Kafka’s most humanistic work, virtually the only one in which the protagonist forms continuous, close relationships with other characters, including love. As in many of his other works, the protagonist is on a quest for a goal that proves unattainable. But in The Castle, K. becomes seriously and deeply involved with the lives of the people in the village. The Castle puts the question of meaning within a social context, where it rightfully belongs.

    The novel revolves around two main poles: the protagonist, who is the narrative center for the reader, and the Castle, which seems to be the source of meaning for the characters in the novel, especially K. The ambiguity surrounding the Castle (as well as the obscurity of K.’s motivations) raises the question of what transcendence actually means, the meaning of meaning. While all serious art addresses this question implicitly, Kafka makes it central and explicit. Despite (or because of) the ambiguity of his works, Kafka is like an archer who shoots straight for his mark, the unspoken axis upon which culture turns.

    By equating transcendence with meaning, of course, I already assume a rudimentary definition of meaning; but I share this assumption with the novel. Meaning is transcendent because its source is above and beyond; while it is true that K. seeks the domestic goals of job, home, and family, the achievement of his goals depends upon the Castle, which is literally above and beyond the village, remaining more or less inaccessible to the villagers. The concept of transcendence implies that there is something to be transcended or gone beyond. In The Castle, K.’s quest requires overcoming various obstacles, the chief of which is the distance between village and Castle. K. essentially seeks sanction from the Castle, independently of his other goals; meaning requires validation from a locus external to the self and the immediate community.

    Transcendence has a traditional association with the sacred. We make no great leap by seeing the Castle as occupying the place of the sacred in a traditional society (i.e., one which respects sacred distinctions and authority), which the village seems to be. The quasi-supernatural elements in the story, Jeremiah’s magical transformation and so on, are by definition sacred. And the virtually religious awe with which the villagers regard the Castle also supports this association. From an anthropological perspective, the sacred is the original form of the meaningful, and the ambiguity of the Castle can be viewed as a modern version of the well-known ambivalence of the sacred.(1) This preliminary understanding of the Castle avoids the debate about whether the Castle represents God or is inhabited by “Gnostic demons” (Heller 76), supernatural good or supernatural evil. From our perspective, these are two sides of the same coin.

    The Castle is a novel, but its setting, form, and content call to mind medieval romance and quest-narratives. The village sits on Castle land, and the Castle governs the village as in feudal times (although the extent of its power in the village is an open question). The setting is otherwise ambiguous; while there are references to Count Westwest and a Castellan, the main representatives of the Castle are characterized as “officials,” as with a modern government bureaucracy. The medieval elements of the novel evoke a world in which hierarchy and authority are taken for granted, as indeed the authority of the Castle is assumed by all the villagers with the possible exception of Amalia. Although he sometimes questions the justice of its actions, K. also takes the authority of the Castle for granted. Moreover, he is deeply attached to the village and obsessed with the Castle, suggesting that the novel is nostalgic for a world in which divine hierarchy structures human relations.

    René Girard has not written on Kafka in any detail, but he suggests clearly that Kafka’s fiction represents what he characterizes as the modern, post-Christian world of internal mediation and frustrated transcendence (DDN 266, 286-7, 308-9). Bruce Bassoff’s essay “The Model as Obstacle: Kafka’s The Trial” fruitfully explores internal mediation in that novel, substantiating Girard’s hints about Kafka. As we will see, The Castle does present a world distinguished by internal mediation but not, in the final analysis, frustrated transcendence. The interpretive problem here is that the characters in the novel and the critics are looking for transcendence in the wrong places. I will show that The Castle models an alternative form of transcendence from a perhaps surprising source that previous critics have not considered or recognized as such. In this way, Kafka’s novel goes beyond Girard’s dichotomy of mensonge romantique and vérité romanesque (DDN 16-17), providing a valuable insight into the very origin of language.

    2. The Castle

    What is the Castle? This is the main question of the novel, both for readers and characters, although the characters never pose the question quite so directly, focusing instead on more immediate goals that invariably involve the Castle. In the famous opening of the novel, the Castle is ominously present even in its absence:

    It was late in the evening when K. arrived. The village was deep in snow. The Castle hill was hidden, veiled in mist and darkness, nor was there even a glimmer of light to show that a castle was there. On the wooden bridge leading from the main road to the village, K. stood for a long time gazing into the illusory emptiness above him. (3)

    The gothic description of the Castle hill as “hidden, veiled in mist and darkness” suggests an element of secrecy and perhaps deceit in the Castle’s presentation. Does the Castle inhabit an “illusory emptiness” or is it merely an empty illusion? Despite the darkness, K. is clearly aware of the Castle. Indeed, why else would he stand “for a long time gazing” into the darkness above him? The Castle is the fundamental goal of K.’s quest from its beginning.

    The next morning he sets out from the Bridge Inn and sees “the Castle above him, clearly defined in the glittering air” (11). This clarity, however, is deceptive. At first, “this distant prospect of the Castle satisfied K.’s expectations,” despite its appearance as “a rambling pile consisting of innumerable small buildings closely packed together” (11). But in the following paragraph, upon closer approach, K. is “disappointed in the Castle; it was after all only a wretched-looking town, a huddle of village houses, whose sole merit, if any, lay in being built of stone; but the plaster had long since flaked off and the stone seemed to be crumbling away” (11-12). The Castle’s appearance is decidedly at odds with its power and authority in the village. But in regard to the Castle, appearances are always deceptive and subject to revision.

    After viewing the Castle, K. thinks of his hometown, and

    in his mind he compared the church tower at home with the tower above him. The church tower, firm in line, soaring unfalteringly to its tapering point, topped with red tiles and broad in the roof, an earthly building—what else can men build?—but with a loftier goal than the humble dwelling houses, and a clearer meaning than the muddle of everyday life. (12)

    At home, in former times, the sacred occupied a well-defined place in relation to the human community: the church tower is rooted in the “earthly” yet soars “unfalteringly” heavenward, with “a clearer meaning than the muddle of everyday life.” This description suggests a cosmic order well justified by the spiritual nobility symbolized by the church tower. The novel contrasts this idealized symbol from the past with the Castle’s tower in the novel’s present:

    The tower above him here—the only one visible—the tower of a house, as was now evident, perhaps of the main building, was uniformly round, part of it graciously mantled with ivy, pierced by small windows that glittered in the sun—with a somewhat maniacal glitter—and topped by what looked like an attic, with battlements that were irregular, broken, fumbling, as if designed by the trembling or careless hand of a child, clearly outlined against the blue. It was as if a melancholy-mad tenant who ought to have been kept locked in the topmost chamber of his house had burst through the roof and lifted himself up to the gaze of the world. (12)

    In this remarkable passage, the tower starts off sounding relatively innocuous, even promising, with the “ivy” which “graciously mantled” the “uniformly round” tower; but by the end of the passage we face a tower designed by a careless child, unable to conceal any longer the madman within. The sacred is no longer contained within established boundaries; it has escaped with horrifying consequences. The comparison with a lost past suggests a fallen world, but in a modern, alienated incarnation—a world in which the dangerous power of the sacred has been liberated from the constructive channels of the medieval cosmos.

    There is a definite hierarchy between village and Castle, but the exact nature of the Castle’s authority remains obscure. Significantly, the boundary between the village and the Castle is hard to define. Schwarzer, the son of an under-castellan, reminds K. upon his arrival, “whoever lives here or passes the night here does so, in manner of speaking, in the Castle itself” (4). And the schoolteacher remarks, “There is no difference between the peasantry and the Castle” (14). Yet when K. sets out to reach the Castle on his first day in the village, it recedes, like the horizon to the traveler, ever farther into the distance. Communication with the Castle is difficult if not impossible. The Castle is seemingly everywhere and nowhere, more threatening precisely through its silence.

    The only villagers who reportedly have visited the Castle are K.’s assistants and the messenger Barnabas, who sees only the outermost rooms. The main points of contact between the villagers and the Castle are the officials and their servants, who travel back and forth between the village and the Castle, staying at the Herrenhof Inn when in the village. The servants, freed from Castle regulations, are “ruled by their insatiable impulses” (285) in the village, drinking, dancing, sleeping with prostitutes, and harassing the Herrenhof’s barmaid Frieda, who characterizes Klamm’s servants as “the most contemptible and objectionable creatures” she knows (51). The officials spend their time at the inn reading files, interviewing villagers, and occasionally taking a break from their intellectual work with hobbies, like carpentry, involving physical activity. When K. looks through the peephole at Klamm, he appears awake, but Frieda reports that he was actually asleep: “the gentlemen do sleep a great deal. It’s hard to understand” (51). Up in the Castle, Barnabas reports that the officials spend the day crowded behind a long desk, reading large books and dictating to clerks occasionally in a barely audible whisper (233). What concrete purpose the officials’ activities serve is obscure. It’s hard to imagine that governing a village requires such an apparently vast bureaucratic apparatus. The narrator, echoing K., thinks, “all [the authorities] did was to guard the distant and invisible interests of distant and invisible masters” (74), suggesting that the Castle is ruled by self-interest rather than public advantage.

    The main concrete action of the Castle officials appears to be sleeping with the young women of the village, who are eternally grateful for any contact with them. Ironically, sleeping with an official makes a young woman “respectable” (48, 307). Gardena, the landlady, finds great comfort in remembering her brief time as Klamm’s mistress. But the officials are not outwardly attractive: grotesque in appearance (in the case of Sortini), middle-aged or elderly, tyrannical, abrupt, rude, and occasionally brutal. They are reportedly so “sensitive” as to find the sight of a stranger unbearable, “at least unless they were prepared for it” (44).

    Is it possible to distinguish the officials from the Castle itself? We might assume a difference between the officials in their public role and their “private” actions, such as ordering the young women to their beds. But in fact, the villagers never make any such distinction. In a deleted section of the novel, when K. attempts to do so, Gardena reproves him: “one cannot say of a real official that he is sometimes more and sometimes less of an official, for he is always an official, to full capacity” (438). The actions of the officials are of supreme importance, and there is no difference, for the villagers, between their public and private lives. For all practical purposes, the officials are the Castle.

    Given the behavior of the officials (from offensive to incompetent), the question is why they enjoy such uniform, unquestioned respect among the villagers. Why is Amalia’s rejection of an official so abhorrent in their eyes? In a traditional society, the villagers or peasants often idealize the far-off Lord or King while resenting intensely the immediate overlords. But even the lowliest officials are both feared and respected in Kafka’s village. K. finds Sortini’s behavior abhorrent, but he is an outsider, and even he never questions the power of the authorities; the Castle always remains as the firm goal of his quest.

    Is there any rational warrant for the villager’s respect? Frieda makes perhaps the best case, when she attributes her encounter with K. to Klamm’s mysterious providence: “it was entirely his work that we found each other under the bar; we should bless that hour and not curse it” (67). As a villager, however, not to mention his former mistress, she is partial to Klamm. We must also consider that the letters from Klamm to K. demonstrate an almost complete ignorance of his affairs. Like Frieda, the Mayor believes that “the [Castle’s] supreme control is absolutely efficient” (77). “Nothing is done here without taking thought,” the Mayor asserts; although there is no work for a land surveyor, “Even your being summoned was carefully considered” (80). Any error is only apparent, for “who can say finally that it’s an error?” (84). Similarly, Olga believes that the ostracism of her family is “all engineered from the Castle” (260). While K. argues that their punishment is rather due to the “senseless fear of the people [and their] malicious pleasure in hurting a neighbor,” Olga insists that everything was “due to the influence of the Castle” (265). In the story she tells, however, the villager’s superstitious fear of the Castle determines the fate of the family, not the Castle directly. We never actually see the Castle exercising its supposedly awesome power. Given that “official decisions are as shy as young girls” (227), it is hard to make a case that the Castle actually benefits the villagers or controls events in the village. At best, the Castle apparently regards the village as unworthy of its serious attention, at worst the Castle is ignorant and uncaring. It seems possible that K. could find a home and job in the village without the Castle’s permission, just as he succeeds in finding a mistress without its sanction. Certainly there are no barriers to his staying with Barnabas’s family or in Gerstacker’s “hovel” (416).

    The Castle remains as only an apparent source of meaning for K. and the villagers. Its actions, such as appointing “assistants” for K., seem random at best. Various hints, such as K.’s comparison of the Castle (in the present) with his hometown (in the past), justify viewing the novel as reflecting the situation of Modernity, in which the sacred lacks any clear role in a market economy. What remains unexplained is the fascination that the Castle continues to exert upon the villagers and especially K. This fascination suggests that Kafka regards the sacred as somehow continuing to play an important role in Modernity. K. has a more modern attitude towards the Castle than the villagers, in that he questions its wisdom and seeks to overcome the barriers separating the Castle. But he is united with the villagers in his obsession with the Castle and its officials.

    3. The Villagers

    On one level, the problem of the novel is epistemological. Each character has an incomplete and biased view of the Castle, giving rise to endless debates about how to approach the Castle and what its actions mean. The use of limited perspective is a traditional device for creating plot tension. While critics tend to focus on metaphysical issues, the novel is actually very well constructed, considering its unfinished state. The main plot device is simply that things are not as they appear. More specifically, people are not as they appear. For example, Barnabas appears initially as a confident and experienced messenger, but in Olga’s extended narration late in the novel, we learn that his message to K. was in fact his first, and that he and his family have enormous hopes pinned on his role as messenger. The meaning of events is obviously relative to one’s perspective, in which each person sees herself as central. Repeatedly, we learn that another character (in principle every character) is the center of her own narrative, with her own desires, goals, and dreams; a narrative in which K. plays a more or less peripheral role. It’s as if Guildenstern were to take Ophelia for his lover and suddenly dominate the play with the presentation of his original and compelling perspective. I call this type of revelation the unexpected centrality of the other. Characters that develop unexpected centrality through inset narration include Olga, the Bridge Inn landlady, Jeremiah, Barnabas, and Pepi. The desire of the other is revealed in such a way as to decenter and destabilize the reader’s reasoned view of the novel’s world.

    The Castle fits Mikhail Bakhtin’s definition of a “polyphonic novel,” which includes “a plurality of independent and unmerged voices and consciousnesses.”(2) What distinguishes the polyphonic novel is that there is no overarching, normative narrative perspective by which the reader can place the events of the novel within a stable discursive framework. While the novel is centered on K., his perspective is not normative by any means, not only because he has limited knowledge, but also because he becomes a suspect figure for the reader at various points. The critics who argue that his claim to be a land surveyor called by the Castle is doubtful have a valid point.(3) K. is always calculating in his self-presentation, managing his appearance in accordance with his immediate goals, which are, moreover, constantly shifting.

    The conflict of perspectives poses a problem for a theory of meaning because what is “good” for me is not necessarily “good” for you, especially if what I understand as my “good” involves possessing something that you already possess.(4) The conflict of perspectives in the novel is essentially a conflict of desires. For example, both K. and Jeremiah desire Frieda, but both of them cannot equally have her. Plato, in his theory of forms, argues that this conflict is only apparent. Since individuals depend upon the community, he reasons, then the interest of the individual is actually identical to the interest of the community.(5) The interdependent relationship between individuals and community supports the idea that meaning is social, but it does not follow that my individual interests are identical with the community’s. First of all, what is in the best interest of the community is always a matter of debate; and second, the community may decide that sacrificing individuals is in its best interest, as when the village sacrifices Amalia and her family.

    If we turn our fascinated gaze away from the Castle and examine closely the conflicting perspectives in the novel, we will easily discover the mysterious source of the Castle’s attraction. Jeremiah is the key figure in this regard. When we first see Arthur and Jeremiah, they are merely passers-by whom K. finds appealing for their evident good humor and youthful energy: “they were obviously good and jolly companions” (19). In the following chapter, they are unexpectedly reintroduced as K.’s assistants. They never actually claim to be his “old assistants,” but K. suggests that they are and they go along with his suggestion. In any case, they serve as a token of the Castle’s recognition, however ironic. K. claims that he can’t tell them apart, suggesting their lack of individuality in his eyes. They obey with childish eagerness most of K.’s commands but without, however, managing to accomplish anything. After their introduction as his assistants, the narrator generally neglects to record their words, and they are distinguished by their clownish behavior: climbing in windows, comparing beards, showing up unexpectedly in inappropriate places, and following him around like a pair of puppies. K. at first does not take them seriously but eventually he finds them a pernicious nuisance and tries to send them away. Even after Jeremiah takes Frieda away from him, K. is amazed only that her love was so fragile as to be stolen by “this puppet, which sometimes gave one the impression of not being properly alive” (305).

    But from early in the novel, there are hints that Arthur and Jeremiah have more significance than their appearance warrants. When K. is unable to tell them apart upon their first real meeting at the inn, he complains that they are “as like as two snakes” (24)—a rather unexpected and sinister comparison. At this point in the narrative, they appear to the reader as anything but sinister, but K. apparently finds their similarity to be unsettling—an expression of “the disturbing power of the double” (Calasso 85), which as René Girard has argued, reflects a fear of mimesis for its power to dissolve the “sacred” distinctions that structure human society.(6) Frieda views the assistants very differently from K., laughing and joking with them, and defending them as “true friends” (59). At the school, K. and Frieda discuss the assistants at some length. Frieda now claims that the assistants are actually scheming to take her away from K. She surprisingly associates the assistants with Klamm and remarks, “Their eyes—those ingenuous and yet flashing eyes—remind me somehow of Klamm’s; yes, that’s it, it’s Klamm’s glance that sometimes runs through me from their eyes” (183). She warns K. that, as Klamm’s messengers, “if you keep on hardening your heart to them, it will keep you, perhaps, from ever getting admittance to Klamm” (184). Klamm, as we’ve seen, represents the power of the sacred, but he is also, not coincidentally, K.’s rival for Frieda. In an extended passage, Frieda describes her profoundly ambivalent feelings for the assistants. On the one hand, she is repelled by them: “What ugly young black demons they are, and how disgusting the contrast is between their faces” (182), alluding perhaps to their uncanny similarity. But at the same time, she feels herself strangely attracted to them, and reports that she cannot stop gazing at them. Despite all this, K. still does not really take the assistants seriously as rivals, even after discovering Arthur literally sleeping between Frieda and him. The assistants’ surprising similarity to Klamm could be explained simply by their shared connection to the Castle. But more profoundly, they are connected by their shared status as rivals for Frieda’s affection.

    Late in the novel, after K. leaves Olga’s house armed with a hazel switch, he meets Jeremiah in the street, ready to beat him for following him. But Jeremiah is transformed, literally unrecognizable to K.: “He seemed older, wearier, more wrinkled, but fuller in the face; his walk too was quite different from the brisk walk of the assistants, which gave an impression as if their joints were charged with electricity; it was slow, a little halting, elegantly valetudinarian” (301). “It’s because I’m by myself,” Jeremiah explains. “When I’m by myself, then all my youthful spirits are gone” (301-2). Jeremiah and Arthur apparently imitate each other when together. But this, by itself, does not explain Jeremiah’s miraculous aging. The real source of Jeremiah’s transformation is the decisive disclosure in this scene that he is a serious rival for Frieda’s love. Jeremiah’s centrality is unexpectedly revealed at this point, and he tells his own version of events. Whereas K. perceived the assistants as persecuting him, in Jeremiah’s account it is K. who unaccountably and cruelly persecutes Arthur and Jeremiah, literally almost killing them. Jeremiah presents himself as a victim, thus older and vulnerable. Being feeble actually makes him a more formidable rival, since he can now claim Frieda’s maternal attention as K.’s victim as well as her childhood friend. Jeremiah and K. start to become doubles in this scene; like K., Jeremiah is now articulate, skeptical, and scheming. The “other” becomes uncanny not through his incommensurable alterity but rather by the discovery of his unwelcome similarity. The mimetic rival is ambivalently both the model and the obstacle.(7) As the model for one’s desires, the rival appears larger than life, possessing “divine” qualities lacking in the self. As the obstacle, the rival is demonized, blocking the self from achieving fulfillment. Jeremiah is now a menacing figure, threatening to K. In Girard’s theory, the desired object or person is really just an occasion for the competition between the rivals. The rivals find each other endlessly fascinating by their ability to generate desire.

    As for Jeremiah, so for Klamm. Many critics have noted that K.’s desire for Frieda is mediated by Klamm. K. admits to himself, “It was the nearness of Klamm that had made her so irrationally seductive” (179). But critics have not understood the connection between Klamm’s role as rival and his status as the novel’s main representative of the Castle. Klamm is not a rival because he is sacred, he is sacred because he is a rival. The power of mimesis transforms him from ordinary person into sacred being, just as it makes Frieda so seductive. The Bridge Inn landlady says, “You’re not even capable of seeing Klamm as he really is; that’s not merely an exaggeration, for I myself am not capable of it either” (64). The landlady is correct, but not because Klamm is so awesome. Desire, as rivalry, so transforms his appearance that any objective perception is impossible. When Klamm was first pointed out to Barnabas at the Castle, “he didn’t recognize him [despite being familiar with his appearance in the village], and for a long time afterward couldn’t accustom himself to the idea that it was Klamm” (232). Klamm’s very identity is subject to question. Barnabas doubts “that the official who is referred to as Klamm is really Klamm” (229). Some villagers believe that Momus is actually Klamm. Klamm’s physical appearance is a matter of considerable debate among villagers, since it must be reconstructed from various incomplete reports. As we might expect, this fragmentary construction fluctuates in details, “yet perhaps not so much as Klamm’s real appearance” (230)! Olga says:

    he’s reported as having one appearance when he comes into the village and another on leaving it, after having his beer he looks different from what he does before it, when he’s awake he’s different from when he’s asleep, when he’s alone he’s different from when he’s talking to people, and—what is comprehensible after all that—he’s almost another person up in the Castle. (230-1)

    Unless Klamm really is a “Gnostic demon” then we must conclude that what changes is not Klamm himself, but rather people’s perception of Klamm in accordance with their hopes and fears which are projected onto him as the mediator of their desires.

    There is a strong note of eroticism in The Castle which is not tangential to its meaning. Frieda, Pepi, and Olga are all sexual figures that tempt K. While Olga and K. are conferring together, Amalia interrupts to give a brief parable, a story of a young man who was so obsessed with the Castle that “people feared for his reason . . . . It turned out at length, however, that it wasn’t really the Castle he was thinking of, but the daughter of a charwoman in the offices up there, so he got the girl and was all right again” (266). Amalia understands that K.’s fascination with the Castle is based on the power of desire and imitative rivalry, of which sexual rivalry is the most powerful form. K. responds to Amalia, “I think I should like that man” in the parable (266). Amalia answers pointedly that she doubts that K. would like the man, “it’s probably his wife you would like” (266).

    K. is an intensely mimetic character. This is the key to his motivation. On his first night in the village, when he receives word that “the Castle has recognized him as the Land-Surveyor,” his reaction is rather strange: “That was unpropitious for him, on the one hand, for it meant that the Castle was well informed about him, had estimated all the probable chances, and was taking up the challenge with a smile” (7). The Castle’s response, as K. interprets it, simply mirrors his own way of thinking. K. views the Castle as essentially a rival whom he challenges, just as with the churchyard wall from his childhood (38). When Momus wants to interview him, K. refuses with a mirror image of Momus’s imperious demand. It’s because K.’s motivations are mimetically driven that they shift so rapidly and appear so obscure, even to K. himself. For example, at Barnabas’s home on the night of K.’s first day in the village, when Olga announces she is going to the inn, K. suddenly wants to go also; but when Barnabas assents, “This assent was almost enough to make K. withdraw his request; nothing could be of much value if Barnabas assented to it” (42). Then, at the inn, his attitude towards Frieda is also very ambivalent. At first he is impressed that she is Klamm’s mistress, but then he tries to bring her down a notch by asking whether she’s ever been at the Castle. Next he attempts to flatter her and suggests a private conference. He seems to be aiming at Klamm rather than Frieda at this point; there is no hint that he desires her sexually. She is the one who suggests he wants to steal her away from Klamm, and he responds, “as if wearied by so much mistrust, ‘that’s exactly my real secret intention. You ought to leave Klamm and become my sweetheart. And now I can go. Olga!’” (50, emphasis added). His immediate resolution to leave after declaring his “real secret intention” suggests that he was being ironic in his reply to her. Frieda, blind to sarcasm in her self-absorption, then asks, “When can I talk to you?” to which he responds, “Can I spend the night here?” (50), going back to his original plan of spending the night in the inn. Yet the next thing that happens is that he’s making love to Frieda on the floor and, the following day, planning their marriage. There’s no need to assume, as does the landlady, that his motivations are purely cynical. Desire, because it is mediated, is confused about its object. K. doesn’t really know what he wants, beyond his fixation on the rival.

    The phenomenon of mimetic rivalry also helps us to understand the important difference between K. and the villagers. The villagers see the officials as what Girard calls “external mediators” (DDN 9); the officials occupy a sphere so far above them that they can’t imagine themselves directly competing with the officials for desirable objects. When the Bridge Inn landlady tells the story of her marriage, K. immediately fastens on the possibility of rivalry between Klamm and her husband (104). But the landlady finds K.’s suspicions ridiculous; Klamm is so far superior to her husband as to make the idea of competition absurd. For example, when she sends everyone out of the room so she can talk to K., her husband says meekly, “I’ll go too, Gardena” (99). Gardena responds, “Of course, . . . Why should you remain any more than the others?” Why would her husband even imagine that he has any special status in her eyes? The only people of any importance are the officials and those, like K., who might presume to challenge their authority. K., in contrast, regards the officials as “internal mediators” (Girard, DDN 9); he competes with them for status and desirable objects, like Frieda. He not merely wants “to attain to Klamm,” but actually “to go beyond him, farther yet, into the Castle” (145); this is why he is so incomprehensible to the villagers. He tries to treat the officials as, in principle, human beings, although their status as rivals still evokes superstitious dread, as when, at the Herrenhof, K. is unable to “utter a word, overwhelmed as he was by the discovery that it was his patron [Klamm] in the house” (45).

    This reading of the novel also explains why Amalia and her family pose such a threat to the village. First, according to Olga, the officials are irresistibly attractive: “women can’t help loving the officials once they give them any encouragement” (256). So the question is, how is Amalia’s rejection of Sortini’s proposition possible? Olga says, “Anyone who didn’t know Amalia and read this letter must have considered a girl who could be written to like that as dishonored, even if she had never had a finger laid on her” (250). Furthermore, “One couldn’t but be furious on first reading a letter like that, even the most cold-blooded person might have been” (250). But everyone in the village regards Amalia’s reaction as anomalous, so our question remains. Olga says that she herself would have gone to Sortini simply out of fear. And she speculates that Amalia must really love Sortini despite the insult. Olga grants that Amalia is exceptional in refusing Sortini, “but if in addition she weren’t in love with Sortini, she would be too exceptional for plain human understanding” (256). Olga’s speculation is unlikely but may contain a grain of truth: not that Amalia really “loves” Sortini, but rather that her furious response is a mimetic reaction to his proposition.

