A Modern Hero

In Arthur Machen’s The Hill of Dreams, Lucian writes a book, submits it to a publisher and, after an agonising wait, receives a rejection. Some time later his book is published – under the name of another author. Lucian’s work has been stolen.

Faced with this injustice, Lucian has two options: to confront the wrongdoers and seek justice, or to resign himself to his fate.

His father urges him to do the first. This is the way of the world and its law. Those who break the rules should be punished, and the victims should be compensated. The rule that’s been broken here is: a person should be paid fairly for the useful work they do.

But Lucian seems to think the whole thing is hopeless. He despairs, sinking into dark thoughts of contempt for the whole human race. The real law of the world is: those who cheat and steal get by, while good people are robbed and defrauded. The list of recently published books seems to justify his contempt for our species: what sells is not really literature; he wants to create art but artists, creators of new and daring experiments, will always be pushed to one side in favour of what is popular, because what is popular will sell.

And then Lucian’s view of the world brightens. Still he is resolved to do nothing to seek justice, but he resigns himself cheerfully. “They’re not worth the powder and shot,” he says. Instead of brawling with his fellow humans, he’ll get to work on something new. That book he wrote wasn’t as good as it could have been anyway. I’ll put all my energy into writing something that’s really worth stealing.

I find Lucian both admirable and infuriating in this moment. As a reader I want justice to be done, even in fiction. But there’s something noble about rising above things like this. It really looks like Lucian has made the right choice: to resign himself to fate so that his energy might be spent where it will be most productive.

But turning the other cheek has its consequences. Whether melancholy or cheerful, such resignation to evil deeds puts you outside the bounds of society, makes you somewhat “inhuman.” When you allow evil to be done, where you could have prevented it, you say: let society rot. Lucian’s high-mindedness, though cheerful, still amounts to a contempt for his fellow human beings. And locked away, trying to write his masterpiece, he finds himself more isolated than ever.

What would have happened had Lucian pursued justice? He is probably right: nothing would have come of it, and he’d simply have been laughed at. Those who stole from him were more powerful than he. But it would have been a heroic act; it would have made him the main character in a story with conflict and drama. And Machen didn’t see Lucian this way. Though Lucian’s resignation is noble, it ultimately makes him someone passive, to whom things happen. And his daily efforts to write his great novel might seem heroic too – except that they are largely presented as daily waiting for inspiration, for the dreams to come, and so are also an example of passivity rather than activity. Lucian is therefore a modern hero: disillusioned and helpless in the face of a world ruled by industrious and selfish actors.

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On Poe and Writing with Purpose

H.P. Lovecraft said the genius of Edgar Allan Poe was that he expressed human sensations the way they really are. The sensations he was interested in describing were those of pain, decay, and terror.

Poe was carrying out a scientific examination of these three phenomena, studying them directly rather than relying on established literary forms; he wasn’t copying his favourite authors but was breaking new ground on his own.

Any great writer will eventually be sorted into a “tradition,” but what’s really interesting about an author is the thing they do that’s never been done before, or has never been done nearly so well or in quite the same way.

Photo by Laura Chouette on Unsplash

Poe would tend to take a single mood or impression as the basis for a story and then the tale becomes a study of that single thing. “The Fall of the House of Usher” is really a study of fear, specifically the way that fear is conjured up by the impression of a thing or person.

The story opens with the narrator catching a glimpse of the house where he will be staying and it making a horrific impression on him, with no redeeming quality at all:

“There was an iciness, a sinking, a sickening of the heart – an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime.”

He thinks: well, who knows why the mind will sometimes play such a trick on us? I’ll look at the house from another angle and maybe it will look better. Nope! It looks just as bad from this angle too. There’s literally nothing good to say about it. There’s something uncanny about this: it’s as if the house is objectively evil, its malignity being an essential property of it so that you can’t see the house without feeling morally sick.

The house is present at every moment of the story, the whole purpose of the piece being to describe the horrific source of fear in order to shed some light on the nature of fear itself. And what’s interesting is most good short stories written since Poe have this exact same focus of subject matter and purpose, and “paring down of incidents” so as not to distract from the object and the climax of the story, so that you’d almost think what Poe is doing is fairly unremarkable, until you remember (as Lovecraft points out) that Poe really was the inventor of the short story in its current, modern form.

(I’ve been reading H.P. Lovecraft’s The Annotated Supernatural Horror in Literature, edited by S.T. Joshi.)

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The Admonishing Stars

Imagine if the stars came out only once every thousand years, says Ralph Waldo Emerson. How people would gather to see them, and preserve the memory of them, passing down the story of the stars from generation to generation. (Imagine also there are no cameras to record their appearance…)

Photo by Klemen Vrankar on Unsplash

And yet in reality we are able to go out, or look outside, and see the stars every night. In the imagined case, we might call the stars’ appearance a “miracle.” Some might find the stories too fantastical to be believed at all. In reality we take the nightly miracle in our stride and some nights we forget to look up at all.

The stars “admonish” us, says Emerson. They are something to “revere” that is beyond ourselves. Such things can stir a soul to action.

I call myself “solitary” because I will spend a great deal of time alone, just reading and writing. But Emerson tells me I’m not really alone, because I have as company the words and thoughts of others.

“Nature” might be described as whatever is not us. For Emerson, there’s the world of “spirit,” which is the world of human souls, and there’s the world of nature, which is whatever is not human. And whatever is not human is divine.

When you’re truly alone you’re with nature, which is the same as saying “with God.”

There’s a lot of noise about whether there even is a God or gods when in fact the whole meaning of “God” can be discovered by just going outside and looking up at the stars.

In the light of day you might look back and say it’s just a metaphor; it’s all the same whether you do or not. And there’s plenty in nature to see in the daytime that might snap you back to a sense of the divine; a sense of what human beings have been seeking all through their lives for thousands of years; a sense of what I am when I am truly alone; a sense of my own self.

(I’ve been reading Emerson’s “Nature” in Selected Writings of Ralph Waldo Emerson, published by Signet Classics in 2003.)

Photo by Dawid Zawiła on Unsplash
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Friday, 21st February 1997

Besides getting his toilet fixed by a man called “Dirty Dave,” William Burroughs spent the day reading Asylum by Patrick McGrath.

It’s been a long time since I read that book. I remember I enjoyed it but little more.

What Burroughs notes is a line: “She brushed at a wasp that was buzzing