    Regarding the morning when Amalia tore up Sortini’s message, Olga says, rather mysteriously, “That was the morning that decided our fate. I say ‘decided,’ but every minute of the previous afternoon was just as decisive” (249). In order to understand Amalia’s rejection, then, we need to look at the previous afternoon, the celebration given by the Fire Brigade of their new fire engine. On this day, she is the center of attention for everyone in her family. She wears a fancy new dress from her mother of which Olga was at first intensely jealous. On the day of celebration, Olga overcomes her jealousy, acknowledges Amalia’s superior beauty, and even gives her a special garnet necklace, remarking, “I bowed before her triumph and I felt that everyone must bow before her” (245). Amalia’s father echoes Olga’s judgment, predicting that she will find a husband that day. At the fair, she continues as a superior figure such that “nobody dared say a word to her” (247). Olga clarifies that her centrality was not a result of her physical beauty or her clothing: “perhaps what amazed us so much was the difference in her appearance, for she wasn’t really beautiful, but her somber glance, and it has kept the same quality since that day, was high over our heads and involuntarily one had almost literally to bow before her” (245). Two points should be emphasized in Olga’s description: first, that Amalia is changed on this day, she has somehow been transformed. Second, her transformation is primarily internal, a new inner quality that finds expression in her “somber glance,” suggesting that she has a new way of looking at the world, a new way of understanding the people and events that surround her. Amalia’s gaze is her most distinctive feature. At his second visit to their house, K. thinks, “Her gaze was cold, clear, and steady as usual” (219). He comments on her “look” several times, which he interprets as “not hateful but proud and upright in its reserve” (219). The peculiarity of her gaze involves, at least in part, a sense of her superiority.

    We can say, then, that Amalia understands her own centrality, her inner sacrality—an insight that apparently originates in the attention given by everyone who surrounds her. In place of the public, external distinction of the Castle, she discovers an internal distinction that frees her from the necessity of fearing the Castle any longer. In this, Amalia is the most modern figure in the novel. Whereas traditional societies are structured by more or less rigid hierarchy, modern egalitarian societies are structured by individual difference. In theory, each person is special and unique, and therefore in no need of mimetic competition in order to distinguish herself. In practice, of course, moderns are more mimetic than ever; a market economy is driven by competition. But the market also offers the individual the means to distinguish herself as unique, through the sale of signs of distinction, as well as through a variety of specialized local markets in which she can successfully compete, often aesthetically. But the precondition for success in the market is precisely the sense of internalized superiority or self-confidence that Amalia possesses, by which one has the ability to disregard current trends and make oneself into a model for others.(8) In rejecting the Castle, she confirms her significance, attracting even more attention than she did on the day of the fair.

    René Girard argues that Romantic individualism is based on the illusion of autonomy, what he calls the mensonge romantique (DDN 15-16, passim). But there is actually a grain of truth in Romantic individualism. Eric Gans, in his decisive revision of Girard, sees sacrality as a function of the “scene of representation,” structured by a sacred (or simply significant) center and a human periphery (OT 1-44). In traditional societies, one finds the sacred on the public or ritual scene, to which all individuals, even the highest, are subject (the lesson of tragedy). Modernity, in contrast, grants authority to the internal scene of representation, the soul in religious terms, the inner self (more prosaically, the memory or imagination). This authorization is necessary for a society built on the principle of individual difference. Protestantism pioneers the egalitarian centrality of the internal scene, but it finds its definitive modern expression in Romantic individualism.

    However, the same historical forces that led to Romanticism (i.e., the evolution of a market economy) also impelled the discovery of the imitative basis of desire, primarily in the novels of figures such as Flaubert and Dostoevsky—a discovery that radically undermines the premise of individualism.(9) How can the self be truly unique when it remains in competitive dependence upon its rivals? This is possible only to the extent that the individual is able to recognize the mediated nature of desire, including her own. Amalia’s rejection of Sortini’s proposal is based on her insight into the illusory nature of the Castle’s authority. Remember Olga’s comment: “She stood face to face with the truth and went on living and endured her life then as now” (272). Confronting the truth of desire is heroic because this truth is corrosive to her identity and social existence. An individualism that recognizes the impossibility of autonomy gives birth to an attitude akin to Romantic irony, an ironic, self-conscious sense of identity.

    Amalia’s sense of superiority, like Socrates’, is clearly marked by irony. Olga remarks that Amalia is hard to decipher because “often one can’t tell whether she’s speaking ironically or in earnest” (266); Amalia is probably doing both at the same time. True superiority would have to be based on the recognition that no one is truly unique and autonomous. Even the rejection of desire can be understood as a mimetic reversal, as Olga interprets Amalia’s refusal of Sortini, a gesture which, in its furious passion, indeed reveals Amalia as intensely mimetic. If Amalia understands that she is actually just like everyone else, while at the same time everyone insists that she is special and different, as on the day of the fair, then she may well have developed an acute insight into the mechanics of desire. This insight is the basis of her aloof gaze, which “was never leveled exactly on the object she was looking at, but in some disturbing way always a little past it” (219). In other words, Amalia is never exactly looking at what she is looking at. Her perspective is essentially ironic. K. attributes her ironic gaze to “a persistent and dominating desire for isolation” (219). Precisely because she is so intensely mimetic, Amalia understands too well the mechanism of rivalry; she finds relief only in solitude, a resting in the sacrality of the internal scene.

    Roberto Calasso, an astute reader of Kafka, writes, “Perhaps it is precisely [Amalia’s] aloofness that strikes Sortini” (91) and motivates his galvanic leap right over the shaft of the fire engine, even “though his legs were stiff from working at desks” (Kafka 256). What attracts Sortini mimetically is her unavailability, her seeming immunity to desire, her internalized sacrality, which is in fact a rival to the Castle’s. Amalia is scandalous to Sortini even before she tears up his proposal because she doesn’t seem to need anyone. Amalia has seen into the mimetic basis of the officials’ attraction, and she simply refuses to play the game, a game that is the basis of village life.

    The village demonizes Amalia because her scandalous freedom exposes the Castle “religion” as mere idolatry. If Amalia is right, then the rest of the village must be wrong. Calasso comments insightfully, “Amelia’s gesture is therefore something that profoundly unhinges the order of things, something that denies the very foundation of village life: the irresistible attraction to anything that emanates from the Castle—and above all its officials” (93).(10) Frieda and the landlady’s exaggerated hatred of Amalia and her family is incomprehensible unless we recognize that she represents a threat to their identity at its very core.

    4. Beyond Girard

    The hermeneutic problem posed by the Castle is in the last analysis an ethical problem. The Castle incarnates, above all, difference: a system of social differences that are justified as “divine.” In ancient/medieval times, the hierarchical difference between a castle and its village served to prevent  conflict between the classes. The authority of a castle, the ruling class, enabled it to enforce the discipline of law upon the village. Furthermore, the more famous leaders of the aristocracy served as external mediators, cult figures with whom the villagers could enter into an imaginative devotional relationship. All these relationships are presented in parodic form in Kafka’s novel. The officials’ ignorance, incompetence, and gross sensuality satirize the so-called nobility of a ruling class, whether political or priestly. Nevertheless, the village appears to function more or less in a traditional manner, at least until K. arrives, who introduces a wild card into the game. He questions the Castle’s “divinity” and enters into rivalry with the officials. By doing so, he threatens to erode the differences that hold village life together, as the Bridge Inn landlady well recognizes.

    The novel also incorporates mimetic rivalry formally, through the unexpected introduction of competing perspectives, the inset narratives of the Bridge Inn landlady, Olga, Jeremiah, Pepi, and others. Kafka’s novel, therefore, through its form, creates a sense of crisis that is a key to its uncanny power. A comparison with tragedy is instructive: the formal structure of ancient tragedy noted by Aristotle functions to justify the “fated” end of the protagonist. While tragedy allows us to identify with the perspective of the victim, the catharsis of the ending requires that we finally accept the necessity of his death, which restabilizes and reaffirms social hierarchy. The Castle departs from this schematic model in several important ways. First of all, the novel questions the authority of the Castle, the divine hierarchy. Second, there is no normative perspective by which one could identify K. as the cause of the crisis and punish or expel him. Third, the novel never reaches any definitive narrative climax or resolution. In these ways, The Castle undermines the value of hierarchy formally as well as in terms of content.

    By questioning the authority of the Castle, the novel also questions the validity of K.’s quest, which is in effect a model of meaning as transcendence. Readers might conclude that K. would do well to abandon his quest and perhaps start a new life in America with Olga, as do Dmitri and Grushenka in The Brothers Karamazov. But the novel never follows through on this implication. Therefore, The Castle doesn’t fit Girard’s dichotomy of mensonge romantique and vérité romanesque (DDN 16-17). The novel, as we’ve seen, goes a long way toward demystifying the Castle, but it never makes a decisive conversion away from the illusions of desire. K. (and the novel) remains stubbornly attached to the Castle despite its “illusory emptiness.” It is possible that Kafka did not understand the “novelistic truth” that his work suggests. With an author as psychologically astute as Kafka, however, it is never safe to assume that we understand his work better than he did himself. We have to consider the possibility that the Castle has a value, an ethical value, that we do not as yet recognize.

    First of all, what prevents K. from rejecting the Castle? We’ve observed the power of mimesis, which makes Jeremiah appear twenty years older in the space of a few hours, and transforms Klamm from a sleepy bureaucrat into the semi-divine figure of a village cult. What’s necessary to counteract this process is an understanding of the social dynamics of mimesis, an understanding that is facilitated by our critical vocabulary but does not require it. In Girard’s theory of the novel, the power of desire is so blinding that such an understanding requires that the protagonist, and by extension the novelist, undergo a conversion in which he first experiences deeply the deceptions of desire; then, by a series of painful disappointments, he is finally forced to give up his most cherished illusions (Girard, DDN 290-314). The rejection of idolatrous rivalry, for Girard, makes possible true transcendence: a choice of self-sacrificing love. While Girard believes that conversion is necessary, nevertheless, the understanding that emerges from conversion is rational in nature, not mystical. As I have argued, Amalia alone understands the illusory nature of the Castle’s mystique. But the novel never gives voice to her understanding explicitly, and K. and Amalia’s family remain under the Castle’s spell, like the rest of the villagers. If understanding is necessary to disperse the fog surrounding the Castle, then we may conclude that K.’s lack of understanding prevents him from abandoning his quest.

    K. does seek to understand the Castle. In contrast, most of the villagers accept the Castle as it is, without worrying too much about understanding. The Mayor, for example, recognizes the ambiguity of the Castle, but he trusts the authority of the Castle to take care of itself and the village. K., on the other hand, does not trust the Castle. He says to the Mayor, “a terrible abuse of my case, and probably of the law, is being carried on” (90). Because K. generally opposes the villagers’ understanding of the Castle, he enters into extended discussions of the Castle with several villagers. And in fact, a large part of the novel consists in exactly such discussions. The Bridge Inn landlady finds K.’s desire to understand the Castle presumptuous. She recognizes his attempts at interpretation as a challenge to the Castle. K.’s hermeneutic practice is another expression of his rivalry with the Castle, as for example in K.’s interpretation of the Castle’s initial recognition of him in the phone call to Schwarzer (7-8). For K., understanding means mastery. The hermeneutic question of interpreting the Castle is inseparable, in the novel, from the ethical goal of “spiritual” meaning; both are essentially conditioned by desire.

    K.’s quest depends upon a “divine” hierarchy that is in fact a sacrificial order: the interests of those at the bottom of the hierarchy (like Amalia) are arbitrarily sacrificed to those at the top (like Sortini and Klamm). By the same token, any particular interpretation of the Castle would exclude other possible interpretations. The meaning of the Castle can never be completely disentangled from the desires of those who represent it, just as the meaning of K.’s quest depends upon supplanting Klamm. Desire is only “satisfied” when it excludes the rival.

    The key point, however, is that K. never achieves any final understanding of the Castle, any more than he achieves an interview with Klamm. The Castle remains irreducibly ambiguous and unreachable. “Meaning” is always deferred. This is not a nihilistic denial of meaning, however. The deferral of K.’s quest is a process with ethical value, because it defers the sacrificial exclusions that the achievement of his goals would involve.

    Girard might object here that recognizing the Castle as illusory is not “sacrificial” but actually true; and that the villagers’ fear of the Castle is a destructive idolatry that poisons life in the village. I agree up to a point; after all, my essay demonstrates the basis of the Castle’s authority in mimetic rivalry. What Kafka’s novel suggests, however, is that there is no “outside” to desire, no possible conversion that would finally eliminate K.’s propensity to rivalry. We’ve seen that even Amalia’s unqualified refusal, even Olga and K.’s attempts to understand, are themselves mimetic. We must remember that the mediation of desire is never simple and single: the process of imitation is ongoing, with a long history; so that whenever one degree of desire is demystified, one can always find another level of desire underneath. The interminable discussions about the Castle exemplify precisely this point. Moreover, any representation of the Castle introduces another degree of mediation, so the very attempt to interpret creates one more level to be discounted.

    Ambiguity, like sacred ambivalence, has a diachronic as well as synchronic dimension. In The Castle, ambiguity generally takes the form of an ongoing discussion in which hypotheses are formulated, tested, compared to alternative hypotheses, refuted, and reformulated. This process has no logical stopping point because the characters in the novel are participants in what they are interpreting, not objective observers. The Castle is not above and beyond the village but in fact incarnates a necessary process of mediation (i.e., representation) that involves the village at every level.

    The discussions about the Castle, including this one, constitute an alternative model of meaning that can be contrasted with the model implied by K.’s quest. He seeks, in effect, to displace Klamm and “to go beyond him, farther yet, into the Castle” (145). If K. didn’t on some level affirm the principle of hierarchy that structures the village, then he would simply leave; the Castle would not have any fascination for him. The discussions about the Castle, on the other hand, are egalitarian, based on the reciprocal exchange of words. I have in mind primarily the discussions between Olga and K. rather than the hostile discussions with the landlady. Discussion becomes egalitarian and open-ended when the interlocutors honestly recognize the equal centrality of each participant (with all that that implies). In this alternative model, the quest for meaning takes on a value that potentially contradicts its achievement. From an ethical perspective, the purpose of discussion is primarily deferral rather than decision.

    This model of meaning as an ongoing, productive process of deferral does not exactly fit Girard’s theory of culture. Girard argues that sacrifice or scapegoating is the originary human operation, which actually precedes language, and which, despite its functionality, has a negative ethical value, at least from a perspective that recognizes individual rights (EC 124). The only way out of the sacrificial process is through Christian truth, which has a nondialectical relationship to sacrifice; the alternatives are stark.(11) In Eric Gans’s necessary revision of Girard, the originary and essential human operation is the exchange of signs, which functions ethically to defer the violence that threatens the group. All signs are mediated by desire, and thus there is no “outside” of desire. We can only minimize, not eliminate, the distortions of desire through an analysis that traces our representations back to a hypothetical common scene of origin (Gans, OT 1-44). From this perspective, all culture is more or less sacrificial, but progressive forms of culture rationalize and minimize sacrifice: for example, the mutual exchange of words in comparison with divine hierarchy.

    Kafka’s art is progressive to the extent that it refuses any easy catharsis and insists upon the ethical yet difficult process of interpretation. Art is perhaps the premier modern form of the sacred, offering us an experience of transcendence that often includes moments of revelation and insight. Kafka’s narrative invites us to identify with K.’s dogged faith in the Castle as the goal of his quest, and we can experience transcendence through the deferral of that quest—an aesthetic of difficulty which requires that we maintain hope while reflecting upon the nature of transcendence. This reflection provides an insight that is revelatory because it hearkens back to the very origin of culture in the exchange of signs. Kafka’s novel allows us to see that conversation about the Castle is just as important as the Castle itself, which enables that conversation precisely through its inaccessibility to both desire and understanding.

    Works Cited

    Bakhtin, Mikhail. Problems of Dostoevsky’s Poetics. Trans. Caryl Emerson. Minneapolis: University of Minnesota Press, 1984.

    Bandera, Cesáreo. The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction. University Park: Pennsylvania State University Press, 1994.

    Bassoff, Bruce. “The Model as Obstacle: Kafka’s The Trial.” To Honor René Girard. Saratoga, CA: Anma Libra, 1986. 299-315.

    Calasso, Roberto. K. Trans. Geoffrey Brock. New York: Borzoi-Knopf, 2005.

    Gans, Eric. Originary Thinking: Elements of Generative Anthropology. Stanford, CA: Stanford University Press, 1993.

    — — —. “Plato and the Birth of Conceptual Thought.” Anthropoetics 2. 2 (1997). 5 June 2009.

    Girard, René. Deceit, Desire, and the Novel: Self and Other in Literary Structure. Trans. Yvonne Freccero. Baltimore, Johns Hopkins University Press, 1965.

    — — —. Violence and the Sacred. Trans. Patrick Gregory. Baltimore: Johns Hopkins University Press, 1977.

    Girard, René, with Pierpaolo Antonello and João Cezar de Castro Rocha. Evolution and Conversion: Dialogues on the Origins of Culture. New York: Continuum, 2007.

    Girard, René, with Jean-Michel Oughourlian and Guy Lefort. Things Hidden since the Foundation of the World. Trans. Stephen Bann and Michael Metteer. Stanford: Stanford University Press, 1987.

    Heller, Erich. “The World of Franz Kafka.” Neumeyer. 57-82.

    Kafka, Franz. The Castle: The Definitive Edition. 1954. Trans. Willa and Edwin Muir, with additional materials translated by Eithne Wilkins and Ernst Kaiser. New York: Schocken Books, 1965.

    Neumeyer, Peter F., ed. Twentieth Century Interpretations of The Castle: A Collection of Critical Essays. Ed.. Englewood Cliffs, NJ: Prentice Hall, Spectrum, 1969.

    Plato. Republic. Trans. G. M. A. Grube. Translation revised by C.D.C. Reeve. Indianapolis: Hackett, 1992.

    Plato and Aristotle. Gorgias and Rhetoric. Trans. Joe Sachs. Newburyport, MA: Focus-R. Pullins, 2009.

    Sokel, Walter. “K. as Imposter: His Quest for Meaning.” Neumeyer. 32-35.

    Speirs, Ronald, and Beatrice Sandberg. Franz Kafka. New York: St. Martin’s Press, 1997.

    Steinberg, Erwin R. “K. of The Castle: Ostensible Land-Surveyor.” Neumeyer. 25-31.

    Notes

    1.  On the ambivalence of the sacred, see René Girard, Violence and the Sacred, trans. Patrick Gregory (Baltimore: Johns Hopkins University Press, 1977). On the originary connection of significance with sacrality, see Eric Gans, Originary Thinking: Elements of Generative Anthropology (Stanford: Stanford University Press, 1993), pp. 1-44. (back)

    2.  Mikhail Bakhtin, Problems of Dostoevsky’s Poetics, trans. Caryl Emerson (Minneapolis: University of Minnesota Press, 1984), p. 6. Italics in the original are left off. On the polyphonic novel, see especially Chapter one, pp. 5-46. (back)

    3.  See Erwin R. Steinberg, “K. of The Castle: Ostensible Land-Surveyor,” in Twentieth Century Interpretations of The Castle: A Collection of Critical Essays, ed. Peter F. Neumeyer (Englewood Cliffs, NJ: Prentice Hall, Spectrum, 1969), pp. 25-31; and Walter Sokel, “K. as Imposter: His Quest for Meaning,” in Neumeyer, pp. 32-35. (back)

    4.  See Eric Gans, “Plato and the Birth of Conceptual Thought,” Anthropoetics 2, no. 2 (1997), https://anthropoetics.org/journal/ap-vol-2/ap0202/plato/. (back)

    5.  For example, see Plato, Republic, trans. G. M. A. Grube, revised C.D.C. Reeve (Indianapolis: Hackett, 1992), 345b-347d. The shift in the question of the dialogue from “the justice of a single man” to “the justice of a whole city” (368e) is unjustified unless Plato considers the interests of the individual as identical to the interests of the Polis. See also Plato’s Gorgias (trans. Joe Sachs, [Newburyport, MA: Focus-R. Pullins, 2009], 474D-475D), where Socrates artfully elides the question of whether what is “bad” for one is “bad” for others, while Polus, Socrates’ interlocutor, doesn’t seem to notice that this was precisely the issue under question. (back)

    6.  For example, see Girard, VS, pp. 56-63. (back)

    7.  Cf. Bruce Bassoff, “The Model as Obstacle: Kafka’s The Trial,” in To Honor René Girard (Saratoga, CA: Anma Libra, 1986), pp. 299-315. (back)

    8.  See Gans, OT, p. 128. (back)

    9.  Girard’s theory of mimetic desire is based explicitly on realist novels: see DDN. (back)

    10.  See also Ronald Speirs and Beatrice Sandberg, Franz Kafka (New York: St. Martin’s Press, 1997), p. 121. (back)

    11.  René Girard, with Jean-Michel Oughourlian and Guy Lefort, Things Hidden since the Foundation of the World, trans. Stephen Bann and Michael Metteer (Stanford: Stanford University Press, 1987), pp. 141-280. See also Cesáreo Bandera, The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction (University Park: Pennsylvania State University Press, 1994), pp. 71ff. In his recent work Evolution and Conversion (pp. 244-247) Girard has softened his view on the stark alternatives of sacrifice or truth, finding the free market to be a compromise formation that ameliorates sacrifice without eliminating it. (back)

  • Benchmarks (Anthropoetics XV, no. 2)

    This issue of Anthropoetics, like the last, contains eight articles, for a total of sixteen in Volume 15, or double the traditional number. This increase is largely attributable to the productivity inspired by the GASC series, particularly the highly successful conference last June in Ottawa. Ian Dennis, the chief organizer of the conference and very active guest editor of the previous issue, also worked on several of the articles in the present issue, four of which are adapted from presentations at the conference. Anthropoetics is particularly grateful to Ian for encouraging graduate student presenters, two of whom, Emma Peacocke and Simon Watson, contributed to this issue.

    Anthropoetics is very happy to publish a second article by the distinguished French anthropologist Jean-Loup Amselle, whose perspective on issues related to la discrimination positive should be of great interest to our readers. Peter Goldman and Adam Katz are faithful contributors to Anthropoetics. Peter’s reading of The Castle demonstrates the relevance of a post-Girardian perspective to Kafka’s masterpiece, while Adam’s patient analysis of Gertrude Stein’s verbal play shows her to be something of a generative linguist in the GA rather than Chomskian sense. Founding board member Andrew McKenna‘s third article, taken from his conference keynote, is a generously illustrated panorama of art from the Renaissance to our postmodern era that demonstrates GA’s power in the domain of aesthetics, but also that of the Christian doctrine of the Incarnation, a contribution to human self-understanding without which GA is inconceivable. Marina Ludwigs, whose conference article on Daniel Deronda appeared in the previous issue, returns with a densely argued theoretical work that links GA with both psychological-ethological and philosophical writings on transcendence as an aspect of self-consciousness.

    Of our three younger contributors, all new to Anthropoetics, Kyle Karthauser‘s work on “awkwardness,” inspired by Raoul Eshelman‘s conception of performatism, deftly dissects a number of contemporary cultural phenomena, from Borat to The Office, while Emma Peacocke, working in the same city as master Byronian Ian Dennis, examines the use of humor in Don Juan, Byron’s final and most enduring work. Simon Watson‘s review article points up striking parallels between Richard Dawkins’ The God Delusion‘s dismissive rhetoric and that of the more extreme of the believers he scorns.

    About Our Contributors

    Jean-Loup Amselle is attached to the Centre d’études africaines (Center for African Studies) and directs the doctoral program in anthropology at the EHESS (Ecole des Hautes Etudes en Sciences Sociales – Faculty of Advanced Study in the Social Sciences). He also edits the Cahiers d’etudes africaines. His main areas of interest are historical and political anthropology, Africa, ethnicity, identity, hybridity, multiculturalism, and African contemporary art. He has done field work in Mali, Ivory Coast, and Guinea. His main publications are: Ed. (with E. M’Bokolo), Au coeur de l’ethnie (Paris, La découverte, 1985); Logiques métisses, Anthropologie de l’identité en Afrique et ailleurs (Paris, Payot, 1990, 1999), English translation, Mestizo Logics, Anthropology of Identity in Africa and elsewhere, Stanford, 1998); Vers un multiculturalisme français, L’empire de la coutume, Paris, Aubier, 1996, English translation Affirmative Exclusion, Cultural and the Rule of Custom in France, Cornell University Press, 2003; Branchements, Anthropologie de l’universalité des cultures, Flammarion, 2001. His latest book is L’Occident décroché. Enquête sur les postcolonialismes, Stock, 2008.

    Peter Goldman is Associate Professor of English at Westminster College in Salt Lake City. He is currently an organizer for the 2010 Fourth Annual Generative Anthropology Summer Conference (GASC), which is being hosted by Westminster College and Brigham Young University. He also serves as a member of the Anthropoetics editorial board. Peter teaches classes on Shakespeare, Renaissance literature, and film studies. His publications include articles on Shakespeare, Reformation literature, film studies, Generative Anthropology, and now Kafka. He is working on a book on Renaissance literature and the problem of iconoclasm.

    Kyle Karthauser received a B.A. in English from Nebraska Wesleyan University in May 2008. Recently he was awarded a Fulbright grant and in September 2010 he will be headed to Germany to teach English. For now he lives in Lincoln, Nebraska, and works in a coffee shop.

    Adam Katz is the editor of The Originary Hypothesis: A Minimal Proposal for Humanistic Inquiry, a recently published collection of essays on Generative Anthropology. He teaches writing at Quinnipiac University in Connecticut, and is presently at work on a new book on and in originary thinking tentatively titled Beginnings in the Middle: Originary Grammar, Remembering Firstness and Retrieving the Ostensive in Modern Semiosis.

    Marina Ludwigs is an independent researcher who lives in Stockholm, Sweden. She has a PhD in Comparative Literature from UC Irvine and has worked with, and presented papers on, both Girardian theory and Generative Anthropology. She is currently writing a book on the anthropological structures of epiphanies.

    Andrew J. McKenna, Ph.D. Johns Hopkins, is professor of French at Loyola University Chicago and a member of the Anthropoetics editorial board. He is the author of Violence and Difference: Girard, Derrida, and Deconstruction (U of Illinois P, 1992), as well as of numerous articles on Molière, Pascal, Racine, Montesquieu, Baudelaire, Flaubert, Fellini, and critical theory. From 1996 through 2006, he was editor in chief of Contagion: Journal of Violence, Mimesis, and Culture. He is a board member of Raven Foundation and of Imitatio, foundations devoted to research and education in mimetic anthropology.

    Emma Peacocke is a 3rd-year doctoral student in English at Carleton University. Her thesis focuses on public museums and collections in British Romanticism.

    Simon Watson holds degrees in Theology, English, and Creative Writing, and is working towards his doctorate in Theology at Emmanuel College at the University of Toronto. He has taught courses in Christian ethics and creative writing and has written for such periodicals as Queen’s Quarterly, the Canadian Medical Association Journal, Toronto Life, and the Toronto Journal of Theology.

  • Review Essay: Richard Dawkins’ The God Delusion and Atheist Fundamentalism

    In his 2006 bestseller, The God Delusion, Richard Dawkins, the Charles Simonyi Professor of the Public Understanding of Science at Oxford University, presents an argument against “God” that mirrors the rhetoric used by the religious fundamentalists he sets out to criticize. Anticipating the accusation of “fundamentalism,” Dawkins argues that he is not a fundamentalist because he does not prescribe violence against his opponents (282). Yet he believes ridicule is a valid form of discourse and uses disease imagery to describe the religious (34, 176, 186, 188, 193-4). His language is therefore divisive, painting the world in hues of black and white, good or evil. As opposed to “irrational” religion, which is a “vice” and a “poison” (its followers delusional if not insane), science and reason are unlimited in their potential to discern the truth and set the human race in a moral direction (5, 6, 20, 23, 374, 262-272). Using such rhetoric, The God Delusion resembles a religious tract in its intent to convert its reader to atheism: “If this book works as I intend, religious readers who open it will be atheists when they put it down” (6). Dawkins also argues that he is not a fundamentalist because he does not base his beliefs on a literal interpretation of a holy book; rather, he grounds his conclusions in “mutually buttressed evidence” (282). But like the Christian fundamentalist who misrepresents and oversimplifies Darwinian evolutionary science, Dawkins presents a monolithic and oversimplified straw man of “religion,” which he belittles and denigrates. Generalizing from religious extremism and fundamentalism to all religion, Dawkins demonstrates a deafness to the religious other and an inability to step outside his Darwinian “Theory of Everything,” the parameters of which are limited to the empirical declarative (144).

    The term “fundamentalism” emerged in early twentieth century American Protestantism after the publication of a series of twelve mass-produced booklets called The Fundamentals (1910-1915) (Numbers 33). Organized by Reverend A. C. Dixon, these booklets presented the conservative stand of an influential group of British, American, and Canadian writers against the ever-growing influence of continental European theologians such as Albrecht Ritschl, Martin Rade, and Adolf von Harnack. They contained extensive reference to evolution and included one contribution with the characteristic title “The Decadence of Darwinism.” Approximately three million copies were distributed to pastors, evangelists, missionaries, theology students, and active laypeople throughout the English-speaking world. The five fundamentals professed in these volumes were the inerrancy of the Bible, the virgin birth, the atonement, the resurrection, and the second coming of Christ (Schwarz 227).

    Martin Riesebrodt, a professor of the sociology of religion at the University of Chicago, notes that “fundamentalism” has become a term which nowadays is also used to refer to religious revival movements outside the Protestant tradition, in Islam and Judaism, in Buddhism, Hinduism, Sikhism, and even Confucianism. He notes, however, that it has also become a catchword used to label and delegitimize religious movements. Nevertheless, because of the empirical widening and political instrumentalization of the concept, Riesebrodt proposes transforming it into a sociological category with potentially universal applicability (270):

    Since all concepts originate in a particularistic historical setting and language from which they are abstracted, the concept of “fundamentalism” is not necessarily “tainted” or impregnated by its Protestant origin, although we do have to take pains to consciously eliminate Christian particularities in order to transform it into a universally applicable sociological concept. (271)

    Riesebrodt recognizes that fundamentalisms share much in common, which points, he argues, to the possibility that such movements emerge under the impact of similar processes of social transformation (270). He conceptualizes fundamentalism, then, as a specific type of religious revival movement, responding to those social changes which the fundamentalist perceives as being crises: “In such movements people attempt to restructure their life-worlds cognitively, emotionally, and practically, reinvent their social identities, and regain a sense of dignity, honor, and respect” (271).

    If Christian fundamentalism can be understood as a reaction to liberal secularism, Dawkins’s aggressive stance against anything religious, including God, might be seen as a reaction to the growing influence of the religious right. Ronald Numbers, Hilldale Professor of the History of Science and Medicine at the University of Wisconsin-Madison, mentions a 2005 Gallup poll which found that 53 percent of Americans affirmed that “God created human beings in their present form exactly the way the Bible describes it.” Nearly two thirds (65.5%) of those polled regarded “creationism” as definitely or probably true (1). Also in 2005, the Pew Research Center found that “nearly two-thirds of Americans say that creationism should be taught alongside evolution in public schools” (Numbers 1; Goodstein A7). Numbers was most surprised by the discovery that many high school biology teachers–from 30% in Illinois and 38% in Ohio to a whopping 69% in Kentucky–supported the teaching of creationism (Numbers 1; Moore 40). Donald Kennedy, editor-in-chief of the magazine, Science, wrote an editorial in April 2005 noting that alternatives to the teaching of biological evolution were being debated in no fewer than 40 states, and that in several school districts geology materials were being rewritten to agree with the understanding of a young creation found in scripture. Writes Kennedy:

    The present wave of evangelical Christianity, uniquely American in its level of participation, would be nothing to worry about were it a matter restricted to individual conviction and to the expressions of groups gathering to worship. . . . But when the religious/political convergence leads to managing the nation’s research agenda, its foreign assistance programs, or the high-school curriculum, that marks a really important change in our national life. Twilight for the Enlightenment? Not yet. But as its beneficiaries, we should also be its stewards. (165)

    The God Delusion is written in the context of this religious/political convergence, or perceived social crisis, and echoes the fundamentalism it seeks to undermine.(1)

    Aware of the accusation that his hostility to religion marks him out as “a fundamentalist atheist,” Dawkins defends himself by delineating an overly simplified and shallow definition of “fundamentalism.” He starts by arguing that he is not violent like fundamentalists and that his hostility towards religion is limited to words: “I am not going to bomb anybody, behead them, stone them, burn them at the stake, crucify them, or fly planes into their skyscrapers, just because of a theological disagreement” (281-2). Nevertheless, like the Christian zealot, Dawkins reduces the world to a binary formula of good and evil, his rhetoric governed by the building of divisions (Strozier 42-3). Religion is a “vice,” an infection by a “mind virus,” while “atheism nearly always indicates a healthy independence of mind and, indeed, a healthy mind” ( 6, 176, 188, 186, 193-4, 3). Religion is irrational superstition, an insane delusion, while science is rational, evidence-based, and grounded in reality (5, 23, 34, 67). Religion is obscurantist, ignorant and intellectually stagnant, while science is unlimited in its potential to discern truth (34, 117, 355, 374). The religious are indoctrinated, unquestioning, and blind in obedience, while the atheist is an iconoclast, an independent thinker (5-6). Evolution is atheism, religious belief is fundamentalism, and the two are irreconcilable (11-12, 61, 66, 100, 117-118, 355).

    This polarization of the religious and non-religious may not explicitly prescribe violence, but it encourages hatred and derision of the religious. Consider Dawkins’s use of disease imagery, in which he compares religion to a common cold or “parasite” that manipulates its host “into behaving in such a way as to benefit the transmission of a parasite to its next host” (165). Atheism offers the “cure” (324). But what does Dawkins propose to do with those “dyed-in-the-wool faith-heads” who are not persuaded by his message (5)? He is unclear about how exactly religion might disappear. If a people is “infected” by religion, by the God “meme,” and “manipulated” by this “mind virus,” yet refuses to be “cured,” then how are the “infected” any different from the meme they are infected with (260, 176, 165)? To stigmatize one is to stigmatize the other.

    In Apocalypse: On the Psychology of Fundamentalism in America, Charles Strozier encapsulates the attitudes of the Christian fundamentalist as follows:

    Those who refuse Jesus are not only dumb but also different, dangerous, and possibly contagious. The believer is obliged to rub up against the taint in the commandment to convert, which implies a conquering of death. But to stay with that death too long can be a dangerous affront to the self. (90)

    Replace the word “Jesus” with “the atheism of Dawkins” and this paragraph could very easily apply to The God Delusion. According to any kind of fundamentalist, difference is threatening, leads to aggression and must be overcome to prevent violence (Thompson 429). Such a perspective contrasts sharply with Eric Gans’s recognition that God as love, available in human interaction, is “significant difference itself” (“God is Love”). God, according to Gans, is that peace-making first gesture that defers violence though a communal exchange of signs. However, the dialogue de sourds, or dialogue of the deaf, between religious and atheistic fundamentalisms, pre-empts communication as each party presents their partial understandings as absolute. Thus, the aborted gesture of appropriation (the locus of communication) never takes place as both extremisms lunge for the appetitive central object (ultimate truth), risking the violence of mimetic competition. That is, in their insularity and absolutism, both groups scare each other into existence and are reflections of the enemies they create, their antagonism fed by their mutual fear. Apparent, then, is a certain degree of mimetic tension between Dawkins and the religious fundamentalist he seeks to destroy under the monolithic label, “religion.”

    What too often is missing from the debate is any sense of humility, any awareness that one’s perspective may be partial, and any acknowledgement that social life is usually too complex to allow for simple solutions (Berg 1568). The utopian dream of a perfect society and a perfect human being, the idea that we are moving toward collective salvation, is one of the most dangerous legacies of the Christian faith and the Enlightenment: “All too often throughout history, those who believed in the possibility of this perfection (variously defined) have called for the silencing or eradication of human beings who are impediments to human progress” (Hedges 2).

    Dawkins’s universal ideal has been called “the cult of science” (Hedges 47). His utopia is a “no place” expunged of religion and governed by the totalitarian powers of science and reason, his faith in these Enlightenment values uncompromising and absolute (1, 374). He notes that “the existence of God is a scientific hypothesis like any other”; “Either he exists or he doesn’t. It is a scientific question; one day we may know the answer” (48, 50). Thus, Dawkins’s God is of the empirical declarative, what Gans defines in its most general terms as “a predication about a topic” (Language 170). Writes Andrew Bartlett, “such a scientist wants to confine the being of God to the space of the grammatical subject of a proposition that can be falsified, verified, tested, disproved. He wants God to be a ‘thing’ either on or off the scene of representation” (6). In a sense, Dawkins anticipates this accusation when he gives voice to his hypothetical critic, saying, “’The God that Dawkins doesn’t believe in is a God that I don’t believe in either. I don’t believe in an old man in the sky with a long white beard.’” To this hypothetical critic, Dawkins responds, “That old man is an irrelevant distraction and his beard is as tedious as it is long” (36).

    Nevertheless, the “old man with a beard” is exactly the God that Dawkins is reacting to. Imposing biological models onto culture (e.g., the meme [196]), or onto the cosmos (e.g., Lee Smolin’s multiverse theory [146]), Dawkins is unable and unwilling to understand God outside of his “Theory of Everything” (144). For Dawkins, God is a delusion because “any creative intelligence, of sufficient complexity to design anything, comes into existence only as the end product of an extended process of gradual evolution. Creative intelligences, being evolved, necessarily arrive late in the universe, and therefore cannot be responsible for designing it” (31). Such a Creator, capable of designing our universe to lead to our evolution must be extremely complex and supremely improbable and demand an even larger explanation than the one he is supposed to fulfil (147). One of Dawkins’s main arguments against God, then, is that as an explanation God is a “magic spell” which has been rendered redundant and unnecessary by a growing knowledge of the powers of natural selection. Using the terminology of Daniel Dennett, Dawkins argues that gods are “Skyhooks”: “They do no bona fide explanatory work and demand more explanation than they provide. Cranes are explanatory devices that actually do explain. Natural selection is the champion crane of all time” (73). Therefore, argues Dawkins, “the theist’s answer is deeply unsatisfying, because it leaves the existence of God unexplained” (143).

    This argument may stand against proponents of Intelligent Design who look to the “irreducible complexity” in the natural world to argue for a divine designer (a designer whose existence must then itself, according to that logic, demand an explanation), but it does not hold against those whose faith in God is informed by evolutionary science and other bodies of knowledge; whose understanding of God is not fixed, static and dependent on a literal understanding of the Bible; and whose God is not a “God of the gaps” but a God in and of the world. For many, God is of course “explanation,” but not one which stands over and against natural selection; God as explanation includes, subsumes and builds upon what is revealed by science, but is not delimited by it. God’s value and significance, then, is not grounded in God’s efficacy as an empirical explanation of the material world. Argues Bartlett, “the being of God cannot be so grasped, as if God were a perceptible entity on the same level with a sasquatch, a unicorn, the ghost of one’s grandmother or the angel on one’s shoulder. Any truth of faith must be an ostensive truth, and the truth of God’s being is that of an invisible intentionality the verification of the existence of which is by definition inaccessible to ‘logic and evidence’ alone” (Affirmations 6-7). He further argues that all anthropomorphisms about God must therefore be “delicately and respectfully set aside for a time” (Affirmations 8). That is, both atheist and idolatrous believer must give up their mutual interest in idols and their attachment to the central object as figure; whereas the believer seeks the sacred figure for divine contemplation, the atheist seeks the figure for “pleasurable demolition” (Affirmations 9). Generative Anthropology, then, seeks to get beyond the declarative sentence to the ostensive gesture, to that first sign, which designates its referent by showing it (Bartlett, Affirmations 10; Gans, Science 5).

    Like Bartlett, Michael Ruse also recognizes the limitations of reason and logic and the evidence of the senses. He argues that the twentieth century’s findings in science and mathematics should produce humility about humanity’s capacity to discern ultimate reality. That is, the Darwinian knows that our limitations come from having evolved in certain ways. These are ways appropriate to our station as “midrange primates who came down out of the trees and went into the garbage and offal business” (140). (2) As Ruse notes, we can stretch out from the familiar to the unfamiliar, as demonstrated in modern science, but we are extending ourselves and there is no guarantee that such stretching is capable of infinite extension. A man can run a four-minute mile, for example, but he will never run a two-minute mile. A Darwinian, then, should be dubious that his selection-based powers and attributes, including mental attributes and powers, can provide total insight into ultimate physical reality (141).

    Dawkins, however, like the religious fundamentalist who believes that he knows and carries out the will of God, fails to recognize human limitations. With his all-encompassing faith in reason and the declarative, he believes that human beings may “discover that there are no limits” to understanding (374). As a consequence, he derides religion as being entirely “irrational” (23, 184, 186-7, 199, 51). He argues, “Faith is an evil precisely because it requires no justification and brooks no argument”; people who have faith are not “taught to question and think through their beliefs” (308). Yet, according to the classic definition of Christian faith, theology is fides quaerens intellectum, “faith seeking understanding” (Anselm). It is faith venturing to inquire, daring to ask questions, to fight the inclination to accept things as they are, challenging unexamined assumptions about God, ourselves and our world. Although there is a place for mystery in the recognition of the limitations of being human, there is also a place for reason. According to Daniel Migliore, faith must be distinguished from fideism, which says we reach a point where we must stop our inquiry and simply believe; faith keeps on seeking and asking in dialogue with experience and scripture, a hermeneutical circle. Truth is only ever partially possessed as faith sees only dimly, not face to face (1 Cor. 13:12) (Migliore 2-3). And reason plays a key role in this struggle. Writes Augustine,

    I ascended to the power of reasoning to which is to be attributed the power of judging the deliverances of the bodily senses. This power, which in myself I found to be mutable, raised itself to the level of its own intelligence, and led my thinking out of the ruts of habit. It withdrew itself from the contradictory swarms of imaginative fantasies, so as to discover the light by which it is flooded. (Confessions VII.xvii.23)

    Augustine “attained to that which is” only through the use of his faculty of reason (Confessions VII.xvii.23).

    Richard Harries states that the idea of faith and reason being inherently opposed to one another is “mind-boggling in its lack of historical perspective” (19). He notes that all philosophers, ancient and modern, have believed that reasons can be adduced for and against a religious view of life: “Most of them have, in fact, believed in God but all have thought religious belief a matter of rational argument.” Religious belief is not a matter of two plus two equals four, but of considered judgement. It involves our aesthetic sense, our moral judgement, our imagination and our intuition. These judgements can be the basis of reasoned discussion, but they also involve the whole person (Harries 19). Thus, religious believers do not necessarily view their sacred text as a source of truth that is absolute, plain and unchanging. They interpret their canon with an eye to competing sources of truth, including modern science and philosophy. Likewise, they consider the changing condition of society for its impact on their religious understandings. Accordingly, many religious believers form and revise their beliefs, constantly striving to maintain an overall belief structure that is logical and coherent. Hardly impervious to persuasion, they are broadly open to rational dialogue, both within and outside their religious community (Conkle 352).

    Thus we come to Dawkins’ second rebuttal against the “secular fundamentalist” label:

    Fundamentalists know they are right because they have read the truth in a holy book and they know, in advance, that nothing will budge them from their belief. . . . [I]f the evidence seems to contradict it, it is the evidence that must be thrown out, not the book. By contrast, what I, as a scientist, believe (for example, evolution) I believe not because of reading a holy book but because I have studied the evidence. Books about evolution are believed not because they are holy. They are believed because they present overwhelming quantities of mutually buttressed evidence. (282)

    It could be argued, however, that while religious fundamentalists toss out all evidence that contradicts their holy book, Dawkins overlooks and distorts evidence that does not serve his proselytizing agenda. Consider, for example, his defense of atheism: “What matters is . . . whether atheism systematically influences people to do bad things. There is not the smallest evidence that it does”; “Individual atheists may do evil things but they don’t do evil things in the name of atheism”; “why would anyone go to war for the sake of an absence of belief?” (273). But atheism is not an absence of belief. Atheism is a faith-claim like any other religious faith-claim in that it cannot be supported with empirical evidence. In this sense, atheism is a belief that can facilitate and ground other beliefs, in the name of which violence can be committed. Dawkins argues, “I do not believe there is an atheist in the world who would bulldoze Mecca–or Chartres, York Minster, or Notre Dame” (italics mine) (249). In reality, Marxism is an atheist ideology for which Soviet authorities systematically destroyed and eliminated the vast majority of churches and priests during the period 1918 to 1941. This violence and repression was undertaken in pursuit of an atheist agenda–the elimination of religion (Dickinson 327-35, in McGrath 78).

    When a society rejects the idea of God, it may transcendentalize alternatives, such as the ideals of liberty or equality or reason. These now become quasi-divine authorities, which none are permitted to challenge. Perhaps the most familiar example dates from the French Revolution, at a time when traditional notions of God were discarded as obsolete and replaced by transcendentalized human values (McGrath 80-1). Reinhold Niebuhr notes that those who

    sigh and hope for the destruction of religion as the only way of emancipating mankind from fanaticism . . . [fail to] understand that they are dealing with a more fundamental problem than anything created by this or that religion; that it is the problem of the relative and the absolute in history . . . that alternative solutions, as they evolved in secular culture, present us either with the abyss of scepticism or with new fanaticisms. (220)

    That is, secularism as much as religion can “insinuate . . . new and false ultimates into views of life which are ostensibly merely provisional and pragmatic” (Niebuhr 238; Berg 1603). For these reasons, a Niebuhrian perspective challenges the claim that in a public sphere stripped of religious influences we can substantially achieve dialogue, deliberation, and rational debate. Indeed, Niebuhr worried that the barring of religion creates a public space in moral discussion for perspectives that can be just as dangerous and divisive (Berg 1604). Dangerous because they can be just as delusional and self-serving as the worst that religion has to offer.

    Both religious and secular fundamentalists, then, depend on a type of fideism. The faith of religious fundamentalists is the acceptance of truths without regard to competing claims of reason; the faith of comprehensive secular fundamentalists is that without empirical reason, there is nothing. Religious fundamentalists isolate themselves by ignoring claims that might undermine their religious understanding, while secular fundamentalists follow an epistemology that separates them from those who regard religion as at least a potential source of truth (Conkle 349-50). Each group resides in its own epistemology, isolated from the other, and unable to communicate across the divide (Conkle 348).

    Consider Dawkins’ misrepresentation of the role and nature of scripture in Christian faith. Dawkins states, “Since a principal thesis of this chapter is that we do not, and should not, derive our morals from scripture, Jesus has to be honoured as a model for that very thesis” (250). However, what Dawkins, himself, recognizes is that Christ is the very fulfilment of Old Testament prophecies (97). Christ says, “’scripture must be fulfilled in me’” (Luke 22:37; 24:27; John 19:28, 36; 12:16). According to Bart Ehrman, Matthew presents Jesus as the new Moses, building upon Mark’s idea of Christ as the suffering Son of God:

    A male child is miraculously born to Jewish parents, but a fierce tyrant in the land (Herod) is set to destroy him. The child is supernaturally protected from harm in Egypt. Then he leaves Egypt and is said to pass through the waters (of baptism). He goes into the wilderness to be tested for a long period. Afterwards he goes up on a mountain, and delivers God’s Law to those who have been following him. (88)

    The story would have been familiar to many of Matthew’s Jewish readers, who would view Jesus’ life as a fulfilment of the stories of Moses. Jesus has come to set his people free from their bondage to sin (1:21) and give them a new Law, his teachings (Ehrman 88). Elsewhere in Matthew, Christ is recorded as using the Old Testament for training when he frames Old Testament narratives into question and answer sessions (e.g. 15:4; 19:4-7) (Campbell 4). Scripture, then, was a source of moral guidance for both Christ and his followers. At one point, he admonishes:

    Do not think that I have come to abolish the law or the prophets; I have come not to abolish but to fulfil. For truly I tell you, until heaven and earth pass away, not one letter, not one stroke of a letter, will pass from the law until all is accomplished. Therefore, whoever breaks one of the least of these commandments, and teaches others to do the same, will be called least in the kingdom of heaven; but whoever does them and teaches them will be called great in the kingdom of heaven. (Matt. 5:17-19)

    Thus, to argue that Christ is a model for disregarding scripture as an ethical source is not supported by evidence from scripture.

    But Dawkins is deaf to theology, which he regards as a non-subject (56-57). This deafness is seen in his claim that theology “has not moved on in eighteen centuries,” as well as in his attacks on long-dead thinkers like Thomas Aquinas, St. Augustine, Anselm of Canterbury, Teresa of Avila, Martin Luther and Moses Maimonides (34). The number of living professional theologians to which he refers is limited to Arthur Peacocke, Russell Stannard, John Polkinghorne, Keith Ward, Richard Swinburne, and John Shelby Spong (99, 237). But even here there is little to no engagement with their ideas or those of any other twentieth or twenty-first-century theologian, outside of fundamental right-wing pastors like “Pastor Ted” (319). Swinburne is briefly engaged, the Oxford professor “damningly typical of the theological mind,” who is ushered out for attack whenever Dawkins represents the ideas of the “sophisticated theologian” or theist (64, 58, 63, 147). Otherwise, Dawkins constructs a monolithic straw man of theological ideas represented by a hypothetical “theologian” or “religious apologist” whom he belittles and mocks (35-36, 59, 153-54, 136, 359-360). Rarely does he ever refer to the specific arguments of a living theologian or do justice to the diversity of contemporary theological thinking. As seen in his depiction of the “mainstream Christian” (178-179), Dawkins’ understanding of the Christian believer and Christian faith is too narrow, too literal, and not in keeping with much of twentieth- and twenty-first-century theology (he attacks “moderate” religion by citing an example from 1858 [311-313]). In this way, Dawkins echoes the Christian fundamentalist whose arguments against evolution are grounded in obsolete science, overlooking discoveries and developments of the twentieth and twenty-first centuries.

    Ironically, then, in attacking “religion” and proselytizing for atheism, Dawkins uses the same rhetoric as the religious fundamentalist he seeks to destroy. He speaks in crude binaries, distorts evidence, and oversimplifies complex realities. Preaching disdain and intolerance, he stokes the fear that feeds religious extremism. In this sense, the two fundamentalisms are interdependent, for each cannot exist without the other as its enemy. Richard Harries writes:

    the leader of the American creationists has apparently written to Dawkins to say that they daily thank God for him. The reason is simple. Dawkins argues that evolution inevitably implies atheism. That’s what we believe, say the creationists in effect, therefore evolution shouldn’t be taught in schools or, if it is, only with creationism taught as well. Creationism and atheistic fundamentalism prop one another up. Each would collapse without the other. (19)

    That is, just as religious fundamentalism is grounded in the perceived threat of secular liberalism, atheistic fundamentalism is grounded in the perceived social/political threat of religious extremism. Mimetic tension develops as each sees the other reaching for the apple of ultimate truth and is driven to impose its own absolute claims. Other members of the circle, surrounding the appetitive object, are overlooked or roughly pushed aside. Those aborting their appropriative gestures in recognition of imminent violence demonstrate restraint and attentive communication in the face of shared conflict. Their self-withdrawal enables an engagement with difference through active listening and respect. But in the conversation between religion and science, atheistic and religious extremisms see only each other.

    Works Cited

    Augustine. Confessions. Trans. Henry Chadwick. New York: Oxford UP, 1998.

    Bartlett, Andrew. “Three Affirmations of the Being of God: Suggested by the Anthropological Idea of God.” Anthropoetics 13. 2 (GATE 2007 issue). https://anthropoetics.org/journal/ap-vol-13/ap1302/1302bartlett/

    Berg, Thomas C. “Church-State Relations and the Social Ethics of Reinhold Niebuhr.” North Carolina Law Review 73 (1994-1995): 1567-1607.

    Campbell, Lee. “Matthew’s Use of the Old Testament: A Preliminary Analysis.” Xenos Online Journal 3 (2000). http://www.xenos.org/ministries/crossroads/OnlineJournal/issue3/mtmain.htm

    Conkle, Daniel O. “Secular Fundamentalism, Religious Fundamentalism, and the Search for Truth in Contemporary America.” Journal of Law and Religion 12.2 (1995-1996): 337-370.

    Dawkins, Richard. The God Delusion. New York: Houghton Mifflin Company, 2006.

    Dickinson, Anna. “Quantifying Religious Oppression: Russian Orthodox Church Closures and Repression of Priests 1917-1941.” Religion, State & Society 28 (2000): 327-35.

    Ehrman, Bart D. The New Testament: A Historical Introduction to the Early Christian Writings. 2nd ed. New York: Oxford UP, 2000.

    Gans, Eric. “God is Love.” Chronicles of Love and Resentment 119. 6 Dec. 1997. https://anthropoetics.org/chronicles/chronicle119/

    —. The Origin of Language: A Formal Theory of Representation. Los Angeles: University of California Press, 1981.

    —. Science and Faith: The Anthropology of Revelation. Maryland: Rowman & Littlefield Publishers, Inc., 1990.

    Goodstein, Laurie. “Teaching Creationism Is Endorsed in New Survey.” New York Times 31 August 2005): A7.

    Harries, Richard. “Science Does Not Challenge My Faith—It Strengthens It.” The Observer (April 16, 2006): 19.

    Hedges, Chris. I Don’t Believe in Atheists. Toronto: Free Press, 2008.

    Kennedy, Donald. “Twilight for the Enlightenment?” Science. 8 April 2005: 165.

    McGrath, Alister E. and Joanna Collicutt McGrath. The Dawkins Delusion? Atheist Fundamentalism and the Denial of the Divine. Downers Grove, Illinois: InterVarsity Press, 2007.

    Migliore, Daniel. Faith Seeking Understanding. Grand Rapids, Michigan: Wm. B. Eerdman’s Publishing Co., 1991.

    Moore, Randy. “Educational Malpractice: Why Do So Many Biology Teachers Endorse Creationism?” Skeptical Inquirer 25.6 (2001): 38-43.

    Niebuhr, Reinhold. The Nature and Destiny of Man: Human Destiny (1943). Vol.2. New York: Charles Scribner’s Sons, 1964.

    Numbers, Ronald L. The Creationists: From Scientific Creationism to Intelligent Design. Expanded Edition. Cambridge, Mass.: Harvard UP, 2006.

    Riesebrodt, Martin. “Fundamentalism and the Resurgence of Religion.” Numen. Religions in the Disenchanted World 47.3 (2000): 266-287.

    Ruse, Michael. Can a Darwinian Be a Christian? The Relationship Between Science and Religion. New York: Cambridge UP, 2000.

    Schwarz, Hans. Theology in a Global Context: The Last Two Hundred Years. Grand Rapids, Michigan: William B. Eerdmans Publishing Company, 2005.

    Strozier, Charles B. Apocalypse: On the Psychology of Fundamentalism in America. Eugene, Oregon: Wipf and Stock Publishers, 2002.

    Thompson, Grahame F. “Exploring Sameness and Difference: Fundamentalisms and the Future of Globalization.” Globalizations 3.4 (2006): 427-433.

    Notes

    1. Dawkins can be considered to be in the vanguard of a movement. He writes:

    Atheists in America are more numerous than most people realize. As I said in the Preface, American atheists far outnumber religious Jews, yet the Jewish lobby is notoriously one of the most formidably influential in Washington. What might American atheists achieve if they organized themselves properly? (44)

    To facilitate this goal, he provides an extensive list included in an appendix at the end of the book of “friendly addresses, for individuals needing support in escaping from religion.” Included are groups such as American Atheists, Atheist Alliance International, Secular Coalition for America, and the National Secular Society (London, UK). It could be argued, then, that there is an atheist movement, of which Dawkins is a leading proponent. (back)

    2. Dawkins even admits as much (367). (back)

  • From Habit to Maxim: Eccentric Models of Reality and Presence in the Writing of Gertrude Stein

    “Transcendence” stands for what subsists, stands behind, and provides a continuing reality to phenomena. The equivalent of “transcendence,” for Gertrude Stein, was “continuous present,” a term she used in various ways and used to produce many maxims of thinking, writing and art—maxims ranging from the seemingly obvious to the awkward and counter-intuitive. In “Plays,” Stein writes “The business of Art . . . is to live in the actual present, that is the completely actual present, and to completely express that completely actual present” (Lectures in America, 104-5). She is referring us here to “Composition as Explanation,” where she associates the “continuous present” with “beginning again” and “using everything.” Stein seems to be aiming at a kind of pure horizontality here—without the vertical, everything is equally related to everything else, and each moment of composition completely different from the previous one—but at the same time, completely the same, except for the composition. The horizontality of the continuous present (perhaps it would be better, and even more Steinian, to say “continuous presencing”) can replace the vertical because Stein’s horizontality is not the horizontality of symmetrical desires in the confrontational stance prior to the deferral effected by the sign; rather, it is the horizontality of that instant on the originary scene prior to its closure, where the only thing sustaining the sign is the incalculable possibility that some next member will take it up. The symmetry of the participants at this instant is exactly the same as in the previous instant, when they were poised to annihilate themselves and each other, except for the composition, that slight rerouting of the gesture through its visibility. As Stein says, “The only thing that is different from one time to another is what is seen and what is seen depends upon how everybody is doing everything” (Writings and Lectures 24).

    In other words, the continuous present doesn’t exist outside of the activity of sustaining it, whereas transcendence implies an existence apart from that activity. I will explore this distinction by addressing Stein’s maxims, or at least what I will read as her maxims. I take a maxim to be a statement on the boundary between the declarative and the imperative, a generalizable claim which can only be grasped and assessed through some singular practice, a practice advised or urged by the maxim itself. So, in “Plays,” Stein asserts that “The thing that is fundamental about plays is that the scene as depicted on the stage is more often than not one might say it is always in syncopated time in relation to the emotion of anybody in the audience” (Lectures 93). Stein suggests that finding this out “makes one think endlessly about plays” (93), and one could see that the only way of making sense of such a maxim would be to inhabit oneself as a spectator in some play and hypothesize that moment in which one’s emotions were “syncopated.” The problem with the maxim is that the advice it would give us seems to skip a step—you will know that your emotion is, to continue with Stein’s discussion, “always either behind or ahead of the play at which you are looking and to which you are listening” once you have decided to make sense of your emotion during the play in precisely those terms: there is no difference between being syncopated and knowing you are syncopated. In other words, Stein’s maxims do not posit a mode of “verification” that could be shared.

    This direct route to the ostensive, bypassing a shared mode of verification is very well illustrated in the following anecdote:

    Ms. Stein, the story goes, was giving a lecture at a prestigious Eastern university.  In the discussion period following her lecture, a young man and woman, college students, arose to ask a question.  They were respectful.  They were earnest.  They were holding hands.

    “Miss Stein,” the young man said, “you write books that are very hard to understand.  Many of us have worked hard at trying to understand your writing, and we still find it a puzzle.  Can you tell us please what you are trying to say?”

    “Well,” said Ms. Stein after thinking a moment, “what I’m saying is that everything changes and everything stays the same.”

    The young man and woman reddened and smiled nervously at each other.

    “Miss Stein,” the young man said again, “if you will forgive us, that’s just what we mean.  Nothing changes and nothing stays the same.  What does that mean?”

    “No,” Ms. Stein said, “not nothing changes and nothing stays the same.  Everything changes and everything stays the same.”

    “But what does it mean”?

    “Well, take you two, for instance,” Ms. Stein said.  “You are a perfect example of this.”

    And then she sat down.

    Stein, first of all, corrects the students, insisting on the difference between “everything changes and everything stays the same” and “nothing changes and nothing stays the same,” regardless of their reversibility, and then answers the students’ request for meaning by “pointing” to them as a “perfect example of this.” A perfect example, presumably, of what “everything changes and everything stays the same” means. In a sense, Stein complies with the normal grammar of the “example” here—presumably, we ask for examples when the declarative statement is insufficient. But the students have asked for a second declarative statement, not an example—they apparently don’t understand the first statement well enough to know what would count as an example, or to use an example to supplement their understanding. The general statement, in other words, is too idiosyncratic to go right to an example from. But that, then, is what Stein is insisting upon—finding your way from the idiosyncratic statement to, not only an example, but yourself as an example, and yourself as an example insofar as you want to, but cannot yet, make sense of that idiosyncratic statement. That is, the students are a perfect example of “everything changes and everything stays the same” insofar as they are poised to find the right way to look at themselves as exemplary and thereby do everything differently by looking at what they are doing. And finding yourself—always finding yourself—to be a perfect example of everything changes and everything stays the same would be something you could think about endlessly.

    To take another example: in “What are Masterpieces and why are there so few of them,” Stein contends that “the essence of being a genius is to be able to talk and listen to listen while talking and talk while listening” (Writings and Lectures 148). Again, the problem is, what can one do with this? This is Stein’s way of speaking about the difference between human nature, or identity, and the human mind, responsible for creation—masterpieces, products of the human mind, sustain the continuous present, there is no remembering or consideration of any audience: “If you do not remember while you are writing, it may seem confused to others but actually it is clear and eventually that clarity will be clear, that is what a masterpiece is, but if you remember while you are writing it will seem clear at the time to any one but the clarity will go out of it that is what a masterpiece is not” (Writings 152). So, a masterpiece is something one enters by stepping outside of everything else—when you are outside of the masterpiece it is not clear, even if it seems clear, but when you are inside the space or continuous present composed by the masterpiece it is clear. How this presumed unity of vision with the creator, where both will experience the same thing, but that same thing will be incommunicable to anyone outside of that space while not needing to be communicated to anyone in it, can’t be explained any more than the way we recognize someone we know can, or needs to be, explained.

    The argument makes sense, then, but the maxim—the essence of being a genius is to be able to talk and listen to listen while talking and talk while listening—may not. It’s hard to read it metaphorically because it’s hard to get a sense of what it would mean literally. Even if the one talking is the same as the one listening—and that Stein is not merely referring to the process of thought here is made evident by her observation elsewhere that it is a very difficult thing “to listen to anything and everything in the same way any one is telling anything and at the same time while you are listening to be telling inside yourself and outside yourself anything that is happening everything that is anything” (Narration 34) —how could one talk while listening and listen while talking. The expression of simultaneity here makes enough sense for us to see that it can’t make “complete” sense—you could try and listen while you are talking and talking while you are listening and by noticing that the listening always comes just after the talking, imagine the possibility of “catching up” and attaining what would be an originary experience of language: that is, an experience of language that is simultaneously ostensive and a model for other experiences. This possible experience would be known as such after the fact, in the internal balancing of the sentence that would be an event of knowing in itself: “And in knowing anything you know it as you know it, you know it at the time you are knowing it and in that way the way of knowing it” (20).

    Stein’s focus on grammar and the sentence enables us to make the distinction between transcendence and the continuous present on that level as well. A sentence effects transcendence if it makes us stand before a reality that is, at least until the end of the uttering of that sentence, beyond the power of any imperative to alter. I would propose calling this a sentence organized around a commanding name: a noun, a subject, that has its own substance to be unfolded in the predication—the name is commanding in the sense that the object world or field of semblances it opens up is invulnerable to our grasping, at least insofar as we “understand” the sentence. Reality is transcendence embodied, and it is in the grammatically correct sentence that this embodiment is registered. A sentence participates in continuous presence, on the other hand, insofar as it puts forth grammatical possibilities that it doesn’t itself exhaust—in Stein’s style, the grammar of presence includes, as has been often noted, rhythm, alliteration, internal dialogues regarding the composition of a sentence (“stage directions,” so to speak),

    sentences repeated over and over again, sometimes with very slight modifications, the organization of patches of discourse around relative and demonstrative pronouns, sentences in which the same word can be both subject and direct object and subject of another sentence, and so on. The idea is to generate as many grammatical possibilities as possible, and to sustain the text by realizing as many of those possibilities as possible while not exhausting them and continuing to generate more.

    Let’s return to the vertical-less originary scene I posited earlier: rather than transcendence embedded in but beyond and above the central object, we have the participants on the scene arrayed in relation to the central object. Instead of seeing or intuiting something through the object, each participant sees everyone else as equidistant from the object. Not literally equidistant, but equally likely, or unlikely, to abandon their equipoise and reverse the reversal of their adoption of the aborted gesture of appropriation—”meaning” is everyone stripped of every intention other than to convey their acceptance of the gesture with as much certainty as possible. We could call the resentment of the center this view of everyone dispossessing themselves of everything that might suggest a renewed striving toward the appropriation of the object—each participant takes on the resentment of the center by seeing everyone else as equidistant from that center, which is the way the center itself would have it.

    In this equipoise and equidistance we can see a grammar of the scene—the gestures put forth by all members of the group would not be identical, even if they are all imitating the same gesture. This is because each not only imitates but inflects and accentuates from their own position on the scene: someone who was about to grab a chunk would have to sign differently than one who was engaged in the beginnings of combat with another, and a third member, who was lagging behind, would have yet another way of signing on. The scene is the articulation of all these gestures, and the transition into the sparagmos, towards consuming the object without renewing the mimetic crisis, would likewise require a continued articulation and calibration of this array of gestures. Even more, all the possible gestures and expressions in the pre-human repertoire of the group and of each member undergo a similar “abstraction”—that is, whatever any member could do “naturally” can now be broken down into a collection of gestures that can be combined in various ways. Continuous presencing, then, is sustaining the resentment of the center by maximally abstracting all elements of language, from the most elemental phonemes and morphemes to sheer grammatical connections devoid of meaning (for example, using a noun that rarely is used adjectivally as an adjective, and using it to modify a noun that is the nominalization of a adjective never used that way, and selecting for this operation two words without any discernable relation to each other in any combination, presents the articulation of noun and adjective without the interference of the “commanding name” embedded in an already shared and connoted reality).

    I assume that Stein’s practices have an esthetic value in themselves, but my interests here lie in the way they open up language so as to generate the idiosyncratic maxims that I have been looking at, maxims advising us to make our relation to language originary. So, let’s work through a little of what we might call Stein’s agrammatical writing and see how we might hypothesize a mode of thinking drawing upon this originary relation. This is from Stein’s Stanzas in Meditation, Part 3, Stanza VII:

    By it by which by it
    As not which not which by it
    For it it is in an accessible with it
    But which will but which will not it
    Come to be not made not made one of it
    By that all can tell all call for in it
    That they can better call add
    Can in add none add it.
    It is not why she asked that anger
    In an anger can they be frightened
    Because for it they will be which in not
    Not now.
    Who only is not now.
    I can look at a landscape without describing it. (76)

    The first six lines all end with “it.” Not only that, but these lines are concerned throughout for “it.” The sixth line ends with “call for in it,” and then the seventh line ends with “call add”—so, “call” brings us from “it” to “add,” which dominates the next, eighth line: “can in add none add it.” The next two lines then concern “anger.” So, some “it” is at the center of these lines, and “it” had something to do with “calling,” “adding” and “anger”—perhaps the anger concerns adding and calling it, or not adding and calling it. We have a repetition in the first line, as “by it” precedes and follows “by which”—this might also be read as a dialogue, with “by it” answering the question “by which?” following the initial “by it.” “By it” recurs again in the second line, this time following what also could be a little dialogue by interlocutors with the objects in question close at hand—”as not” (as a response or qualification to “by it” from the first line), then “which not,” which could be either a question (“which is not”?) or an emphatic repetition (not just that it isn’t, but that it won’t be), and then “which by it” which we could divide into two pieces of speech (another question—”which?”—with the answer “by it”), or read the second which as emphasizing the “which not” relative to “as not,” with the concluding “by it” an insistence on the basic point here, which shouldn’t be confused with any other point. On this reading, the fragments would all work as gestures, questions and commands, to look, distinguish, negate, insist.

    It is also possible to read the sentences as generating noun and adjectival phrases out of fragments: so, “Come to be not made not made one of it” could be parsed in terms of the phrase “come to be” (perhaps an imperative, even a prayer, perhaps abbreviated description)—”not made” is the direct object of “be” (come to be not made) and “not made one of it” either an adverbial modification of “not made” or an answer to an implied question (not made how? Or in what sense?—not made one of it). The focus is still on “it,” as something that in one way or another is not readily available. The next line, “By that all can tell all call for in it” begins with an intelligible phrase (By that all can tell—with the only problem being that we have no more idea of the “that” than the “it”); all call for… if we stop here, we can make sense of this as a collective demand for “it,” but the sentence then continues agrammatically—but if we can already anticipate the “it” why do we need it? The “in” interrupts here, but adds a couple of possibilities—if we break it up into questions, commands and gestures, perhaps the possibility that the one calling, or those calling, are actually “in” it; or “in it” is working as a noun, and/or a new adverbial phrase is created—”for in it,” which would modify “called.” Again, though, there is some gathering around an object, and the fluidity of the grammatical possibilities can present the growing intensity of attention paid while deferring the closure of any representation of that object.

    To jump to the last line, Stein here might be looking at a landscape without describing it, if we take description to comprise an articulation of commanding names that anchor transcendence in a sustained reality. “That they can better,” sets up the introduction of some preferable course of action, while “call add” suggests several possible courses—call some action “add,” perhaps all the references to “it” can be called adding, adding to the attention paid, the details noted; perhaps “add” modifies “call,” referring to a way of calling additively. “Can in add”—can something in adding…; or perhaps a verb phrase, with “in add” something one can do—and then “none add,” so the sequence of calling and adding seems to reject adding calling or calling adds. Then, to abbreviate, “anger” and “fright” take over the center of the stanza; anger seems to cut off some “asking,” and that anger leads to being frightened is either questioned or asserted—”In an anger can they be frightened.” Then, a return to “it,” linked insistently with “not”—the calling and adding which perhaps led to the anger and fear concludes with a negation of the “it” at the center—the description had been refused, but not necessarily the partial gestures that could be articulated into a description—the calling, adding, asking, pointing, even the anger and fear.

    I have suggested two ways of making sense of Stein’s agrammaticality in passages such as the above—one, as declarative sentences interrupted by ostensive gestures (marked by deictics), imperatives and interrogatives; two, as the creation of novel verb, adjectival and adverbial phrases which create a liminal, evanescent reality—we could imagine, in the course of reading Stein’s text sympathetically, “calling… for in it,” with “for in it” representing some condition for which we could summon up a minimal sense of reality, but could not really remember. This liminal reality is only available to the extent one enters the continuous presence set up by the text. The same is true of another very characteristic Steinian move, setting up the trappings of an extended comparison but without the “substance,” that is, a background reality that would anchor the compared or contrasted items. The question then becomes how much the form of the comparison can generate that sense of “likeness” or “difference.” For example:

    It is to be asked does he do it because he prefers country to country or does he do it because he prefers morning to afternoon. Does he do it because he prefers pieces to pieces or does he do it because he prefers one to one. Does he do it because he prefers smaller to larger or does he do it for the purpose of not yet. Does he do it because it is at least as well or does he do it because he is delighted…. (A Novel of Thank You 44)

    Here, we would have to acknowledge the possibility of sufficient semantic space within the words “country” and “one” to make it possible to prefer country to country and one to one; but not enough space to allow for different words or even adjectives distinguishing one kind of country or one from another; we further need to imagine equivalences between the contrast between country and country, on the one hand, and morning and afternoon, on the other; between “smaller to larger” on the one hand and “the purpose of not yet,” on the other. And some kind of continuity, due to the symmetrical placement, between morning to afternoon, one to one, the purpose of not yet, because he is delighted, and so on. However one composes these possible connections, the purpose seems to be to ensure their unsustainability outside of the work of composition.

    So, what kind of contribution does this, what I am calling an originary relation to language, make to thinking? It keeps language on the threshold of feeling and sense and facilitates idiosyncratic observations, on the boundary between ultra-literalism and very stretched metaphoricity. For example, Stein keeps repeating in Everybody’s Autobiography that there is “no sky” in America, “just air”—we can make some sense of this, sky is verticality whereas air is horizontality, and this would line up with much else Stein says about America in distinction from Europe; but there is an experiential immediacy to the phrase as well, which is used to describe her perception of New York in particular. And the idiosyncratic observations, to which we can give a paradoxical name like “literal allegories,” generate eccentric maxims, like the definition of genius I opened the essay with. Within Stein’s discourse we can posit a relation to language wherein language is both coming from and coming to us—we are listening and talking at the same time, on the condition that the subject doing the talking and listening is removed from the scene, and with her or him the anchor to transcendence in reality. The model of thinking that would result would be a marginalist, minimal one—thinking proceeding by subtracting or adding the smallest thing possible from or to a stream of habits and discourse, a subtraction or addition that insists that everything is the same by making everything different. Such thinking confers sacrality on language itself, as the means by which we sustain the infinite field of semblances, or reality, by modeling language on the sign/object complementarity constitutive of everything we see.

    Stein’s own most sustained instance of methodical thinking is The Geographical History of America or the Relation of Human Nature to the Human Mind—it is here that we can see how Stein’s thinking actually progresses and accumulates results. She focuses on what is a recognizable “philosophical” question, and one that even seems close to the relation between transcendence and immanence, noumena and phenomena, and other easily recalled metaphysical binaries. Here is how she sets up the question:

    Let us not talk about disease but about death. If nobody had to die how would there be room enough for any of us who now live to have now lived. We never could have been if all the others had not died. There would have been no room.

    Now the relation of human nature to the human mind is this.

    Human nature does not know this.

    Human nature cannot know this.

    What is it that human nature does not know. Human nature does not know that if everyone did not die there would be no room for those of us who live now.

    Human nature cannot know this.

    Now the relation of human nature to the human mind is this.

    Human nature cannot know this.

    But the human mind can. It can know this. (53)

    Right before this staging of the question, in the opening lines of the book, Stein wrote:

    In the month of February were born Washington Lincoln and I.

    These are ordinary ideas. If you please these are ordinary ideas.

    And right after:

    In the United States there is more space where nobody is than where anybody is.

    This is what makes America what it is.

    We have several loosely connected gestures here. Stein begins by signaling her historical importance and equivalence to other immortals like Washington and Lincoln—is she important like them because she was born in February like them, or will her importance come to be recognized by her being placed in the pantheon of important Americans born in February (it is easy to imagine pictures on a grade school classroom during February, with Stein’s picture alongside Washington’s and Lincoln’s). Then she slips immediately into an informal, conversational tone, as if in the middle of a friendly argument over how arcane or accessible the ideas she is about to present are. The discussion seems to be emerging out of a Stein-centric private world, on the boundary between that private world and the public world she has recently been engaging (The Geographical History was written shortly after, and incorporated reflections upon, Stein’s tour of America, including her lecture series and her enjoyment of her celebrity following the publication of The Autobiography of Alice B. Toklas).

    At any rate, we can reframe Stein’s argument easily enough: human nature is that in us that can’t see beyond our own death; the human mind is that of us which can see our own death as the creation of space for the ongoing renovation of human life. The repetitive form in which the argument is presented is simply the process of thinking in writing—as Stein noted repeatedly, whenever we hear or think of a new idea we repeat it, and we enjoy repeating it. The repetition must be part of making it our idea. Moreover, there is a positive yield to the repetition, because the same sentences are repeated with “can” first of all replacing “does” and “does” then replacing “can”—so, each “faculty” is defined in terms of its capability. This is clearly a result of repetition in general—with successive repetitions different words stand out and suggest other possibilities.

    Stein then proceeds by repeating the contrast between human nature and the human mind, each time with different attributes attached to each, and each time embedded in some local, biographical, momentary, often obscure context that is itself attached to the distinction. Once you have a new distinction, the question that follows is “what about…?”—that is, how do other distinctions and ideas take on new meanings as a result? Some of the distinctions are more certain: “identity,” for example, and “remembering” are unequivocally associated with “human nature,” as is “speaking,” while “writing” is unquestionably “human mind.” In other cases, things are unclear, and Stein’s views sometimes change as the discussion goes on, without necessarily signaling the change. “Individualism that is human nature and the human mind communism that is human nature and the human mind and why do they go on saying so and not” (55). Early on, then, Stein is not sure where to catalogue “individualism” and “communism” (they are both later deposited in “human nature”)—the discussion of them has not yet ended (they go on saying so and not).

    Human mind is continuous presencing and human nature is sequenced presents—for the sequenced present the sign emitted on the previous scene completely encloses that scene, and so the sequenced present is representation: the representation of a prior, remembered scene from a later one. Representation, then, like transcendence, matches the scene up with the sign; presencing is interested in sustaining simultaneity across successive scenes—something on each scene co-exists with something on the next scene, and so on, so that if those somethings are articulated, regardless of their original scenic context, then no boundary separates one scene from another, at least from the standpoint of the scene upon which one continuously presences. So, a lot of Stein’s repetitions can be seen as the carrying over of grammatical, semantic and even phonetic elements from one “scene,” or in this case sentence or paragraph, to another. A phrase like “what is the use of being a little boy if you are going to grow up to be a man” keeps getting iterated in different contexts and in slightly different forms, as a way of distinguishing what the human mind can and does know and what human nature doesn’t and can’t.

    Similarly, along with the repetition of “does x have anything to do with the relation between human nature and the human mind,” human mind and human nature can be plugged into other opposites and it can be asked whether the relation between human mind and human nature has anything to do with them. This includes the features of writing and composition themselves, so the status of chapters, and whether one needs them, and whether they need to follow each other if one does need them, and whether one has them follow each other even if they need not follow each other all are drawn into the discourse and, indeed, there are chapters but they don’t follow each other in any conventional way. The process of writing then become a continuous presencing of the distinction between human mind and its continual abstractions and rearrangements, on the one hand, and the expectations, questions and habits of human nature, on the other hand.

    Thinking as continuous presencing is also possible on the mimetic level of the normative grammatical sentence. Names, events, descriptions, and relations can be subjected to the same process of abstraction and articulation through iteration. In Stein’s later work, carried out in more realist or representational forms, as in the novels Ida and Mrs. Reynolds, she constructs central characters for whom everything is essentially spread out or distanced equally, who are largely passive within broader movements, who are both attentive and oblivious, self-sufficient, attractive, and loving simultaneously—we might see them as delineations of human nature as seen by human mind, and it produces a kind of eventless narration and flattened prose style that paradoxically requires a whim to complete itself. Here’s a fairly representative passage from Mrs. Reynolds:

    Mrs. Reynolds said to Mr. Reynolds that there was no difference between slowly and quickly, if anything was done slowly then they were impatient that it was not happening more quickly and when it was being done quickly then they were impatient because it was being done too quickly. Yes said Mr. Reynolds perhaps Joseph Lane is right in not knowing the difference between being awake and asleep and if he is, Mr. Reynolds grunted. Yes said Mrs. Reynolds when I was young and I read that a man gave a grunt when somebody said something to him I did not believe that he really did grunt, but now said Mrs. Reynolds I do, and Mr. Reynolds gave a grunt and said it was time to go to bed and he was right it was time to go to bed. (208-9).

    So, there is no difference between slowly and quickly because there is impatience either way, and in this case impatience must refer to nothing more than anything that evades the orbit of habit; but habit wouldn’t be habit without all these surrounding causes of impatience. Everything is the same while everything changes. Then we have what appears a kind of parallel observation within an incomplete sentence (“and if he is”)—if all we have is impatience no matter what, why bother knowing the difference between being awake and asleep; presumably you can be either awake or asleep, or alternate between the states, without knowing it. That might make one oblivious, but at the same time it would be sheer “being.” Mr. Reynolds grunts which reminds Mrs. Reynolds of something she read when she was young and it confirms what she had previously disbelieved—which, in turn, was a statement that can be read both singularly and generally: “a man gave a grunt when somebody said something to him” can apply equally to one man who grunted to one thing one other person said to him or to all men when anyone says anything to them (as in, “a man knows when he’s had enough”). We can see Stein’s love of the word “any” here, insofar as “any” both singularizes and universalizes: “anyone can see that” both singles out the one who will see and leaves that position open. And then it’s time to go to bed, at least according to Mr. Reynolds, who is right.

    Stein’s is a thinking of “anyness,” then, and this articulation of singularity and universality is the space of love, which is what ultimately holds the abstracted grammatical elements together—as Mrs. Reynolds’s seemingly arbitrary deference to Mr. Reynolds completes the passage I just examined. Love, on the grammatical level, is collocation, or the making of indivisible verbal units above the level of the word—the creation of idioms, in other words. It is the breakdown of grammatical, semantic, and phonemic articulations that makes idiomatic constructions possible—only in that way can words be unmoored from their habitual orbits and enter unanticipated connections. A good idiom, we might say, is an articulation of words that appear random to anyone outside the space of the idiom, and increasingly necessary, to the point of being self-evident, to the extent you have entered the space of its use and exchange, to the point of participating in its creation. In the idiomatic space we oscillate between strained, awkward, seemingly patched-together declaratives, and imperatives and ostensives that one either gets or doesn’t.

    There is a very specific kind of social and even political thinking yielded by the collocations of anyness. Stein’s “Reflection on the Atom Bomb” is exemplary here:

    They asked me what I thought of the atomic bomb. I said I had not been able to take any interest in it.
    I like to read detective and mystery stories. I never get enough of them but whenever one of them is or was about death rays and atomic bombs I never could read them. What is the use, if they are really as destructive as all that there is nothing left and if there is nothing there nobody to be interested and nothing to be interested about. If they are not as destructive as all that then they are just a little more or less destructive than other things and that means that in spite of all destruction there are always lots left on this earth to be interested or to be willing and the thing that destroys is just one of the things that concerns the people inventing it or the people starting it off, but really nobody else can do anything about it so you have to just live along like always, so you see the atomic [bomb] is not at all interesting, not any more interesting than any other machine, and machines are only interesting in being invented or in what they do, so why be interested. I never could take any interest in the atomic bomb, I just couldn’t any more than in everybody’s secret weapon. That it has to be secret makes it dull and meaningless. Sure it will destroy a lot and kill a lot, but it’s the living that are interesting not the way of killing them, because if there were not a lot left living how could there be any interest in destruction. Alright, that is the way I feel about it. They think they are interested about the atomic bomb but they really are not not any more than I am. Really not. They may be a little scared, I am not so scared, there is so much to be scared of so what is the use of bothering to be scared, and if you are not scared the atomic bomb is not interesting.
    Everybody gets so much information all day long that they lose their common sense. They listen so much that they forget to be natural. This is a nice story.

    Stein here makes a radical anti-millennial argument, regarding the event that, tied to the Holocaust, would herald a whole new secular millennialism in the post-war world. Stein likes to read detective stories that remain within the terms of human beings committing specific, limited acts upon other human beings—maybe that’s why she likes to read them. Once something completely destructive enters, the story is no longer interesting. There is a fairly familiar narrative principle at work here—nothing in the story can be bigger than the story. It’s an anti-metaphysical principle as well: no concept, whether it is some variation on “History,” or “Progress,” “Salvation,” or the “Good” can be bigger than the story itself—once one of these concepts tells us how things have to turn out, how can the story be interesting?

    Stein’s rejection of utopian thinking reinforces this “anyness” mode of thinking:

    Wars I Have Seen 12)

    Your habits and mine might intersect and overlap in all kinds of ways and we might create shared idioms out of all of that, but being told that one has habits by another assumes that attending to those habits through another’s observations could lead to changes in those habits according to that observer’s evaluation—and underneath every habit that is thereby noted, another one, even more deeply rooted, can be pointed to. Habits can change, and we can change one another’s habits, but only by entering and participating in them through those intersections and overlappings with our own.

    Those who find the atomic bomb interesting must do so because they are not interested in what is happening—or maybe they are only interested in the end of what is happening, in the possibility that the event will transcend itself. For Stein, it seems to be theoretically possible that something could be bigger than habits and happenings insofar as it could destroy the entire world. But what would there be to say about that? We can talk about how to make sure that doesn’t happen, and it’s not clear why Stein says that there’s nothing anyone could do about that, but how could our language, which only addresses what human beings can do to each other, address something that would be bigger than that? Whatever arguments we can have about how to resolve violent and potentially violent situations will be incommensurable to the destruction of the situation as such—to the extent that we can reduce or control violence, we can do so, and can only do so, on terms that don’t posit an event that would be beyond even violence. If we think about it in terms of the originary scene, the glimpse of the possibility of the destruction of the group must be what makes the emission of the sign possible, but by the time we would be in the midst of that cataclysm itself the sign would be of no use. We can use signs to defer that ultimate violence insofar as that ultimate violence lies beyond presentation or representation.

    And the way to lessen the likelihood of that event that would end all events is, anyway, to get interested in is the “living”—both in its nominal and participial sense. Even in the event of an atomic war, I take Stein to be saying, there would be the living—they would find ways to survive, to go on, to reconstruct social life, and all of that would be interesting, not the destruction. To put it another way, our attraction to the ultimate violence is our attraction to a sacrifice that will end all sacrifices, and Stein’s thinking is resolutely anti-sacrificial. There is always something you could add or subtract or recombine in any field of events to keep it going and proliferating—there is never a need to make the center present as such, because the presence of the center is precisely in the “grammatical” arrangements of the periphery. Find the smallest thing to change that will have the biggest effect, or the biggest change that will have the least effect.

    The collapse of the global financial system we were encouraged to fear in the fall of 2008 would have been worse than the collapse of a single bank, if it had occurred; it would probably have been worse than the largest string of failures we have ever seen. But would it have been qualitatively different, a kind of unimaginable sublime, or an event we could model based on smaller and more familiar versions? I take Stein’s answer to be the latter—the bigger the catastrophe the more quickly the human mind would get to work miniaturizing it, cushioning it, finding new places to build and create in its wake; at the same time, human nature would aggravate, exploit and unwittingly deepen it. But the living would outlast the apocalyptic; or it wouldn’t. In the former case, the living is what would turn out to have been interesting all along. In the latter case, what would there be to talk about anyway?

    The most powerful way of engaging the originary hypothesis, in this case, would be to forget the catastrophe that was narrowly averted, to transform every trace of its possibility into a sign of its unrepresentability, to abstract and articulate every gesture of deferral in as many ways as possible. Desires can be converted into happiness by turning objects of desire into means of personal ostentation, and this can be done by turning anyone’s attention to the origins of desire in some (mistaken) gesture in which the model and object are inscribed and confused—that gesture can always be articulated with others in a new idiom, with its own generative resources. For this kind of practice and habit, this kind of ostensive gesture toward the ostensivity of the gesture and its strained inter-articulation with other gestures, Stein’s continuous presencing within language will always be a model. Perhaps that is a relation between the Human Mind and Human Nature.

    Works Cited

    Stein, Gertrude. A Novel of Thank You. Dalkey Archive Press: Normal, Ill., 1994.

    ———-. Stanzas in Meditation. Sun & Moon Press: Los Angeles, 1994.

    ———-. Mrs. Reynolds. Sun & Moon Press: Los Angeles, 1988.

    ———-. Writings and Lectures: 1909-1945. Edited by Patricia Meyerowitz. Penguin Books: Baltimore, 1974

    ———-. The Geographical History of America or the Relation of Human Nature to the Human Mind. Introduction by William H. Gass. Random House: New York, 1973.

    ———-. Wars I Have Seen. Random House: New York, 1945

    ———-. Lectures in America. Random House: New York, 1935.

    ———-. Narration. University of Chicago Press: Chicago, 1935.

  • “A novel word in my vocabulary”: Laughter and the Evolution of the Byronic Model into Don Juan

    When Lord Byron published Don Juan between 1819 and 1824, he subverted the rhetoric of victimhood and suffering that drove his previous works and that dominated British Romanticism. Don Juan in some ways baffled the Regency. William Hazlitt, an ever-astute critic, wrote in bemusement, “you laugh and are surprised that anyone should turn around and travestie himself” (75). Generative Anthropology provides an excellent prism through which to examine Don Juan‘s destabilization of victimhood–better than the critical lenses available to Byron’s contemporaries. In this article, I will examine the metamorphosis of the Byronic hero from Childe Harold’s Pilgrimage, the Oriental Tales and Byron’s dramas into the mock-heroism of Don Juan. I will rely extensively on Regency reviews to illustrate how the concepts of mimesis and the marketplace of desire worked in the minds of Byron’s contemporaries. While Byron sought to destabilize the idea of heroic victimhood in Don Juan, at the same time he secured his own position as a model for his readers. He moved from the unrelenting pride of the scapegoat and exile to happily engaging with the gossip, news, and financial enrichment of the marketplace. In examining Don Juan‘s reception, I want to show what its share of the Regency market for books tells us about the poem’s share of the broader market of desire. Don Juan‘s fortunes as a commodity show how the reading public adopted and embraced Byron’s new production.

    Eric Gans describes how a victim may be self-selecting, and how victimhood came to confer power. Gans posits Christ as the first victim to retain a sacral role beyond the completion of the sacrifice (Victim as Subject 27-28). He argues that Jean-Jacques Rousseau, in the eighteenth century, was the next figure to advance the mimetic paradigm by which an individual can claim centrality (3). Rousseau claimed the centre by renouncing his desire to participate in what he perceived as the corruption of society around him (6 n1). His social desirability lay in his perpetual rejection of the desiring society: “A well-adjusted Rousseau would have been courted by no one” (8). As Ian Dennis remarks, Byron “discovered and exploited productive new applications of the principle of nil admirari–demonstrating indifference to desire as a means of attracting it” (para 1). Byron’s modus operandi paralleled Rousseau’s; both men attracted attention through vaunting their lack of desire for public recognition. Childe Harold’s Pilgrimage I-II was the first of Byron’s works to enjoy enormous acclaim and popularity. Its protagonist proudly rejects the temptations of English aristocratic society in order to embrace his own lofty solitude. Early in his career, Byron influentially equated heroism, victimhood, and alterity. The Byronic hero is profoundly Other to those around him: “He stood a stranger in this breathing world / An erring spirit from another hurled” (Lara 1.315-316). The hero is a stranger wherever his travels take him in this world; he is also alienated, through “erring,” from the society that produced him originally. He attains the victimary status of a scapegoat hurled over a cliff.

    The heroes of Byron’s Childe Harold’s Pilgrimage and the Oriental Tales are aristocratic men, locked into conflict with the society around them, and in their prime when the poems’ action unfolds. In Manfred, Byron’s semi-autobiographical closet drama of 1816, the eponymous hero is wracked with guilt over the death of his sister Astarte, a death which for which he believes himself responsible: “Her heart / It gazed on mine, and wither’d” (2.2.118-19). Manfred’s desperation leads him to conjure up infernal spirits and to scorn the prospect of an afterlife. Manfred dies proudly wedded to a pain “which could nothing gain” from hellfire, and disdaining a “compact” with the devil himself as beneath his independent dignity (3.4.128, 114).

    Lara‘s (1814) close focus on Lord Lara makes the experience of virtually all the other characters invisible. Lara occupies centre stage: “his silence form’d a theme for others’ prate” (1.293). The serfs’ thoughts are limited to “glad”-ness at Lara’s return, and resentment at “infant monarch” and feudal “faction” (1.1, 226-229). Even the latter is swiftly subsumed into Lara’s individual story. Lara hoodwinks his followers; the sufferings of the peasants are a consequence of Lara’s “policy,” to secure himself against the inveterate enmity of his neighbours. “Whate’er his view, his favour more obtains / With these, the people, than with his fellow thanes” (2.196, 194-95). The serfs’ woes on the battlefield and during a losing campaign are both evoked and dismissed. “What boots,” demands the narrator, “the oft-repeated tale of strife, / The feast of vultures and the waste of life?” We feel for them as they flee oppression to band with the less rapacious Lara, and as their allegiance to Lara costs them their livelihoods and lives. Yet the poem unfolds from Lara’s perspective; it is his tragedy, and not the tragedy of his followers. As readers, we enter into his subjectivity and learn of his thoughts far more than we do of any other character. Lara, not the peasants, holds the centre.

    What was the magic of the Byronic hero, and how did he take his place at the centre of attention? An anonymous reviewer, writing at length in the October, 1819 edition of the Edinburgh Monthly Review, believed Byron to be “gifted above all his contemporaries with that divine energy which wakens all its touches into fervid animation” (EMR 469; Romantics Reviewed 792). Byron’s powerful imagery and arresting language made his poetry compelling and memorable. Yet for the reviewer, it is the protagonists, even more than the quality of the verse, that make Byron’s works so “attractive:”

    The author stands identified in an unusual manner with the characters which he draws . . . It is this belief, whether erroneous or not . . . that fills and sustains their every line with the imagined presence of the author; and . . . enhances wonderfully their interest to that numerous class of readers who sympathise more readily with individual feeling than with universal truth. (EMR 470-471; RR 793)

    The reviewer is concerned at the moral implications of readers’ ready embrace of the Byronic hero. Readers judge Byron’s heroes with excessive lenience, he believes, because “they steal upon us under the guarantee of the greatest poet and mightiest mind of his day.” It is a troubling “matter indeed when we are taught to look upon this concentration of malignity as it stands illuminated by the approving smiles of the poet, and gilded by the countless fascinations which it is his prerogative to throw around it” (EMR 471; RR 793). All the “incarnations of this terrible spirit” do have “one redeeming virtue” each–which promotes the dangerous identification of reader with character yet further (EMR 473; RR 794). The reviewer posits an “intense feeling of sympathy with the character” being “extort[ed]” invariably from the reader (EMR 474; RR 795).

    The Byronic hero’s alienation and victimhood were so attractive because he allowed readers to imagine themselves into his wild deeds–his revolt against the constraints of society. Any reader who felt confined by the exigencies of Regency Britain could identify his–or her–feelings of suffering with the pain and alienation that drove the Byronic hero into exile. To readers of Byron today, however, much of the mystery and undisclosed biography of the Byronic hero seems an encryption of sexual discourse. As Gary Dyer writes, “not all the secrets in Byron turn out to be sodomy, but even when a secret is something else, the supreme dangers of sodomy have helped shape the nature of secrecy. Indeed, concealing sodomy obviously taught Byron much of what he knew about concealment” (567). But if most of Byron’s contemporaries were not alert to all the possible subtexts of his poetry, the secret spaces of the Byronic hero’s heart provided them with a place to project their own sorrows and frustrations as well as desires. The Byronic hero, foregrounding his own suffering, permitted his readers’ to contemplate their own sufferings (sufferings, one hopes, less acute than a Byronic hero’s) in a new and cathartic way.

    The one redeeming virtue of each protagonist (to which the Edinburgh Monthly Review‘s article alludes) permits the reader to identify comfortably with the Byronic hero–yet the lawlessness of the hero’s conduct provides a refreshing interlude in which, on some level, readers can imagine themselves as unbound by social norms. The Edinburgh Monthly‘s reviewer imagines Byron’s long-suffering and devoted readers drawn into an admiring “circle” around the poet (EMR 468; RR 792). This image truly reflects a mass-mediated desire; each person in the circle wants to imitate the Byronic hero, to replicate his mastery over his surroundings, his fellow men, and his own desires. The readers, too, would quite like to be encircled with admirers. Of course, to achieve this, they must affect the strictest indifference. After all, the Byronic heroes’ hypnotic power stems from their claim to live within their own spiritual fortresses of reticence, strength, and unknowable pasts. When Byron refused to provide this model any longer, the Edinburgh Monthly Review writer imagined Byron’s readers driven by Don Juan “to an agony of resentment and despair” (EMR 468; RR 792). This language is again strikingly similar to the terms of Generative Anthropology. In this case, however, it is not resentment of the Byronic hero–or indeed of Lord Byron himself–for having invented a desirable new behaviour, or despair at the realization that, as an imitator of Byron, one will never achieve his vast popularity and success. Instead, this reviewer suggests that readers will resent Byron for refusing to supply more avatars of the dark Byronic hero, and that their agony is the pangs of withdrawal from an addictive substance. Eventually, the readers’ despair leads them to “burst the magic circle of his authority.” The review “contemplate[s]” with “melancholy” the “scandalous . . . abuse” of Byron’s talents that could so drive his readers away (EMR 468; RR 792). However, as we will see, Byron’s redeployment of his talent in Don Juan actually enthralled readers all over again.

    Following the spectacular collapse of Byron’s marriage in 1815 and his subsequent move to continental Europe, critics applied the language of alienation and exile, formerly lavished on his heroes, to Byron himself. The Edinburgh Monthly Review discusses his “place of exile,” from which “it now appears but too probable that he is fated never to return” (EMR 486; RR 801). The British Critic presents Byron as an exile whom none can mourn:

    His fate can now excite no more compassion in the minds of his former admirers, than that of a vicious racer sold to drudge in a night-cart: or if the comparison be somewhat unsavoury, we might remark . . . he has sunk from the dignity of Milton’s fallen angel, to the vulgar horned and tailed devil of a puppet shew. (Hunt 188; RR 336)

    The same publication compared Byron to “the prodigal son” and suggested that Byron “should feel a strong desire to return” home (British Critic 663; RR 341). The Literary Museum, while condemning Byron’s morals, mourned that, “poor man! he is a wanderer about the earth; and in spite of all his affectations, a very unhappy man” (LM 564; RR 1510). Byron’s heroes had so often exiled themselves that his contemporaries could only read his life as following the same pattern.

    Don Juan, however, represents a revolution in Byron’s thinking on Romantic victimhood. Part of its overthrow of Byron’s previous paradigm takes place on a demographic level. One of Don Juan‘s innovations is to remove suffering from one central victim and relocate it in segments of the population previously relegated to picturesque functions. By 1820, the central Byronic hero was losing his hold on the imagination of the British public. In 1819, the British Critic opined that “the cold reception” of Byron’s latest publications “must have given [him] rather a broad intimation of his decline in the public favour” (BC 195; RR 296). In a letter to his publisher, Byron himself wrote that the number of copies sold “is not a bad sale in itself,” but appeared low “comparative with the numbers” from earlier in his career, especially “as in the case of the Corsair [which sold] 13000 [copies]. . . the first day.” Byron took this for “proof of a decline of popularity to a great extent” (BLJ 10 161). In 1823, John Hunt could write in the British Critic that “the spell and mystery which it was his Lordship’s pleasure to cast about himself and his adventures” had “long since” become “as stale and palpable as most other pieces of solemn charlatanry; and his tall scornful heroes, all of one family, with hearts as black as their beards, and lips curling as regularly and duly as their whiskers, have ceased” to hypnotize (Hunt 178: RR 331). The Literary Chronicle told its readers that, although “there was a time when the bare announcement of a new work from Lord Byron, made the whole reading population of England look forward” to it “as a school-boy to a holiday. . . . That time is now gone past.” The reviewer suggests that one reason that “a poem by his lordship excites very little sensation” by 1823 is Byron “writing so much” (LC 451; RR 1340). In short, the Byronic hero ceased to be central to readers’ imaginations through his familiarity. Furthermore, widespread, prolonged, and acknowledged popularity was the very inverse of the Byronic hero’s allure. If everyone was buying up Byron’s latest works (and his sales had been phenomenal), or imitating his heroes’ pose of Weltschmerz, their fact of their popularity put the very individual relationship of the reader to the character under stress.

    Intensive imitation leads to a disruption of the “triangle of mimetic desire.” (Signs of Paradox 38). “A’s peaceful imitation of B’s . . . routine ends when A challenges B for the last” resource. “The disciple becomes a rival,” and the relationship becomes a “conflict. The mediator who at first welcomed a disciple now rejects him” (38). As Byron finished Childe Harold and the Oriental Tales, haughty singularity was almost worn out as a means of captivating attention. Yet rather than rejecting the discipleship of his admiring readers, Byron wooed them all over again with a new paradigm. It was time for him to seek out a new kind of protagonist.

    At the outset of Don Juan, Byron declares that he is in “want” of a hero, and lists numerous candidates for poetic memorialization. But fame is fleeting; contemporary heroes’ reputations decay as swiftly as poetic popularity. “Nelson,” for example,

    once was Britain’s god of war,
    And still should be so, but the tide is turn’d.
    There’s no more to be said of Trafalgar,
    ‘Tis with our hero quietly inurned. (1.1, 1.9-24, 1.25-28)

    Byron alleges that the Prince Regent has set new fashions in heroism: “Besides, the Prince is all for the land-service, / Forgetting Duncan, Nelson, Howe, and Jervis” (1.29-30). The market’s demand for novelty erodes not only the standing of a particular hero, but the very mode of heroism that the public prefers. When Byron seeks a hero “fit for [his] poem (that is, for [his] new one)” he finds a whole new paradigm in our “friend Don Juan” (1.40-41). Juan does not qualify as a traditional Byronic hero. He is in exile, perhaps, but only at his mother’s instigation, not his own (2.57-58). He feels no distaste or intolerance for the society he is leaving behind, and expects to return in “four springs,” unlike true Byronic heroes, who tend to wander indefinitely (2.67). Juan cannot claim the heroic grandeur of Byron’s earlier protagonists, and therefore is not likely to share their heroic suffering. As there is no Byronic hero to monopolize the poem’s centre, Don Juan allots suffering and victimary status throughout its cast of characters.

    In contrast to the previous works, Don Juan puts people of different classes at the centre of its depiction of victimhood. A shipwreck at the outset of Juan’s travels creates a microcosm of society. The lifeboat contains sailors, passengers, a clergyman or scholar in the form of the licentiate Pedrillo, and an aristocrat in the shape of the licentious Juan. The narration emphasizes their sameness. The lottery that determines “who should die to be his fellow’s food” makes the shipwreck’s survivors interchangeable (2.584). It is not only the play of probabilities that makes individuals of all ranks equal and indistinguishable. The survivors’ thoughts, too, are identical: “When his comrade’s thought each sufferer knew / ‘Twas but his own” (2.581-2). “None to be the sacrifice would choose,” and “none were permitted to be neuter” (2.588, 599). Just as social rank and individuality collapse, so too does the distinction between the noteworthy suffering of the eponymous protagonist and the suffering of other characters. For instance, the sorrow of a father in the lifeboat, who loses his “mild / And patient” son, commands the narrator’s sustained attention (2.699-700, 697-720). The boy smiles, “now and then,” “As if to win a part from off the weight / He saw increasing on his father’s heart,” and the father shows equal consideration, scrutinizing the boy’s face to discern what he can do to solace him (2.701-03, 705-12). Readers not only experience the father’s grief, but see much in the tender relationship of father and son that they could well wish to emulate or share. Juan is not the only character whose interiority the narrator explores, or whom he sets up as a potential model.

    A few contemporary reviewers seized on this point. The Literary Gazette quoted approvingly from Byron’s “highly wrought picture” of the “general distress” of the shipwreck and his evocation of drowning, “A solitary shriek, a bubbling cry / Of some strong swimmer in his agony” (LG 471; RR 1410). “Two hundred are lost in the ship, but their fate is nothing in comparison with that of one strong swimmer out-living all the rest . . . Thus does . . . [a] single [sufferer] excite a far stronger emotion than a cart-load of declamations on . . . misery” (LG 471; RR 1410). Byron employs a successful strategy for representing the suffering of hundreds of unremarkable people by entering for the moment into the feelings of one such person. Don Juan confers centrality on minor characters–and hence on whole classes–in a way that Byron’s previous poetry only achieved for its heroic protagonists.

    John Murray, Byron’s publisher and chief bookseller, became increasingly reluctant to publish the radical and controversial Don Juan. Pirated editions began to circulate almost immediately on the first cantos’ publication in Britain. When Murray balked entirely in 1823, Byron began to publish instalments of Don Juan with John Hunt’s press. The price of Don Juan dropped immensely, opening the poem to a new readership.

    Conservative critics observed this change in market as a falling-off: Byron’s “works, banished from the polite sanctum of Albemarle-street [John Murray’s address], are gibetted in effigy in every twopenny book-stall” (BC 662; RR 340). The Literary Museum, too, condemned Byron’s new market, referring to his buyers as “the lowest and vulgarest classes,” to whom “he has very judiciously accommodated the price of his poetry . . . If every one cannot contrive to muster a shilling, at least two or three can club their pence, and so compass the purchase of a copy of Don Juan.” The reviewer claims that Byron’s conduct verges on the “ig-noble,” and “argues something like a consciousness in his mind, that his verses are . . . mere twelve-penny trash” (LM 769; RR 1512). Others, however, saw it as a transition to an equally valid model of literature in the marketplace. In August, 1821, the Literary Chronicle showed great insight into Byron’s new market posture:

    The mysterious announcement . . . the want of a publisher’s name to the work, and the stanzas of asterisks, which were supposed to have marked the curtailments, all tended to . . . excite an unusual degree of curiosity respecting the poem. It was universally read, much admired, often abused . . . abjured by married men, and read in secret by their wives throughout the whole kingdom. The price at which it was first published was some restraint on public curiosity, but . . . pirated editions gratified most abundantly the avidity of the reading world. (LC 495; RR 1297)

    Byron’s publishing strategy appears totally successful; according to the Literary Chronicle two years later, “we should not be surprised to learn that the fourpenny cantos have been the most lucrative, since small gain fills a heavy purse” (LC 769; RR 1349).

    As Byron was permitting new demographics to hold the centre of attention in his verse, and according their suffering the same value as the aristocratic hero’s, so his readership was expanding to people who previously were unable to purchase his works. The production values of a book become a part of the rhetoric of its text. Because Byron had deliberately decided to release his later cantos at a lower cost, poorer book-buyers had the feeling that the Noble Poet had been writing with them in mind, producing a text he intended them to be able to purchase. They may well have felt confirmed in their belief as they saw minor and working-class characters being given the narrator’s full attention–an attention that hitherto had been largely confined to aristocrats. The move away from a single, tormented Byronic hero in fact gave Byron an even greater share of the marketplace of readers’ desires.

    “If there is a Byronic Hero in the poem, he (or increasingly, she) is distributed amongst other characters” (Dennis para 6, italics mine). Caroline Franklin notes the increasing heroism and agency of Byron’s female characters. Although at first “the extreme polarization of sexual roles” in Byron’s poetry was remarkable even to “his contemporaries,” the female characters became “more and more resourceful and independent” throughout the Oriental Tales which he wrote before embarking on Don Juan (286-288). The heroines of these tales often do display great courage and decisiveness; for instance, the heroine Leila of The Giaour prosecutes an affair with a foreign man, even in the knowledge that it is likely to cost her her life. Gulnare, the formidable woman who abandons her husband and liberates the captive Conrad in The Corsair, also shows a great spirit of daring. However, these daring women act only when inspired by love for their men–to whom they are utterly submissive. John Thelwall, the radical reformer and poet, wrote with disgust in the Champion of Byron’s early female characters–yet warmed to the women in Don Juan. He acknowledges Byron’s increased ability to create female characters of “interest” and notes that “we become familiar with them at once–we see them realised before us” (Thelwall 488; RR 540). In other words, female characters in Don Juan have interiority–and this, in Byron’s poetry, means the capacity to suffer acutely, to endure a suffering so extraordinary that it puts them in the centre of our attention, at least for a moment.

    Leila, a war orphan whom Juan saves from the Cossacks in Ismail, differs the most from the previous Byronic heroines. She incorporates the most aspects of the traditional Byronic hero, and her marginal position in the text is crucial to understanding Byron’s changing rhetoric of heroic victimhood. Juan’s dealings with Julia and with Leila show the development of his character. He is quite passive in his precocious affair with the married Julia; he recognizes his desire for her at Julia’s prompting and is then more than happy to act on it. When their affair is discovered, the unresisting Juan allows himself to be hustled away all too easily from his inamorata and on to his Grand Tour. However, he shows a great deal more independence and tenacity in his dealings with Leila. Juan first encounters Leila during the Siege of Ismail, where he demonstrates great independence and resolution in saving Leila from two Cossacks’ bloodlust.

    Despite Juan’s courage in battle, Leila displays more of the characteristics of the traditional Byronic hero than he does. She is certainly unlike the heroines of the Oriental Tales. Leila may be as “docile” and beautiful as “a pure and living pearl,” but her docility is not a heroine’s submission to her lover (10.409, 408, 425). Unlike the Leila of The Giaour, this Leila does not consent to forsake her community or her faith for anyone–even Juan. She and Juan have no romantic or “sensual” feelings for each other, and Byron is at pains to emphasize how unprecedented Juan and Leila’s relationship is: “I cannot tell exactly what it was,” the narrator confides, rejecting the ideas of an amorous, parental, or sibling-like relationship between the two (10.425, 419). Nor is Leila prepared to renounce her chance of Heaven for Juan. He is “the only Christian she could bear”–but even for Juan’s sake Leila will not convert (10.449, 440). Byron emphasizes Leila’s adamant retention of Islam. He rephrases this information three times: “The little Turk refused to be converted,” “She showed a great dislike to holy water,” “She also had no passion for confession” (10.440, 444, 445). Leila’s defence of her faith suggests the importance that she herself attaches to retaining her own beliefs; not even “three bishops” are enough to convert her (10.443). In her passionate entrenchment in her beliefs, despite the blandishments of established religion, Leila actually resembles an earlier Byronic hero–Manfred, who refuses to be persuaded into Hell or Heaven, by demons or clergymen.

    Leila shares the traditional Byronic hero’s sense of loss and alienation, and tenacity in adhering to her isolation. Leila’s violently aversive introduction to nominal Christians leaves her feeling profoundly different in perpetuity from the Christians around her. She has the alterity of the Byronic hero. Yet her deracination differs from that of Byron’s previous heroes in that she has had no choice in the matter. Her lonely state is not willed. Byron draws attention to Leila’s isolation and terrible suffering during the Siege of Ismail. The narrator remarks on how remarkable and “strange” it is that she should “retain the impression” of her former life “thro’ such a scene of change and dread and slaughter” (10.441-442). The scar on Leila’s face is her “last link with all she had held dear” (8.758). It acts as a permanent reminder of her lost mother and ravaged homeland, and differentiates Leila from earlier, physically unblemished heroines. Leila differs both from other heroines and from other heroes; she is a different kettle of fish from Harold, who flees Albion virtually on a whim, because “with pleasure drugg’d, he almost longed for woe / And e’en for change of scene would seek the shades below” (CHP 1.53-54).

    In Britain, Leila embodies the nil admirari aspect of Byronism. Leila “saw all Western things with small surprise, / To the surprise of people of condition” (12.211-12). Her coolness in the face of “novelties” generates the glamour of “mystery” around her (12.213, 216). Although Leila’s mystery is merely “fashionable,” it works by the same means as the grand “romantic history” of earlier heroes (12.216, 215). Leila continues in a faith that Byron presents as outside the Judaeo-Christian tradition of sacrifice. Her refusal of Christian notions of centrality makes her the cynosure of all eyes–in a society she despises more genuinely than does any previous Byronic hero.

    Leila provides Byron with a tool for demoting the figure of the Byronic hero. It is not simply that the hero is forced into the guise of a person of much lower social status–a female, a foreigner, a Muslim, and a child. After all, Don Juan contests such social conventions. The true demotion is not that the soul of the Byronic hero is forced into the body of a twelve-year-old girl, but that a heroic character can be relegated to the sidelines. Previous Byronic heroes are main protagonists: works like Childe Harold’s Pilgrimage, The Giaour, The Corsair, Lara, Manfred all feature the hero in their very titles. However, embodying the essential characteristics of the Byronic hero no longer has enough purchase to guarantee Leila a poem of her own. In Don Juan, even the most heroic of characters is necessarily often marginal, because no one character monopolizes the centre. The heroic Leila’s marginality is manifested in her mutism.

    Juan’s abandoned mistress Julia commands the centre when she speaks in her own voice through her letter; Leila, however, never expresses herself through direct speech. Distractingly funny rhymes underline the absence of Leila’s own words. Leila herself would probably not frivolously rhyme “prophet” with “of it” (“Whate’er the cause, the church made little of it–/ She still held out that Mahomet was a prophet”) (10.447-48). Leila, in fact, is present in a supporting role to Juan. Juan has hitherto been passive, and, except in situations of total emergency, ultimately compliant. Yet in the Siege of Ismail, he makes a decision (to save Leila) that he will look back on with pride: “he loved the infant orphan he had saved, / As patriots (now and then) may love a nation; / His pride too felt that she was not enslaved” through his agency (9.257-58, 10.434-38). This is almost the first time that Juan has shown himself “immoveable,” and the first time that he has been able to give substantial help to another human being (8.810).

    Working-class men, Christian and Muslim women, and adolescents are all newly enabled to command the centre in their suffering–at least momentarily, as Don Juan voices their travails as they endure or exit their lives. Don Juan finds aspects of minor characters that provoke our desire to be like them–to have their emotional warmth or cool courage or sincere eloquence. Minor characters who are enabled to display the workings of their minds and souls, and model desirable qualities, take on the centrality of previous Byronic heroes, but only for an instant. In the previous theatre of Byron’s poesis, the spotlight rested solely on the hero, incidentally illuminating others as they crossed his path. In Don Juan, the light frequently strays from the protagonist, and lights on characters we might have taken for members of the audience, who paid their sixpence for a ticket and sat down–to be illuminated in their stations on the sidelines, and offered the chance to model some desirable attribute, to show a glimmer of nobility or wit.

    Does the Byronic hero exist intact anywhere in Don Juan? The narrator himself is the most promising avatar of the Byronic hero. His astute observation, profound compassion, and lively wit all make him a strong model for mimesis. The narrator preserves the Byronic hero intact in the sense that he retains the same position in the mimetic triangle–the hyper-successful model whose strategies other copy. But the Byronic hero does undergo an important evolution to become Don Juan‘s narrator.

    Byron was never solely wedded to one narrative mode. The Giaour employs a variety of narrators to tell its story, Manfred is a drama without a narrator, and Childe Harold’s Pilgrimage has three narrative modes. In the first two Cantos, an omniscient third-person narrator describes Harold’s journey. In the third, Byron writes in the first person before giving himself a figurative shake and returning to his protagonist, with “Something too much of this: – but now ’tis past / . . . Long absent Harold re-appears at last” (CHP 3.64-66). In Byron’s dedication of the fourth Canto, he writes that “there will be found less of the pilgrim than in any of the preceding, and that slightly, if at all, separated from the author speaking in his own person” (509). He declares that he was simply “weary” of delineating a distinction between author and hero “which every one seemed determined not to perceive” (509). In Childe Harold’s Pilgrimage III, the narrator is closest to the author’s own persona and to the first of the Byronic heroes. This narrator insists on a self that is immutable and which the events of his life, however tumultuous and wounding, cannot fundamentally alter: “. . . there is that within me that shall tire / Torture and time, and breathe when I expire” (CHP 4.1228-29). Don Juan‘s narrator embraces the changes that time has wrought in him; he is more pleased than not to be at a remove from his youthful follies, and he is more concerned with putting his past experience to use than with preserving himself untarnished. The narrator of Don Juan has also discovered the potency of laughter.

    In the Oriental Tales, “there was in” the hero “a vital scorn of all / As if the worst had fall’n which could befall” (Lara 1.313-14). In the “the perils he by chance escaped, . . . his mind would half exult and half regret” (1.318, 320). It is as though his disillusionment with the worst that could befall takes the form of regret, for the Byronic hero’s capacity to suffer is in fact much greater than the world’s ability to torture him. Once he realizes this, the Byronic hero turns his unused capacity to laughter. For Don Juan‘s narrator, suffering and humour work as closely together as the two halves of his beating heart: “And if I laugh at any mortal thing, / ‘Tis that I may not weep” (4.25-26).

    The narrator models for us a sense of gravity and compassion for every sentient creature–yet is always ready to turn and laugh, at himself especially. After a mournful couplet on the necessity of forgetfulness to endure this world–“Thetis baptized her mortal son in Styx; / A mortal mother would on Lethe fix”–the narrator turns with disconcerting celerity to laugh at both his detractors and himself (4.31-32).

    Some have accused me of a strange design
    Against the creed and morals of the land,
    And trace it in this poem every line:
    I don’t pretend that I quite understand
    My own meaning when I would be very fine,
    But the fact is that I have nothing plann’d,
    Unless to be a moment merry,
    A novel word in my vocabulary. (4.33-40)

    The narrator’s putative attack on the creed and morals of the land lies partly in his compassionate attention to the people excluded from centrality in the politics of the Regency: non-Christians, the working class, and women. The anxiety that Don Juan provoked in Byron’s ultra-conservative accusers is partly to do with the epic’s liberal politics, and partly to do with the narrator’s merriment. At the moment when the Weltschmerz of the Byronic heroes had seemingly done all it could in the literary marketplace, the dangerous poet had found a new way to captivate readers. In fact, the narrator’s merriment seems a much more desirable commodity than the anguish of the earlier Byronic heroes. Don Juan‘s narrator offers readers a deeply desirable model which they do not have to pay for through untold suffering. The narrator’s refusal to take himself too seriously, which so puzzled Hazlitt, models an accompanying insouciance about the previously central self.

    The narrator’s laughter puts him in a commanding position. From the outset of Don Juan, amusement is clearly linked to an extensive knowledge of the world. The narrator has amassed enough experience to pronounce authoritatively on manners and mannerisms:

    When people say, ‘I’ve told you fifty times,’
    They mean to scold, and very often do;
    When poets say, ‘I’ve written fifty rhymes,’
    They make you dread that they’ll recite them too. (1.857-860)

    Very early in Juan’s career, the narrator swiftly divines Juan’s secret when he is falling in love with Julia. The narrator arrives at a true “idea” of “his case” sooner than Juan himself does (1.681-88). The narrator’s ejaculation–“poor little fellow!”–is sympathetic, lightly mocking, and utterly worldly. The knowing, laughing narrator is a much more desirable model to follow than Juan, whose immaturity and lack of self-knowledge makes him into a comic figure. Yet the narrator himself confesses to episodes of youthful folly. “. . . in a fit /Of wrath and rhyme, when juvenile and curly, / I railed at Scots to shew my wrath and wit,” admits the narrator–then points out that his railings were more “sensitive and surly” than memorable. If we read Don Juan attentively enough, our mimicry of the mature narrator can help to prevent us seeming quite as callow as Juan. The narrator’s pose of amusement demands a certain self-mastery, an overcoming of the desire to weep; by imitating and attaining the poise that the narrator has achieved, we bypass his earlier incarnations–casting the dark, brooding Byronic hero into the shadow as we bask in Don Juan‘s wit.

    The experience of the world which the narrator has accrued in his earlier incarnation as the solitary exile, locked in struggle with cosmic forces, underlies the narrator’s voice. The lessons that Byron learned as a poet of heroic suffering included how to dominate the marketplace. And, in Don Juan, he puts that knowledge to use again. Residues of the sacred are part of the commodity of the Byronic mock-epic. In Childe Harold’s Pilgrimage, “the castled crag of Drachenfels” evokes potent emotion, stimulating character and narrator to meditate on love, on history, and on nature (CHP3.496). In Don Juan, we pass Drachenfels again, and although the narrator acknowledges the scene’s power to “make [his] soul pass the equinoctial line,” this time Drachenfels “frowns . . . like a spectre . . . On which I have not time just now to lecture” (10.486, 490-492). For the narrator, his present success as a comic poet is rooted in his previous incarnations as the successful model for a generation of readers, whose souls he could harrow even by lecturing on the iniquities of the Middle Ages.

    The behaviour not only of individuals, but of whole classes, sparks the narrator’s amusement. He mordantly observes “the life of a young noble” through to its interment: “And having voted, dined, drank, gamed, and whored, / The family vault receives another lord” (11.593-600). Again, readers realize that the narrator was once perhaps very similar to the young noblemen he pillories, as the next stanza sweeps into a great lament for the lost world of Regency London where he once thrived. “Where is the world of eight years past?” the narrator cries, before answering himself, “’tis gone, a Globe of Glass! . . . A silent change dissolves the glittering mass. / Statesmen, chiefs, orators, queens, patriots, kings, / And dandies all are gone on the wind’s wings” (11.603-08). Don Juan‘s lament modulates into a political critique:

    . . . I have seen
    The House of Commons turned to a tax-trap . . .
    I have seen a Congress doing all that’s mean –
    . . . .
    I have seen the Funds at war with house and land–
    I’ve seen the Country Gentlemen turn squeakers–
    I’ve seen the people ridden o’er like sand
    By slaves on horseback–I have seen malt liquors
    Exchanged for ‘thin potations’ by John Bull–
    I have seen John half detect himself a fool. (11.665-80)

    The narrator’s political credibility is ensured by his humour. Readers know that the narrator is more than capable of detecting–and exposing–foolishness in himself, as well as humorously revealing it in others.

    As earlier reviews show us, readers during the Regency identified the Byronic hero with Byron himself. In 1966, W.H. Auden suggested that Don Juan represented Byron himself–but the urbane, witty Byron whom we know through his letters (vii-viii, x). Regardless of biographical interpretations, these readings of Byron’s oeuvre confirm the idea that the hero has become the narrator. The hero gains in authority from the transition. The narrator of Don Juan presents himself as an almost inconsequential figure, with no control over the poem’s events. “What I say is neither here nor there,” he announces in the very first Canto (1.402). In Childe Harold’s Pilgrimage III, the narrator dwells on a failure of communication throughout the Byronic oeuvre; despite his extensive popularity and reputation, he insists, he “live[s] and die[s] unheard, / With a most voiceless thought, sheathing it as a sword” (3.912-913). The “lightning” of this one word is too potent for him to communicate–and so Byron takes a step backward, apparently into a state of tranquility, resigning as pilot of the ship and writing simply as an intelligent passenger. Just as the earlier Byronic hero acquired the lion’s share of attention by claiming to disregard popularity, so Don Juan‘s narrator achieves great authority by apparently relinquishing the desire to exert control over his writing. The sheathing of his sword ceases to be a gesture of despair and failure, but a productive gesture, laying down the weapons of combat.

    The self-command that enables him to elect laughter over weeping, too, assures readers that the narrator is not given to tempests of feeling on slight pretexts. Where the Byronic hero was passionately at odds with his society, Don Juan‘s narrator is in a position to alter the way his readers perceive their society. The narrator demystifies the ruling classes and received political opinion through measured mockery. Don Juan allows a representative sampling of humanity to occupy the centre of our attention, as souls whose sufferings are meaningful. The succession of characters who momentarily become central destabilizes the notion of a centre from which acute suffering–like the traditional Byronic hero’s–can speak. Don Juan‘s narrator shows that, in order to retain the desirable/desired position in the mimetic triangle, suffering is not enough–mastery over suffering, which in the narrator’s case manifests itself as humour, is what gives the narrative an even more lasting and transformative power in the literary marketplace.

    Works Cited

    Reviews of Don Juan, by George Gordon, Lord Byron

    • British Critic (2nd series, XII) Aug. 1819: 195-205. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 1. Ed. Donald H. Reiman. New York: Garland, 1972. 296-301.
    • British Critic (2nd series, XX) Dec. 1823: 662-668. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 1. Ed. Donald H. Reiman. New York: Garland, 1972. 340-343.
    • Edinburgh Monthly Review (II) Oct. 1819: 468-486. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 2. Ed. Donald H. Reiman. New York: Garland, 1972. 791-801.
    • Literary Chronicle and Weekly Review 11 Aug. 1821: 495-497; 18 Aug. 1821: 514-516. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 3. Ed. Donald H. Reiman. New York: Garland, 1972. 1297-1302.
    • Literary Chronicle and Weekly Review 19 Jul. 1823: 451-453. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 3. Ed. Donald H. Reiman. New York: Garland, 1972. 1340-1342.
    • Literary Chronicle and Weekly Review 6 Dec. 1823: 769-771. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 3. Ed. Donald H. Reiman. New York: Garland, 1972. 1349-1351.
    • Literary Gazette 17 Jul. 1819: 449-451; 24 Jul. 1819: 470-473. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 4. Ed. Donald H. Reiman. New York: Garland, 1972. 1408-1412.
    • Literary Museum and Register of the Belles-Lettres: 6 Sep. 1823: 564-565. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 4. Ed. Donald H. Reiman. New York: Garland, 1972. 1510-1511.
    • Literary Museum and Register of the Belles-Lettres: 6 Dec. 1823: 769-770. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 4. Ed. Donald H. Reiman. New York: Garland, 1972. 1512-1513.
    • Hunt, John. British Critic (2nd Series XX) Aug. 1823; 178-188. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 1. Ed. Donald H. Reiman. New York: Garland, 1972. 331-336.
    • Thelwall, John. Champion 25 Jul. 1819: 472-473; 1 Aug. 1819: 488-490. The Romantics Reviewed: Contemporary Reviews of British Romantic Writers. Part B Vol. 1. Ed. Donald H. Reiman. New York: Garland, 1972. 538-542.

    Auden, W.H. “Introduction.” The Selected Poetry and Prose of Byron. Ed. W.H. Auden. Toronto: Signet Classics, The New American Library of Canada Ltd., 1966. vii-xxiv.

    Byron, George Gordon. Childe Harold’s Pilgrimage. 1812-1818. Lord Byron: Selected Poems. Eds Susan J. Wolfson and Peter Manning. London, U.K.: Penguin Classics, 2005. 56-152, 415-455, 508-569.

    —–. Don Juan. 1819-1824. The Complete Poetical Works. Ed. Jerome J. McGann. Vol. 5. Oxford: Clarendon Press; New York: Oxford University Press, 1986.

    —–. Lara. 1814. Lord Byron: Selected Poems. Eds Susan J. Wolfson and Peter Manning. London, U.K.: Penguin Classics, 2005. 316-354.

    —–. Manfred. 1817. Lord Byron: Selected Poems. Eds Susan J. Wolfson and Peter Manning. London, U.K.: Penguin Classics, 2005. 463-506.

    —–. Byron’s Letters and Journals. Ed. Leslie Marchand. Vol. 10: ‘A Heart for Every Fate. London: John Murray, 1980.

    Dennis, Ian. “Byronic Irony in Don Juan.Anthropoetics 13.2 (GATE 2007 issue): 1-16.

    Dyer, Gary. “Thieves, Boxers, Sodomites, Poets: Being Flash to Byron’s Don Juan.” PMLA 116.3 (2001): 562-578.

    Franklin, Caroline. “’At Once Above–Beneath Her Sex:’ The Heroine in Regency Verse Romance.” Modern Language Review 84.2 (1989): 273-288.

    Gans, Eric. Signs of Paradox: Irony, Resentment, and Other Mimetic Structures. Stanford, California: Stanford University Press, 1997.

    —–. “The Victim as Subject: the Esthetico-Ethical System of Rousseau’s Rêveries.” Studies in Romanticism 21 (Spring 1982): 3-31.

    Hazlitt, William. The Spirit of the Age. In The Complete Works of William Hazlitt. Vol. 11. Eds P.P. Howe and A.R. Waller. Toronto: Dent, 1930-1934. 1-183.

  • To Count or Not to Count: The Debate on Ethnic and Diversity Statistics in France Today

    The purpose of this talk is less to provide an answer or a solution aimed at asserting the extent of discrimination in France than to offer an analysis of the process of ethnicization which can be witnessed today. Three points will be tackled: the conjuncture, the political market of ethnicization, and the institutional market that is linked to it.

    The Conjuncture

    The present conjuncture, marked by the election of Nicolas Sarkozy as French president on 6 May 2007, is characterized by the rise of the ideas of race, ethnicity and the biologization of social relations. Several examples bear witness to this trend: the creation of a Ministry of National Identity, Immigration and Co-development; the proposed use of DNA tests to prove biological links when immigrants apply for family regrouping, the only form of legal immigration, the aborted creation of the Institute for Research on Immigration and Integration chaired by Hélène Carrère d’Encausse, a member of the French Academy who will be infamously remembered for her openly racist declarations during the suburban riots of November 2005; and the attempted introduction of ethnic statistics, which was temporarily suspended by the Constitutional Council in November 2007 but is now once again gathering momentum with the advent of the  Sabeg–Héran Commission (COMEDD), the focus of our attention here (Y. Sabeg is Government Commissioner for Diversity and Equal Opportunity, François Héran is Director of the INED, National Institute for Demographic Studies).

    All these examples show that we are witnessing what Michel Foucault called an extension of biopolitics and a surveillance policy in France. The paradox, however, is that the two components of this policy (biopower and surveillance), which are a reminder of the presence of National Front leader Jean-Marie Le Pen’s ideas within government and therefore come under Foucauldian criticism, are also somewhat reinforced by the concomitant rise of postcolonial ideas, these ideas being themselves a product of “French Theory,” namely the Heideggerian deconstructive Left.

    It was indeed the deconstruction of the great narratives inherited from the Enlightenment, the Republican narratives, and the narratives of class struggle which allowed for the development–on the Left or in part of the Left–of a postmodern and postcolonial narrative focused on the recognition, in a multicultural context, of ethnicity, race, visible minorities, in a word, of the “fragment”(1).

    It therefore becomes apparent that beyond the recognition of difference(s)–or diversité (diversity) as we say in France–the notions of culture, ethnicity, and multiculturalism have, through a sort of boomerang effect, resulted in strengthening the dominant “White” catholic national identity, that of Français de souche (people of French stock) as they say in the National Front, or souchiens, the term preferred by the “Indigènes de la République.”

    In fact, we have witnessed the convergence of the ideas of race, ethnicity, and biopolitics between the Right (especially the hardcore Right, represented by Brice Hortefeux) and the multicultural and postcolonial Left, both of which–for opposite reasons–were led to proclaim the principle of race as a structuring element of French society.

    This growing emphasis on the principle of race makes the antiracist battle, which was itself criticized by Pierre-André Taguieff at the beginning of the 1990s in the name of anti-antiracism, extremely hard to fight. The Left has indeed broken ranks in the face of the presence of members of “visible minorities” in the French government (Rachida Dati, former minister of Justice, Fadela Amara, secretary of state for urban affairs, Rama Yade, former secretary of state for human rights), a presence matched with a frenzied defense of French identity(2). The constant repetition of concepts such as French identity, the positive role of colonization, the legitimacy of pied-noir memory or controlled immigration goes well with the promotion of identities of color and race, at least for those who managed to slip through the net, are well integrated, and brightly display the theme of “glitter” identity (diversité “paillettes”).

    While a front was able to form against the creation of the Institute for Research on Immigration and Integration. for example, the foundations of this new institution started to crumble as soon as the possible introduction of ethnic statistics was mentioned. This soon highlighted a split in the political spectrum. On one side, the Republicans in the French sense of the term (SOS-Racisme, the Movement against Racism and for Friendship between Peoples [MRAP], the International League against Racism and Anti-Semitism [LICRA], and the Human Rights League [LDH]) advocate Republican action against acts of discrimination. They consider that the battle that needs to be fought first is that against racism and those who discriminate–a fight that does not directly involve those who are discriminated against. That is why they oppose the use of ethnic statistics and propose “testing” as an alternative method of detecting racism. This method consists, for example, of sending out members of visible minorities to nightclubs to see if they are refused entry. However, as it is based on the definition of “visible minorities,” this scheme has come under criticism from the advocates of ethnic statistics, who do not see the difference between the Republicans’ stance and what they themselves propose.(3) It is worth noting that some of those who oppose ethnic statistics are or have been members of organizations fighting for the recognition of “visible minorities” (the Representative Council of Black Associations [CRAN], supported by NAACP and the American Embassy in France, for example).

    At the other end of the spectrum, the multicultural and postcolonial Left and Far Left are advocating the introduction of “diversity statistics,” which they see as the only means of combating discrimination. They also argue that the recognition of ethnic groups and races is essential to explain the suburban riots of November 2005. Some members of the multicultural Left have, for instance, helped the government to introduce “diversity” in higher education and as a consequence, have joined the Sabeg–Heran Commission. It must be noted that French Socialist MPs have rallied to this position and are now advocating the introduction of ethnic statistics.(4) There are, however, dissident voices within the party, including Malek Boutih, the party’s national secretary in charge of social issues. The New Anticapitalist Party (NPA), leaded by Olivier Besancenot, has also declared itself in favor of “positive discrimination”/affirmative action.

    The government itself and the Right are also divided over the issue of ethnic statistics : Yazid Sabeg is naturally in favor, but other people like Fadela Amara, Alain Juppé, and Henri Guaino are against, and Jean-François Copé is “reluctant.” The positions of Louis Schweitzer, president of the HALDE (High Authority of Struggle against Discriminations) and Patrick Weil, an influent expert on immigration matters are unclear. In fact, the situation changes everyday, but Patrick Gaubert, who was appointed by Sarkozy to head the High Council on Integration (HCI) and is the president of LICRA, has recently created his own commission to oppose ethnic statistics.

    Should we conclude that race and ethnicity are now at the forefront of the political struggle and that these principles have torn apart the Right/Left divide? Yes and no.

    Yes, because one can ask whether the “racial” argument has not become a diversion, a camouflage that allows the evacuation of social concerns and provides a cheap qualitative response to costly quantitative needs (purchasing power). For example, without changing the headcount, it doesn’t cost any more to increase the number of black or beur police officers(5). The struggle for the recognition of ethnicity and race is, without doubt, one of the major issues of our time, at least in France. It is at the root of Sarkozy’s “open-door” policy, as it enables him to transcend and literally blow up the Right/Left divide, which nevertheless reappears from time to time, as was the case during the municipal elections of 2008.

    No, because it can be argued that race and ethnicity are markers that allow for all possible political positionings. It is highly likely that some politicians in the presidential majority care precious little about ethnic statistics and that opposing this measure is just a way of marking their distance from Sarkozy. In fact, the president himself and his entourage do not have a clear stance on this issue. Are we then talking about divergent ideas or simply alternative strategies (several irons in the fire) aimed at a political market?

    The Political Market and Ethnicization

    Is there a market for ethnicity, particularism, the “fragment” in France today? Isn’t all this about fragmenting the nation or acknowledging its fragmentation, making it exist in a performative mode or as a self-fulfilling prophecy? Indeed, the problem facing leaders today is the multiplication of contradictory identity claims in an era of globalization and diasporas (the right for Israel to exist, the right for Palestinians to have a state, the right for Turkey to join the European Union, the right for Armenians to have “their” genocide recognized, etc.).

    Fragmentation itself, the belief in fragmentation or the staging of fragmentation make it possible to ride the expectations of French society by appealing to the aspirations of the different constituencies that compose it or into which it is divided–White, Catholic, Jewish, Black, North African, second-generation immigrant, repatriated pieds-noirs, etc.

    To divide and rule over voters and thus operate a new division of society in order to make it a malleable political body is thus the primary function of the debate over ethnic statistics. Consequently, one must not have the wrong debate nor fight the wrong battle. The issue is not so much to argue over the relevance of ethnic statistics to measure discrimination–whatever the definition of discrimination may be–as to discuss the place this debate occupies on the French political scene, including on the Left and Far Left. Isn’t this debate, across the whole political spectrum, all about a positioning strategy? Isn’t it a political offer, formulated in terms of diversity, that can be labeled “glitter,” and that is based less on “multicultural” or “republican” beliefs than on the desire to occupy and dominate political space, including within one’s own camp?

    From this point of view, notions like “ethnic statistics,” “diversity,” or discrimination are more slogans, stakes, or markers aimed at the political conversation than the focus of an in-depth debate.

    The Institutional Market of Ethnicization

    A similar reasoning can probably be applied to research institutes (National Institute of Demographic Studies [INED], National Institute for Statistics and Economic Studies [INSEE], etc.) and polling organizations, for which the issues of ethnic statistics, measuring diversity, and discrimination represent high financial stakes. In France this type of survey now constitutes a very promising financial and institutional market for these institutes, which are on the cusp between research and the direct operation of the state apparatus (this is, mutatis mutandis, the equivalent of “ethnic marketing” in the corporate world). This is not to say that institutions like the National Center for Scientific Research (CNRS), the School for Advanced Studies in Social Sciences (EHESS) and to some extent the Institute of Research for Development (IRD), are totally detached from the state, but they are less directly operational, whatever researchers belonging to institutions engaged in the “ethnicity hunt” might say. Again, in statistics or demographic organizations like the INSEE or the INED, the practice of “ethnic” surveys can go hand in hand with a positioning on the Left or the Far Left, because these surveys are carried out in the name of the fight against discrimination and particular pockets of handicap, and therefore against the republican universalism that is accused of covering differences with a “veil of ignorance” (Rawls). As a result, the focus has shifted from the social question to the racial or ethnic question in the name of the recognition of diversity and discrimination, the latter explaining for example the riots of November 2005(6).

    In this perspective, the fact that race(s) would take over from social class(es) means that the ethnicization of social relations would become an objective characteristic of these very social relations. The Marxist and/or Republican Left, incapable of accounting for these new racial social relations, have allegedly paved the way for postcolonial stances. In the perspective offered here, by contrast, the ethnicization of social relations is the result of a boomerang effect operated by some social players on the basis of colonial categories such as “Black,” “Black African,” “negro,” or “negritude” in particular and of the performative recording by the state apparatus of ethnic statistics and the subsequent creation of vertical cuts in society. In the present discussion, the question has shifted from ethnic statistics to that of ressenti (inner feeling).(7) What exactly is recorded when one claims to pay attention to the “inner feelings” of respondents–the ultimate weapon of the defenders of “measuring diversity”? The recent and particularly vague term ressenti has been borrowed from industrial psychology and meteorology. It refers to ethnic and racial representations, categories, and stereotypes that are in the spirit of the times and possess a collective, autonomous existence that is independent of the will of the people concerned. It is these stereotypes that social players themselves reappropriate individually.(8) Measuring diversity is not only about recording it; it is also about making it happen, creating it.(9) Identifying the people that are discriminated against is creating identities. Indeed, every term that is used (Black, Jewish, North African, Gypsy, etc.) has a history: each term appeared at a particular time under particular circumstances and was replaced by another term in other circumstances. Each term is the result of a struggle between those who name, assign an identity and those who are labeled, find themselves confined in some identity or refuse to be.

    To conclude, it seems that one cannot a priori define the identity of an individual on the basis of their mono- or even multi-identity, and that the chosen identity (ressenti) is not the result of free determination but of the appropriation of pre-existing categories, which carry an entire history and a whole string of prejudices.

    It would appear that the question of ethnic statistics or the measuring of diversity relates as much to language philosophy (Austin) or conversational analysis (Gumperz) as it does to demography, sociology or anthropology.

    Translated from the French by Raphaël Jacquet

    Notes

    1.  The theme of the “fragment” was developed particularly by M. Hardt, T. Negri & N. Guilhot, Multitude, War and Democracy in the Age of Empire, New York, The Penguin Press, 2004. See also G. Spivak’s notion of “strategic essentialism.” For a more general discussion on this topic, see Jean-Loup Amselle, L’Occident décroché, enquête sur les postcolonialismes, Paris, Stock, 2008. (back)

    2.  For example, after his party’s defeat in the municipal elections of March 2008, Nicolas Sarkozy visited Toulon accompanied by Brice Hortefeux after having kept away from him in the public eye for a long time. (back)

    3.  On another note, surveys based on surnames are equally questionable: a French Jew of North African origin may share the same surname with a Muslim from a North African country. (back)

    4.  Le Monde, 20 February 2009. (back)

    5.  My contention here concurs with Walter Benn Michaels’ ideas in his book The Trouble with Diversity, How We Learned to Love Identity and Ignore Inequality, New York, Metropolitan Books, 2006.(back)

    6.  Didier and Eric Fassin (eds), De la question sociale à la question raciale, La Découverte, 2006 ; Robert Castel, La discrimination négative, Le Seuil, 2007, Pap N’Diaye, La condition noire, Calmann-Lévy, 2008 (back)

    7.  See François Héran’s interview in Le Monde, 5 March 2009. (back)

    8.  This reappropriation pattern could be described as follows. First, it starts with the existence of “stigmas” which can be colonial (but not only), racist (the stereotypes concerning Jews and Gypsies have no colonial origin) or, more generally, stem from a stake between those who assign and those who are assigned. The second phase is that of the ressenti which is the result of the reversal of these stigmas and of their reappropriation by individuals. Finally, the third phase is the creation of a system of reference or “color chart” used for the elaboration of questionnaires and ethnic statistics.(back)

    9.  Contrary to Patrick Simon’s assertions in Le Monde of 3 April 2009. (back)

  • Three Gaps of Representation / Three Meanings of Transcendence

    In this essay, I would like to explore the idea of the multifaceted nature of transcendence that underlies symbolic representation in the form of language. It is commonly agreed that by creating a distinction between a sign and a referent, representation injects a discontinuity into our thinking. It introduces a gap between what is immediately present and what is possible, between an object and its imaginary recreation. It gives birth, in other words, to transcendence. What I would like to show, however, is that the nature of this transcendence is complex. It consists of three different types of transcendence that belong to three distinct cognitive domains that are unique to man and manifest three evolutionary milestones that have contributed to the emergence of the symbolic human species. Moreover, these three types of transcendence do not exist side by side, but inform and interpenetrate each other in intricate and abyssal ways, contributing to the paradoxical character of the linguistic sign and underlying some familiar inconsistencies and contradictions of our consciousness that, borrowing Gregory Bateson’s term, I would like to refer to as the double-bind of freedom. Tracing the configurations and interplay of these three discontinuities will add to our originary understanding of the sacrificial nature of representation.

    The first two of these gaps and their interrelation are succinctly elucidated in The Metaphysical Foundations of Logic by Martin Heidegger, who shows how they refer to two different ways of “going beyond” that are often confused or conflated. In other words, they manifest two distinct meanings of the term “transcendence.” One of them is the transcendence that

    can be considered the opposite of contingency. The contingent is what touches us, what pertains to us, that with which we are on the same footing, that which belongs to our kind and sort. The transcendent, on the contrary, is what is beyond all this as that which conditions it, as the unconditioned, but at the same time as the really unattainable, what exceeds us [das Überschwängliche]. Transcendence is stepping-over in the sense of lying beyond conditioned beings. (MFL 161)

    Heidegger uses the term “contingency” in the sense of “dependent on or conditioned by something else” or “subject to causality,” meaning that the notion of the transcendence-that-is-the-opposite-of-contingency stems from our intuition about the necessity of the first cause, or an intuition that allows a theoretical possibility of a discontinuity in any chain of causation. It corresponds to our sense that there are things we cannot “reach,” by following back the succession of causes and effects to their origin, things that we group under the label of “the unconditioned” and that mark for us, as Heidegger says, the absolute difference between the creator and created. This is why he calls this sense of the transcendent “a theological conception of transcendence” (MFL 162).

    I would like to further gloss this by evoking an overall sense of something being “out of reach,” an overarching intuition of “the beyond.” To this idea of transcendence belong things that we can represent to ourselves but cannot reach – neither in space (the other side of the world, Mars), nor in time (the past, the distant future). We cannot reach them, yet we constantly strive to reach them in an ongoing effortful striving that Heidegger calls de-distancing (removing the distance between ourselves and a desired object, bringing it near) and that constitutes our phenomenological project of survival–the “taking care” of the immediate and distant concerns about one’s existence. Indeed, in looking after our interests, food, clothing, safety, we orient ourselves toward the future and make determinations as to what goals that are within or outside our reach. But the notion of “reach” is fluid itself: the phenomenological horizon of reachability is something that is steadily expanded with the progress of technology and its attendant growing arsenal of prosthetic devices, from (in a literal sense) mechanical arms, to airplanes, to telephones. The unreachable transcendent retreats, while the world of the contingent grows larger.

    This idea of the transcendent is closely bound up with our kinesthetic sense–the dynamic corporeal consciousness of our movement and physical orientation. For Maxine Sheets-Johnstone, the kinesthetic sense of self-movement, which allows us to localize our movements and perceive their qualia is the main faculty that accounts for our notion of agency and our awareness of ourselves as free agents. This kinesthetic dimension of our existence is not incidental but definitive for who we are–animate (animated) forms engaged in self-movement.

    Even though self-movement, according to Sheets-Johnstone, is not, strictly speaking, a phenomenon in the phenomenological sense–an object of or for consciousness–it is a kind of “ground zero” that brings to our awareness “a felt unfolding dynamic and in virtue of this dynamic, a felt overall kinetic quality” (PM 152), serving as the background of our sense of free agency. “Agents,” she writes, those having the power to act–necessarily have a kinesthetic sense of their own movement” (PM 58). The notion of agency is related to the body’s learned kinetic competence that Sheets-Johnstone describes as a “species-specific range of movement possibilities, a repertoire of what might be termed ‘I cans’” (PM 70).

    As an example of what she means by “species-specific,” Sheets-Johnstone invites us to consider the difference between modern man and the Neanderthal. The latter’s short, powerful, and stocky body is better adapted to thrusting and bludgeoning movements, while the former’s lighter body with longer distal limb segments is more suitable for kicking or hurling projectiles. Because, as Sheets-Johnstone argues, our thinking is thoroughly embodied, modern man’s adaptation for the ballistic movement changed dramatically his perception of reality, creating a “certain spatial resonance with the experience of acting at a distance” (PM 36), which conjures up an illusion of alienation from his body and endows him with a radically improved capability for visualization and spatialization, leading ultimately to the phenomenon of detached cognition.

    This is exactly the point made by Peter Gärdenfors, an evolutionary biologist. For Gärdenfors, the emergence of detached cognition is the first necessary (but not sufficient) adaptive step in the emergence of language. Primates are “incapable of detaching their thoughts from the current situation of choice and imagining the near future” (74), while people are capable of thinking and planning ahead because of their developed capacity for detached representation. Gärdenfors’s example is keeping the fire alive, which presupposes several crucial instances of foresight and preparatory arrangements. The fire-keeper must have an understanding that nights are colder than days, that fire keeps one warm, that fire needs fuel, that fuel must be gathered in advance. Being more advanced on the evolutionary scale, this ability to anticipate and plan is enhanced and translated into an ability to make tools.

    Making tools “requires being able to remember a series of actions in the right order. Tool making presupposes purposeful training. . . Imagining a finished axe does not require any language, but it does presuppose advanced visualization” (HBS 77). Just as Sheets-Johnstone, Gärdenfors believes that alienated thinking first comes on the scene with the emergence of ballistic skills, noting that the chimpanzee’s inability to aim seems to be related to its inability to anticipate the results of its actions. Unlike chimps, people can aim, owing to a brain adaptation–“A kind of simulator. . . that quickly estimates what the anticipated result of the signals to the muscles will be. . . A calculation is made in the brain of what is about to happen in the arm and the result is sent back to the cerebellum, which adjusts the arm’s continuing movement” (29). The importance of this skill is hard to overestimate. It allows the development of detached representation, which means conceptualizing action-at-a-distance, extrapolating own kinesthetic experience to remote objects (such as imputing “gravity” to inanimate nature). That is to say, the species that can aim and throw things and thus observe action-at-a-distance can develop an abstract concept of effective causality–something that animals possess only in a rudimentary sense.

    Gärdenfors quotes Michael Tomasello, who says that people make sense of the world “in terms of intermediate and often hidden ‘forces’” (HBS 44). He concedes that higher animals might have a very basic capacity for inner representation of events and simple thought processes, but it is only human beings that can form fully detached representations and are therefore capable of advanced planning and visualization and what he calls anticipatory cognition. We are capable of representing potential needs and planning for future needs, something that animals cannot do because they “seem to be incapable of detaching their thoughts from the current situation of choice and imagining the near future” (HBS 74). A human being understands that, even though he feels warm and cozy at the moment, he must get up and collect firewood. Otherwise the fire will go out, which will lead to him becoming cold, not being able to cook his food, and allowing animals to come too close. At the same time, his realization has the modality of choice. He can choose to warm himself by the fire a bit longer.

    Thus, anticipatory planning, advanced visualization of future consequences, conceptualization of possibilities and choice–all derive from the emergence of detached representation. What this implies is a developed faculty of intentionality and purposiveness (which also attaches itself to another useful adaptation–an expanded memory capable of encoding a series of correctly ordered actions). Therefore, my first claim is that intentionality in conjunction with detached cognition make it possible for us to develop the first concept of transcendence that corresponds to the feeling of “reaching beyond the contingent.”

    The above sense of transcendence is, according to Heidegger, sometimes used interchangeably (and in an uncritical fashion) with another meaning of transcendence that is distinct from it. This other meaning has to do with another basic intuition–that of crossing from the inside to the outside. In some sense, this is a more literal, more original definition of transcendence. He points out that the “verbal meaning comes from transcendere [Latin]: to surpass, step over, to cross over to” (MFL 160). This is also a “stepping-over” but with different connotations, having to do with scaling a barrier of some sort. If the other meaning captured the sense of transcendence in contradistinction to the contingent, this is

    the transcendent in contradistinction to the immanent, the latter is what remains within, by which is meant that which is in the subject, within the soul, remaining in consciousness. What is outside the borders and encompassing wall of consciousness has then, spoken from the innermost yard of this consciousness, surpassed the enclosing wall and stands outside. Now insofar as this consciousness has cognition, it relates to what is outside, and so the transcendent as something on hand outside is, at the same time, that which stands over against.

    Here the subject is thought of as a sort of box with an interior, with the walls of a box, and with an exterior. Of course the crude view is not put forth that consciousness is in fact a box, but what is essential to the analogy and what belongs to the very conception of the transcendent is that a barrier between inner and outer must be crossed. This means that the inner is, first of all, really restricted by the barrier and must first break through it, must first remove the restrictions. (MFL 160)

    Since transcendence, from this perspective, is a relationship between the inside and outside, “the relationship that somehow or other maintains a passageway between the interior and exterior of the box by leaping over or pressing through the wall of the box,” its attendant problematic becomes the question of “how to explain the possibility of such a passage” (161). In other words, insofar as we picture the world is an aggregate of adjacent or nested boxes, we need to have a model of how communication between these boxes is possible in some causal form of signal-sending. This line of questioning leads us towards a theory of knowledge. This is why Heidegger terms this conception of transcendence–the transcendence that is the opposite of immanence–epistemological.

    This second type of gap, I would like to claim, is coterminous with the second important adaptation in the proto-human that paved the way for language. It is, what Peter Gärdenfors calls, the theory of mind. At some point, early hominids developed a theory of mind, that is to say, an ability to impute thoughts, emotions, and intentionality to other sentient beings, according to Gärdenfors. It has been argued by some primatologists that higher apes also have a theory of mind. That this is plausible is inferred from a claim that primates are capable of deception.

    In one field observation, for example, a female baboon hid from the view of a dominant male in order to groom a lower-ranking male–something that the dominant male would have disallowed, had he known. In another example, a juvenile baboon male cried out without provocation, making his mother think that he had been assailed by an adult female in the vicinity (of a lower rank than herself). The mother chased away the other female, which resulted in the young baboon’s acquiring access to the food that this female had left behind. In both of these cases, the baboons appeared to have intended conscious deception, but, as Gärdenfors objects, these claims do not pass the Occam razor criterion in that they assume a more elaborate explanation than necessary that tends to “humanize” primates, i.e. ascribe to them human thoughts and motivations. A true theory of mind implies an understanding of what the other has understood. But a more parsimonious explanation of the above experiments would be to credit higher animals with a so-called “behavioristic” cognitive model of their environment. That is to say, instead of representing to itself what the others think, the animal can learn by trial and error how they are going to react and adjust its behavior accordingly–in other words, the animal has the capability of learning new behaviors in response to other creatures’ behavior but without constructing representations of their inner life.

    Human beings, on the other hand, do form a theory of mind–and only after a certain age, at that. One of the experiments that demonstrates the fact of its later formation is described by Gärdenfors. In the course of it, young children are offered a closed tube-shaped candy container (Smarties). They are asked, “what is inside?”. They all answer “Smarties,” but when the lid is removed, they see that it contains pencils instead. They are then asked, “what will Bert (the boy who stayed outside) say?”. The reply of the three-year-olds was “pencils,” while that of the older children was “Smarties.” The point of the experiment was to find out at what age children are capable of understanding what other people know and how they arrive at their knowledge. Being able to form a representation of other people’s thoughts, feelings, and intentions is an important evolutionary event that might be connected, as Gärdenfors and other cognitive scientists speculate, to the appearance of mirror neurons–a group of neurons that facilitate imitation, and, through it, empathy and learning.

    A capacity for forming a theory of mind has to lie at the foundation of the notion of subjecthood. Another subject is someone we can observe and whose thoughts and feelings we can infer (either by analogy with our own or through empathetic co-experiencing), but we can never be sure of them. The other being will forever remain somewhat of a mystery to ourselves–a closed book, a black box–and this mystery will make itself felt as an unbridgeable distance between two subjectivities. We could summon the help of psychology or neural science, but the former will, at best, be a heuristic tool, while the latter will reveal the workings of the brain rather than the mind. While the functioning of the brain, or the “hardware,” might be both relevant and instructive, it is ultimately a different category, an experiential one, into which we are inquiring. The infinite, the impossible distance between our minds and those of others is the second type of transcendence–the transcendence that is the opposite of immanence. What comes first–the idea of subjecthood or that of transcendence? For Heidegger, it is the latter. He writes: “transcendence is not an additional attribute I ascribe to a subject, but the question becomes whether the essence of subjectivity can be grasped, first and foremost, through a rightly understood transcendence” (MFL 161).

    Despite Heidegger’s labeling the second transcendence “epistemological,” it is the melding of the two concepts of transcendence that allows us to conceive of interactions between objects in terms of causality, given that the relationship of cause and effect is implicated both in our kinesthetic sense of self-movement and the expectation of resistance. As mentioned, kinesthesia and the experience of agency are inextricably bound up with each other and with our experience of agency, hinging on the experience of our expenditure of muscular effort originating “from a sense of actively imitating movement itself” (PM 426). Not only are we sensitive to our own movement, according to Sheets-Johnstone, but our sensitivity functions also by being attuned to the feedback and dynamic modifications of our environment, including the movement of others.

    I would like to re-conceive this two-way responsiveness to the self and to one’s surroundings in the light of what I would like to call an effort/resistance schema, where resistance is understood as an attunement or sensitivity to the outside world, which is given to us as something permanent, something that stands in our way and resists our efforts to disturb or modify it. In fact, the notions of effort and resistance are cognitively indissociable from each other, since without the experience of the resisting milieu (including the experience of our own body perceived as a resisting object that is difficult to move), an effort would not feel like an effort, and a desire to achieve a goal that this effort was designed to bring about would not register as a desire, which has a built-in idea of a distance between a conception and its fulfillment. Instead we would be omnipotent beings with the power of instant gratification.

    Sheets-Johnstone argues that thinking is thoroughly embodied and self-movement is instrumental to the formation of causal thinking–it is “causally efficacious or informing in particular ways” (PM 158). As we engage in a goal-oriented behavior, an attempt to get nearer or effectuate a desired result is achieved through acts of physical exertion that overcome the resistance of the outside world. While our feeling of being free agents owe their existence to our ability to recreate requisite moves in an ordered and regular sequence, the exact order itself derives from our quantifying the experience of resistance. Causality is rendered phenomenologically meaningful by the transference of our awareness of the intentionality of effort onto other objects/ black boxes. Just as we purposefully expend our muscular effort, so do other beings: the connectivity of cause and effect rests with this intentionality, with the theory of mind anthropomorphizing the world around it by ascribing agency to substances and inanimate objects. We may engage our most careful calculations in producing the most thought-out strategies for achieving our goal–but the result is not guaranteed because there is always a suspicion that the world of resisting objects has a mind of its own that will prompt it to betray its recalcitrant side or engage in deception. Our best plans based on the most complete knowledge may be thwarted because we may never know what the interfering objects/obstacles “think,” as it were. The theory of mind injects a gap in our seamless kinesthetic awareness of our environment and the theoretical continuity of our embodied thinking, introducing the element of uncertainty, which stems from our cognizance of clashing intentionalities. That Hume asserts causality is nothing more than “constant conjunction” attests to his intuition that the implicit concept of force that underlies the older metaphysical idea of cause as “necessary connection” contains a remnant of embodied intentionality, which his skeptical position of detached “natural attitude” must reject.

    Heidegger, as well, recognizes that the conflation of the two transcendences is not simply a philosophical error but that they are entangled in profound and indissociable ways. For example, the idea of divinity is broader than simply that of the unconditioned. God is not only God-the-Creator but also the absolute Other, the latter being a concept which cannot be properly grasped without engaging epistemological transcendence.

    Now both conceptions of transcendence, the epistemological and the theological, can be conjoined–something that has always happened and always recurs. For once the epistemological conception of transcendence is granted, whether expressly or implicitly, then a being is posited outside the subject, and it stands over against the latter. Among the beings posited opposite, however, is something which towers above everything, the cause of all. It is thus both something over against [the subject] and something which transcends all conditioned beings over against [the subject]. The transcendent, in this double sense, is the Eminent, the being that surpasses and exceeds all experience. So, inquiry into the possible constitution of the transcendent in the epistemological sense is bound up with inquiry into the possibility of knowing the transcendent object in the theological sense. (MFL 162)

    I would like to diverge from this by proposing that it is, in fact, more natural to conjoin or entwine these ideas than to separate them. It is not possible to reach the Eminent Being because, as the absolutely Other, it cannot be known to us. At the same time, we cannot know it because it is unreachable as the absolutely unconditioned. Thus, both concepts are mutually implicated to a very intimate degree, together contributing to the notion of the Eminent–the absolutely Other and the absolutely exceeding.

    The two transcendent experiences, constituted by the theoretical discontinuity between the phenomenologically immediate kinesthetics of effort of resistance and the ballistically disembodied system of representation, inform and complement each other’s model of divinity. On the one hand, we have God who is the creator and originator, the rationally necessary source of the created universe to which everything points, the unconditioned ground for conditioned beings, the First Cause. On the other, there exists, in parallel to God-the-creator, the God of catastrophes and natural disasters, of plagues and desolation, surprises and unforeseen occurrences, the helmsman of destiny, God of prayers, supplication, and propitiation.

    These two Gods touch us in different but mutually penetrating ways. We become conscious of objects outside our consciousness through the kinesthetics of effort and resistance, which brings us the knowledge of the phenomena that stand between us and our desire for gratification: substances we wade or squeeze through, things we bump into and walk around, the inhospitable elements that send us in search of protection, materials that resist being shaped to suit our needs. All of these fall under the category of necessity and jolt us into an awareness of the objective existence of something we might call “exteriority,” which houses various “external” physical objects that make themselves felt and known by impinging upon our senses as appearances. In this way, an intuition that belongs to the realm of the intelligible makes itself known empirically through the phenomenological pre-understanding of cause and effect. In the reverse (and reciprocal) fashion, the intelligible pre-understanding of the outside allows us to conceive the notion of transcendence that exceeds the contingent. Namely, on its own terms, our phenomenological experience of effortful striving, of reaching out toward a goal does not take us out of the contingent or suggest the existence of a “beyond.” But because we have an intelligible pre-understanding of the outside, we are capable of conceiving the unconditioned “beyond” of what impresses on us as the horizon of experience. Thus, in a symmetrical fashion, an empirical insight is achieved as a result of an intuition that is accessible intellectually.

    But in talking about God, I am already getting ahead of myself, because the frame of reference in which the two Gods can be discerned already presupposes the third gap, which I have not mentioned yet–that between the center and periphery. This gap opens up when the final milestone on the way to language is established–that of joint attention. By “final,” I do not mean the actual historical order of these adaptations. If anything, it represents another aspect of the theory of mind–a level of the development of interpersonal skills that evinces a very sophisticated capacity for imitation. At this level, as Gärdenfors speculates, protohumans show themselves fully communication-ready both in understanding each other’s intentions and developing declarative pointing (third-order attention). Citing research in the field, Gärdenfors concludes that apes neither point to nor hold up objects in order to direct other apes’ attention to them. They do not take someone along with them to another place in order to show something nor actively offer something to someone, nor teach something intentionally to someone. What they possess is second-order attention or shared attention, i.e. one individual becoming aware of another paying attention to the same object. They are also capable of imperative pointing. Imperative pointing belongs to second-order intention: it requires some understanding of intentions and intends to make the addressee do something for the subject (something very young children do in order to draw the attention of an adult without understanding, in their turn, the adult’s pointing). The child uses the adult as a tool for reaching its goal. While animals and young children can “attend to each other’s attention” to some degree, people can “manipulate the attention of others” in that they can consciously intend the other to “jointly attend to the objects” (HBS 122-123).

    Joint attention is communicated through declarative pointing, which thematizes the act of calling attention. The social aspect of attention-seeking itself is just as important as the goal of attaining the object, and this is why the ability to perform declarative pointing is considered third-order attention and is seen as a precursor to language. The schema for third-order attention is “I see that you see that I see X,” as opposed to “I see that you see X,” which is second-order attention. In making a given object X fully intersubjective, joint attention creates what Gärdenfors calls consensual reality. This is why joint attention heralds the advent of language. It indicates readiness for the “communicative sign function,” insofar as “the subject intends for the act to stand for some action, object or event for an addressee, and for the addressee to appreciate this” (BM 5). Gärdenfors sees this as an example of triadic mimesis in the same sense signs are triadic for Peirce. It is important to point out, however, that, for Gärdenfors, triadic mimesis is not yet language. Language is the next step of symbolic mimesis that involves the principally new skills of conventionality and systematicity/ generativity. Nevertheless, joint attention is already triadic because it is the mechanism by which a young child learns language.

    An act of pointing is often coupled with a sound so that the child more markedly draws attention to the pointing. Among the first words that children learn are ‘there’ and ‘look.’ Conversely, if an adult points to a frog and the child sees what the adult is pointing to and reaches joint attention by shifting its gaze between the adult and the frog, the child will connect the word ‘frog’ with the perception of the object. (HBS 124)

    Even in immediate phenomenological terms, the discontinuity of the above act is directly apparent: an addressee of joint attention must switch his gaze (perhaps several times) between the object and the issuer of the sign. Considering that two key attributes of vision are directionality and a relatively narrow focus, the forced oscillation of attention can be felt as disruptive.

    In a figurative sense, oscillation makes itself felt in the vertiginous experience of self-consciousness. The fact that people are capable of fluent manipulation of each other’s attention is more encompassing than the more narrowly understood “theory of mind.” It bespeaks a high level of the evolution of social consciousness responsible for the emergence of I-consciousness and you-consciousness, as Gärdenfors theorizes. He discusses several possible sequences of events: that of self-consciousness preceding you-consciousness by extrapolating one’s awareness of one’s inner world to the other person; that of self-consciousness emerging out of joint attention and re-directing this attention to the self; and, finally, that of a direct intuition of you-consciousness through the advanced theory of mind leading to one becoming conscious of one’s own consciousness.

    He also considers Martin Buber’s idea of I-You and I-it being the two basic units of understanding and relating to the world from which the ideas of “I” and “You” are formed by later detachment. Whatever the correct scenario, it is clear, however, that self-consciousness and you-consciousness are inextricably interconnected with each other. Gärdenfors quotes Paul Valéry’s thought that “Consciousness needs a fictive other–an exteriority–it develops in developing that alterity” (HBS 126). Thus, the origin of language is intimately related to these two developed capacities: causal thinking with advanced planning which evolved from detached representation, on the one hand, and interpersonal awareness accompanying the enhanced theory of mind and joint attention, on the other. These unique attributes have contributed to the main function of language which consists in the fact that “language makes it possible to co-operate about future goals” (HBS 177) and is, in Gärdenfors’ view, of paramount evolutionary importance.

    Citing studies by other primatologists, Gärdenfors suggests that the behavior exhibited by the higher apes that what we characterize as imitation is not genuine imitation, but rather emulation. The difference is that imitation involves triadicity, while the kind of “imitation” that apes perform is, at best, dyadic. Gärdenfors characterizes this behavior as “do-as-I-do tasks,” which involve the copying of bodily motions (action-level imitation) or the copying of the object of manipulation (object movement re-enactment), but not the bringing of the two together in an intentional act of mutual understanding. The important distinction between the above and human imitation is that primate emulation does not evince readiness for the communicative sign function–even if an ape can understand that “a bodily posture or motion can correspond to something else, like an object or action,. . . there is no attempt to communicate this ‘something else’ to another individual by means of the bodily motion” BMML 8). If any learning occurs as a result of dyadic mimesis, it is incidental. Real triadic mimesis takes place in a communicative, intersubjective context that engages third-order intentionality (“I know that you know that I know. . .”) with regard to an object of converging attention of two or more participants.

    A very similar point is made by Eric Gans in connection to his scenario of the origin of language. At an early evolutionary stage, pre-signifying imitation is directed at the other dyadically (or, as Gans says, horizontally); and, as such, is not supposed to be problematic: if “I imitate you successfully, I have no awareness of the limits of my gesture, which are imposed upon it from without” (SP 27). A great deal of imitative learning may take place in hunt situations, for example, when a younger and less experienced individual imitates the behavior of an older and more experienced one. As long as imitation intends the model, it is unproblematic. At the “early” stage of straightforward imitation, “the other is my model, but not yet my rival” (SP 18) and “the techniques of appropriation are subject to mimetic learning before there is any need to ‘learn’ the object of appropriation” (SP 23).

    But at some point, imitation is bound to turn from the model to the object, which might, in all probability, be an object of some appetitive value in a narrow or broad sense of the term, such as a food item, shelter, or sexual partner. As Gans points out, “The evolution of higher animals has been driven by the difficulty of obtaining appetitive satisfaction, particularly food. If I serve as your model in the hunt, all will go well until your imitation reaches the point of reproducing my appropriative gesture toward the same object” (SP 16). In a standard situation of ecological pressure, a valuable resource is always more scarce than “the behaviors of the subject by which it may be appropriated” (SP 23). Once mimesis re-focuses on the appropriative goal of imitation and not only on the imitative act itself, the imitative behavior quickly becomes precarious, because both the model and the disciple turn themselves towards the same object and become rivals: “Put in geometric terms, the parallel lines of imitation must converge toward a unique object” (SP 20).

    The convergence of imitative gestures gives birth to a conflictual situation, whereby the mimetic model stands in the way of the imitator’s appropriating the object. The model becomes a hindrance while, at the same time, remaining a model. As a result, this contradiction initiates the so-called pragmatic paradox, “engendered when the mimetic relation to the other-mediator requires the impossible task of maintaining the latter as model while imitating his appropriate action toward a unique object. . . the mimetic model is both model and (potential) obstacle; it is at the moment when this contradiction prevents action that the human linguistic sign appears” (SP 20). In other words, the birth of the sign is constitutionally “traumatic”: the sign emerges at the moment of crisis, perhaps even that of a threat of violence (the impending fight between the model and the disciple for the contested object). This is an important anthropological insight, something of which Gärdenfors’s analysis and other, similar, models of the emergence of language by evolutionary biologists are insensitive. According to them, joint attention arises unproblematically as the culminating biological adaptation in a series of adaptations responding to the evolutionary pressure for more complex interactions and demonstrating a simple readiness for communication.

    The emergence of the linguistic sign does not solve the pragmatic paradox but transforms it, displacing the appearance of an obstacle from the model to the object. With language, the model is no longer a obstacle, because he now freely shares signs that are infinitely reproducible with the disciple rather than remain a rival in the pursuit of actual objects. The imitative action itself is, at this point, unhindered because “I can now continue to imitate the gesture of my model despite the pressure of an obstacle to appropriative action,” but, at the same time, “Because the model does not disturb my signing behavior, it is the object that is perceived as the obstacle to its own appropriation; this is what we call sacrality” (SP 24). Only the sign is symbolically accessible, while the real object becomes off-limits to former rivals. As something that is structurally inaccessible, the object is perceived as both significant (with significance, as Gans explains, being a promise of the imaginary appetitive satisfaction) and desirable (a uniquely human category, having to do with our intentionality turning toward the unattainable). It is significant because it is desirable (“all desire is desire for significance” (EC 160)) and desirable because significant.

    To understand these notions in originary terms, we need to grasp that neither desirability nor significance is something “private” that belongs to inner experience. They come into existence on the public scene of representation–a “virtual reality” or “public imaginary,” as it were, that originates with the appearance of language. The scene, as the name suggests, is asymmetrically differentiated into the center and periphery. On the periphery, former rivals become equal participants that freely emit linguistic signs. But the center is occupied by the contested object that, insofar as it is absolutely untouchable, acquires the status of the sacred, both in the sense of being highly prized and taboo, at the same time, that is to say, desirable and forbidden to everyone in equal measure on the scene of representation.

    Thus, as Gans says, the two relationships to the object on the part of the participants are established–the significant and the interpersonal–whereby, “However powerful the sacred valorization of the object-in-itself, the sacred can only function as a hypostasis of, and a mask for, the interpersonal category of the significant” (EC 23). This configuration has “transform[ed] irrevocably the nature of . . . consciousness,” because, as Gans explains, “the purely individual scene of perception is now transformed into the communal scene of representation, … which is reproduced in the mind of each participant as the origin of what we may call his desiring imagination” (EC 26). But since the object is “necessarily inaccessible,” this desiring imagination is “essentially paradoxical,” since it “permits each individual to imagine himself as alone acceding to it” (EC 27). And this is the crux of the paradox, since this desire is constitutionally unrealizable. The object could be possessed only in one’s imagination.

    The desiring image is paradoxical not because the others would prevent its realization but because the self, insofar as it desires, remains on the (imaginary) scene of representation and not on the (real) scene where the object is situated. The image, even if it represents a wholly possible future fulfillment, cannot represent a real fulfillment because its conception is possible only under conditions of nonfulfillment. The member of the original community cannot possess the desired object, because his desire arises only when the object is not possessed. (EC 28)

    Thus the sign could be said to signify its own impossibility.

    The paradoxical structure of the linguistic sign contains within itself all three transcendences already mentioned. The distance between the contingent “now” and the noncontingent “beyond” that cannot be reached is the very gap opened up by representation that is born with the “mimetic act [freeing] itself from “instinctive” or nonreflective dependency on its model” so that “In the mimesis of the object, the subject is not copying another’s gesture, but representing the object itself” (SP 25). A representation is not only “separate” from the self that is here and now, but it creates a type of breach that the self longs to close. It is always “ahead” of the desiring imagination as a destination point towards which its intentionality is oriented in what Gans describes as “the sign’s desiring prolongation toward the center” (OT 103). The experience of prolongation is temporal, in character with the temporal component of intentionality being the primordial temporality of the appropriative gesture before it is aborted at the moment of origin. According to Generative Anthropology, the “memory” of the this unrestricted prolongation infuses the narrative form. “The narrative element is provided by the presignifying temporality of the gesture, that is, by what has been abolished by its conversion into a sign,” while the very “’story’ the gesture wants to tell is one of successful appropriation” (OT 105). The impossibility of appropriation constructs the first kind of transcendence that we know as the deferral of the sign.

    In the linguistic context, however, the sign is detemporalized by aborting the prehuman appetitive gesture, which results in replacing the desiring relationship with the one of thematization. Anticipatory cognition makes it possible for the mind to posit something–an imaginary situation, state of affairs, invented technology–vis-à-vis itself as an object of contemplation. In Peirce’s classification, the ability for simple, nonreflective representation, making something present in our minds, is connected to the first category of cognitive experience, that of feeling. His example is of imagining something elemental, like a color patch.

    Let us suppose [a person] is thinking of nothing but a red color. . . Perhaps, when he gets tired of the red, he will change to some other color; . . . but if he does so, it will be in the play of fancy without any reason and without compulsion. This is about as near as may be to a state of mind in which something is present, without compulsion and without reason; it is called Feeling. Except in a half-waking hour, nobody really is in the state of feeling, pure and simple. But whenever we are awake, something is present to the mind, and what is present, without reference to any compulsion or reason, is feeling. (WIS 4)

    The second transcendence–that which frames our sense of the “outside” and is the opposite of immanence–is the difference inherent in the act of imitation that has become aware of the antagonistic relationship between the two emitters of the sign. The “outside” is the content of consciousness of the resentful mimetic double. “What is primarily deferred/differentiated in language is the conflict potentially aroused by the fact that the subject and his model both occupy the same position with regard to the object” (SP 30). The imitating consciousness which possesses the theory of mind can recognize the conflict of interests that causes the model to become an obstacle to the disciple. However, the kind of obstacle constituted by another intelligence is not a physical obstacle. It is not a chair that can be moved out of the way, nor a natural exigency that can be obviated by calculation, because, unlike a physical object, a rival intelligence is unpredictable and incalculable. As such, it must be reasoned with, and language thus emerges as the ethical solution to the intractable problem of mimetic desire. Linguistically, this transcendence is related to the notion of difference.

    For Peirce, this distance creates the second fundamental cognitive experience–that of actionreaction (what I earlier called resistance–an awareness of something unbidden and intrusive that encroaches on the territorial autonomy of one’s own calculable phenomenological horizon). The example he gives is that of interference. The person in the first example who was inwardly focused on the experience of contemplating color is suddenly disturbed by a loud noise of a train whistle.

    At the instance it begins, he is startled. He instinctively tries to get away; his hands go to his ears. It is not so much that it is unpleasing, but it forces itself so upon him. The instinctive resistance is a necessary part of it: the man would not be sensible his will was borne down, if he had no self-assertion to be borne down. It is the same when we exert ourselves against outer resistance; except for that resistance we should not have anything upon which to exercise strength. This sense of acting and of being acted upon, which is our sense of the reality of things,–both of outward things and ourselves,–may be called the sense of Reaction. It does not reside in any one Feeling; it comes upon the breaking of one feeling by another feeling. It essentially involves two things acting upon one another. (WIS 4-5)

    Thus, a recognition of an impending reaction from another intelligent (that is to say unpredictable) being with a convergent desire intimates a threat of violence and thus prompts an ethical solution to the contentious and potentially explosive situation. But social contract ethics requires another intervening meta-intelligence that will serve as the arbiter of ethical situations, the underwriter of contracts, and the guarantor of peace. As Generative Anthropology demonstrates, the third presence, which was originally the appetitive focus of joint attention, is transformed into God. God constitutionally arises with the birth of the scene of representation. Gans writes: “The origin of the idea of God must be scenic because God appears to human beings as a center of attention consciously distinct from themselves” (OT 37). This conscious distinction is the third transcendence that constitutes the difference between the center and periphery. The emergence of the sacred center introduces differentiation. What was, at the first instance of the renunciation of the appetitive object, the sacred untouchable now becomes transformed into the center of authority that cements the signifying system. The meaning of the sign has to be settled “from without,” “objectively,” as it were–it cannot “come to designate metaphorically whatever appears to the individual sign-user to resemble in its essentials the original referent of the sign. Some subsistent signified must be defined to which the sign as such can universally refer. This signified, conceived not as a mental construct but as a being, is what we call God” (OT 40). Thus the emerged central adjudicating presence establishes, in linguistic terms, the transcendental signified.

    Peirce connects this configuration of center and periphery (with the center having emerged as the adjudicating middle) to the structure of governing, rule, or law and calls this third state of consciousness thinking. He continues the story of the previous example by adding that the man who heard the loud train whistle now wants to escape by the door. But as soon as he opens the door, the sound disappears. When he shuts the door, on the contrary, the sound comes back again. He tries this several times with the same result.

    He is now in a third state of mind: he is Thinking. That is, he is aware of learning, or of going through a process by which a phenomenon is found to be governed by a rule, or has a general knowable way of behaving. He finds that one action is the means, or middle, for bringing about another result. This third state of mind is entirely different from the other two. In the second there was only a sense of brute force; now there is a sense of government by a general rule. In Reaction only two things are involved; but in government there is a third thing which is a means to an end. The very word means signifies something which is the middle between two others. Moreover, this third state of mind, of Thought, is a sense of learning, and learning is the means by which we pass from ignorance to knowledge. As the most rudimentary sense of Reaction involves two states of Feeling, so it will be found that the most rudimentary Thought involves three states of Feeling. (WIS 5).

    It is the third transcendence that creates the experience of “real time” coterminous with the emergence of scene of representation. Scenicity implies performativity. Signs, even written signs, are potentially performable. In unconscious remembrance of the original presignifying mimetic gesture, the sign retains its active and dynamic quality: “it can do things with words.” The performative is fundamentally “now.” It cannot be postponed, stored or retrieved, but it possesses a power of actualization. In an important linguistic sense, every linguistic (spoken) utterance can be seen as a performative, because its function is to address another speaker who must respond to it within a certain phenomenologically appropriate period of time. He cannot respond to being spoken to after two hours, for example. In this sense, an utterance directed at someone can be said to be performative: it effectuates a response. As we know, it is psychologically very difficult to withhold a response on being addressed. In fact, every intentionally withheld response has the function of an utterance: “I am ignoring you demonstratively.”

    One could say, in general, that occupying a position on the scene of representation as a language speaker, a social being, and an agent implies being involved in an interactive mode of communication. What this actually implies is being perpetually “on call,” perpetually interpellated by the central other(1) to whom language has arrogated the structural position of divinity and absolute authority.

    Another condition of temporality which this scenic arrangement brings into existence is the irreversibility (or the arrow) of time. The performative emission of the linguistic sign is an event. A reciprocal act of uttering and understanding that it facilitates is irreversible–it cannot be taken back. The sacred central authority serves the role of the central witness and is invested with the responsibility of the chronicler that will record for posterity all the speech acts that have ever been performed. As the focal point of joint attention, it has also the function of a coordinating authority or central dispatcher towards whom the participants are turned in the stand-by mode of anticipation or with whom they can periodically check in. It could even serve as the primary clock that harmonizes the participants’ movements via a beat signal (as in the command, “on the count of three we lift the piano,” directed at an imaginary time-keeping center). With all the participants’ actions synchronized, the system behaves as one coherent whole, reminding, in suggestive ways, of the model of time irreversibility in thermodynamics.

    Thus, Ilya Prigogine, a proponent of the connection between time’s arrow and far-from-equilibrium thermodynamic states, connects the directionality of time with a process that is begun by a probabilistic event away from an equilibrium, which consists in a gradual increase of coupled particles. The forward direction of time can be distinguished from the opposite one by the formation of more and more correlations in the system and the retention and growth of information, order, and complexity, so that the flow of time corresponds to the flow of correlations. This is intriguingly congruent with the idea of performativity that appears with the sign–that of two or more individuals coordinating their actions about future goals by way of the sacred center and thus creating a flow of time. It is also compatible with the view of society as a system of constantly growing complexity and information and Peirce’s reminder that the thirdness of thinking involves the constant accretion of knowledge and the irreversibility of the passing of ignorance into knowledge.

    Finally, I would like to clarify the paradoxical situation of the double bind of freedom that arises through the interference of the three transcendences. As Gans reminds us, “freedom is born with the sign. Like the birth of verticality from horizontality, the birth of freedom from necessity is another statement of the paradox of originary signification” (SP 24). The sign can be emitted freely because the “mimetic act [has freed] itself from ‘instinctive’ or nonreflective dependency on its model” (SP 25). But with liberation from instinct comes the problematic of choice. The question of “what to do?” becomes the central question for a free being who possesses the capacity for advanced planning and representation. However, since representation straddles the chasms of three infinities (reaching beyond, being outside of oneself, and acceding to the sacred center), any answer to this question is self-contradictory and ultimately unsatisfying, as I will demonstrate with a couple of examples.

    To continue with the example of causality that is connected to our kinesthetic sense of effort and resistance, thinking about an occurrence in terms of causes and effects always involves an expectation and search for law-like regularities. After all, analyzing a sequence of causes and effects is only useful if we are to expect repeatability and a predictable outcome. In other words, we endeavor to know where and how to apply our effort and what sort of resistance we can count on. Becoming proficient in our calculations and ability to predict future events inevitably leads to the language of mastery (such as in the phrase of “mastering the episodic tremenda of recurring world events” (WM 26) with which Hans Blumenberg describes man’s striving to control his hostile environment). The discourse of mastery is applicable both to the discussion of law-like regularities as well as that of kinesthesia. There is an underlying ambiguity in the idea of laws of nature, which refers to naturally occurring regularities in physical reality yet evokes moral law–the imperative modality that commands obedience rather than comments on the state of the world. The concept of lawful regularities in the material world together with its underlying causal logic encodes the kinesthetic dimension of primal animatedness–the awareness of one’s corporeal powers under the guise of one’s repertoire of “I cans” raised to a level of abstraction as the physical law propagated by causally efficacious forces. We cannot clearly see why the kinesthetic language of effort and resistance is permeated with allusions to mastery unless we realize that our project of successful and competent navigating of the physical universe by bridging the first and second transcendence with the help of causal thinking is from the beginning “hijacked” by the social dimension of the third transcendence.

    The idea of mastery is a mimetic idea. We encounter it already in Girard. The disciple’s bowing down before the model is paradigmatic–described by Girard as the case of the disciples’ admiring the model’s indifference interpreted as a sign of self-sufficiency: “The indifferent person always seems to possess that radiant self-mastery which we all seek . . . He is God” (DDN 107). Generative Anthropology views mastery as the model’s bid to arrogate the position of centrality. The “rhetoric [of mastery] is claimed to emanate from the center itself as the source of language. The master of hierarchical society is not afraid to speak from the place of the central being, just as the original ‘big-man’ was not afraid to usurp the central role in distributive ritual” (SP 175). The central position is occupied illegitimately, with the “human occupant of the center . . . always a usurper of its originary being” (SP 175). But the originary being is God, and so the position of mastery is the usurpation of the position of God, which is structurally impossible. Hegel’s situating the birth of self-consciousness in the master-slave dialectic is a sound anthropological intuition, according to Gans. Hegel postulates that self-consciousness emerges in a battle for recognition. Two individuals engage in a battle to compel recognition, out of which the loser emerges with self-consciousness (the same as the power of representation, in this case). It is finally “the fear of death that makes the slave realize the difference between soul and body, spirit and flesh, which is to say between representation and reality” (CLR CCLXXIII). For Hegel, it is only the slave that attains to self-consciousness after he travels the road of fear and trembling toward visualizing his untimely demise at the hand of the master and decides to concede defeat in order to save his life, thus granting superiority to the master. But Gans considers this asymmetric configuration to be too absolute. Either “the ‘master’ becomes God” (which is impossible) or the juxtaposition “is contingent and oscillating, and the human participants are engaged in the reciprocal exchange that is the model of moral interaction” (CLR CCLXXIII).

    My claim is that representation creates three kinds of oscillation. Because of three transcendences, the subject finds himself split along three axes, as it were. He is both here-and-now and there-and-then, as his anticipatory cognition can take him across the span of imaginary space and time. He is also himself and the other. He can inhabit the position of another or “other” himself to himself because he possesses the theory of mind and can put himself (cannot help doing so) in another’s shoes. He is also continually oscillating between the imaginary positions of master and slave, both as he imagines himself in control of the sacred central being and then retreats from its possession. (The three ways of “straddling” transcendence correspond to the three attributes of God–those of omnipresence, omniscience, and omnipotence).

    The doubleness of oscillation both constitutes and affects our ambivalence toward the construct of natural law. As mentioned before, cause and effect are inseparable from the ideas of the theological and epistemological transcendence. The ideas of the unconditioned, on the one hand, and the outside, on the other, in their phenomenological-kinesthetic incarnation of effort and resistance are inextricably bound up with the way we think about causes and effects. But causes and effects, as also mentioned, must be repeatable to be useful. They must occur in regular patterns. And this is where we need God as the guarantor of physical regularities. Without a central figure of absolute authority who is in charge of the universe, any notion of lawful regularity is impossible. Who is to say that a regularity observed by us today will continue to be valid tomorrow, unless someone or something is to guarantee it? Inductive thinking is inseparable from the idea of a contract secured by a sacred central being that oversees it. A contract, in its turn, raises the possibility of inclusion or exclusion in connection with the question of whether God’s laws are transparent. If laws exist, they must be knowable, and if we are to discern them, we must be on God’s side, or have, in some sense, a direct line to God, which implies inclusion. We must either be included by God into the circle of the elect to whom God’s laws are to be disclosed. Or else we identify with God.

    It stands to reason that the discourse of scientific progress is the discourse of mastery. As we advance in our knowledge and understanding of the physical universe, we “tame” nature while we “master” its laws, making it retreat in defeat. The ultimate taming of our environment is possible under the condition of complete determinism of universal laws. If the universe is 100% deterministic and knowable, we can imagine ourselves, Laplace’s demon-like, having attained to uncurbed domination, full competence, and unconditional command of its laws. But our victory would be short-lived and deceptive because we would immediately realize that such a position of complete mastery is untenable. Because we double ourselves as the other, the dominance over all being would imply the dominance over ourselves, which would make our position of mastery unfeasible. At the same time, being in the position of the omnipresent, omniscient, and omnipotent subject in the deterministic universe would foreclose temporality, render anticipatory cognition meaningless, and obviate the necessity for advanced planning. The human condition of “being ahead of oneself” (Heidegger) would be impossible to fulfill because there would be no “ahead” to strategize and prepare for. Thus the theoretical mastery of deterministic acumen is at cross-purposes with the empirical mastery of practical proficiency.

    And yet the kinesthetic experience of temporality and uncertainty do exist. Omnipotence is structurally unattainable because the subject is always outstripped and outmaneuvered by resistance, which I earlier considered in kinesthetic terms but which can also be framed mimetically, as a hypostatization of the performative, interactive relationship with the other on the scene of representation. The resistance of the surrounding world is the absolute existential given which embodies different conceptualizations of our fear and mistrust of the inscrutable other. It can be encountered in Gans’s paradigmatic example where the desired object can be said to resist being appropriated by the desiring subject, insofar as it reminds him of a risk that his appropriative action might be violently contested by other desiring subjects. But it could just as well be the resistance of physical reality, that is to say, the threat of impending natural disasters and our flawed knowledge of lawful regularities to foresee and contain them–the ignorance and apprehension that we personify as a mischievous demiurge who refuses to divulge his secrets or, on the contrary, as a benevolent creator of the ordered and rational universe who presents us with laws that are unchanging, reliable, and intelligible. Resistance, when seen through the mimetic lens, manifests itself as a form of exclusion, whether human or divine. Even as a purely physical hindrance to be overcome, it is unavoidably tinged with the mimetic, signifying a foreign intelligence that always precedes us and must always be factored in as an unknown, perhaps hostile, agent who wants to exclude us. Insofar as the performative linguistic form builds on inclusion, this inclusion is, in its turn, predicated on destabilizing exclusion, which, by being always ahead, engenders the paradoxical situation of representation in which the sign signifies its own impossibility. These shifting, entangled, and irreconcilable points of view make the idea of determinism appear, in turn, desirable and repulsive to us, while revealing how the concept of laws of nature seems to bridge the three transcendences yet fails to do so.

    Another example of an ambivalent construct that came into existence to tame the three gaps of representation is that of destiny. Destiny has a double face. On the one hand, destiny is a predetermined course of events that has been decreed for one by some higher power or authority. One cannot escape or outwit one’s destiny; what has been destined must take place. In this sense, destiny is the abandonment of control to some foreign agency, and as such, it is antithetical to freedom. On the other hand, destiny can also be understood in the sense of providence. Having a destiny would then intimate a special relationship with God; it would imply that God is watching over one, sustaining one, and giving one guidance; it would also mean being set apart from the rest, being chosen for a special task. This connotation of destiny would even lead to the idea of being a master of one’s destiny, which would seem a contradiction in terms, for how can one be a master of what is given? But what could be designated by this expression is the act of sharing the central position with God and thus being in harmony with Him, of the same mind as Him, favored by Him, invited into his sanctum sanctorum.

    The same logic is operative here as with laws of nature, in that the subject can make his destiny work for him, liberate him instead of enslave him, on the condition that he arrogates to himself the sacred center. In this case, destiny will be understood as something special that distinguishes just him, as his own path, proper to him, that opens up and belongs to him personally so that he can take possession of his future. Again, we can see here the clash between the competing attempts to close up different gaps. To begin with, having a destiny thrust upon one heals the transcendence that is the opposite of immanence, opened up by the theory of mind. The reason for this is that having a future selected for us relieves us of the bondage, the heavy burden inflicted on us by of randomness. Not knowing what is in store for one can be experienced as a debilitating constraint. Therefore, having one’s future assured and all obstacles and unpleasant surprises removed can be, on the other hand, very liberating. But if the future is chosen for us, we cannot freely plan in advance, which forecloses our freedom of choice and blocks us from projecting and actualizing our existential possibilities (just as in the previous example of determinism). Yet can we be said to be really free given that we can plan freely? That would also be problematic because planning our future course of action and deciding what is the right thing to do would cause us to fall back on two alternatives–succumb to mimetic contagion or abdicate our authority to determinism. Thus, any approach to making informed decisions about charting our future is problematic: it may offer us certainty in one respect but open up abyssal vistas in another.

    We are faced with ambivalence about our own choices and desires on an everyday basis, which is reflected in many insights about human nature, including those by literary theorists. For example, Peter Brooks in Reading for the Plot argues that readers both desire and resist the sense of narrative closure. This makes sense in light of the previous observations about the clash between our competing desires for closing different transcendences. On the one hand, having a neat closure to a narrative is intellectually satisfying. It gives an outlet to our desire for narrative prolongation and affords us a sense of mastery over the act of reading and meaning-making. On the other hand, paradoxically, having made sense of the plot and tucked away all loose ends has the effect of impoverishing the world, thwarting our desire for unlimited possibilities and having the opposite effect–that of frustrating our sense of mastery (because, by drastically cutting down on future possibilities, we impinge on our own faculty of agency).

    One last brief example is the phrase, attributed to Groucho Marx: “I don’t want to belong to any club that will have me as a member.” Here, the same paradox is in operation. I want to belong to a group that is highly exclusive and has a claim on mastery because it shares the sacred center with God. But they can only be exclusive, by definition, if they exclude me, resigning me to my slave position. Which means that if they decide to include me, then they cannot really be exclusive, and I do not want to be a part of them. This situation demonstrated how a shifting perspective between the self and the other makes the master perspective structurally unstable.

    These examples are meant to demonstrate how the clash between different compartments of consciousness, theoretical, practical, and interpersonal, organized around different transcendences, is the source of ambivalence in our desires and motivations. The important insight of Generative Anthropology, in this connection, is the nature of the representational structure of the mimetic/pragmatic paradox. What GA reveals is that representation is not a feature of individual consciousness. It is not a private intellectual capacity we each carry separately in our heads that serves as the basis of subjectivity. Neither is it something purely abstract and spatial but also interpersonal and desiring. Having added the gratuitous third dimension to its previous dyadic indexical form, the linguistic sign has detached itself from its “hard-wired” appetitive context and became voluntary, burdening the human being with the problematic of freedom. Because of the distances that have opened up between here-and-now and there-and-then, on the one hand, and self and other, on the other, man-the-emitter-of-signs can represent himself as a free agent with a free will. But the freedom of signing is constitutionally subtended by the constraint of the scene of representation with its ethical contract, which limits and undermines it.

    If I consciously and freely decide that at such-and-such time I will do such-and-such thing, my decision takes place on the scene of representation and, due to me “othering” myself, becomes a binding contract between me and myself. The sacred indwells the “must” that holds me to my pledge. So when the appointed time arrives and I do as decided, the “me” of the contract who has made the decision is free and masterful, while the “myself” who has been told what to do is unfree. If I do not do as I have planned, it is the “myself,” the incarnation of some vice, such as indolence, that has the upper hand, while the “me” has succumbed, slave-like, to the irresistible force of depravity. In either case, “I” cannot win. (This may explain an instinctual predilection for being spontaneous and resistance to long-term planning in many people). To sum up, my claim is that representation has the price of a basic incompatibility of its three dimensions that goes on creating double-bind situations when we try to represent to ourselves our future actions. Perhaps this basic incompatibility is reflective of the intrinsic incompatibility between being both an intelligent and mimetic being.

    Abbreviations

    BM — Bodily Mimesis as the “Missing Link” in Human Cognitive Evolution by Jordan Zlatev, Tomas Persson, and Peter Gärdenfors
    BT — Being and Time by Martin Heidegger
    DD — Daniel Deronda by George Eliot
    DDN — Deceit, Desire and the Novel by René Girard
    EC — The End of Culture by Eric Gans
    HBS — How Homo Became Sapiens by Peter Gärdenfors
    MFL — The Metaphysical Foundations of Logic by Martin Heidegger
    OC — Oldowan Culture and the Evolution of Anticipatory Cognition by Peter Gärdenfors and Mathias Osvath
    OT — Originary Thinking by Eric Gans
    PM — The Primacy of Movement by Maxine Sheets-Johnstone
    RG — What Is a Sign? by Charles Sanders Peirce
    SP — Signs of Paradox by Eric Gans
    WM — Work on Myth by Hans Blumenberg

    Notes

    1. In the specific usage of this term by Louis Althusser, which seems particularly appropriate here (see “Ideology and Ideological State Apparatuses,” in Lenin and philosophy, and other essays). (back)

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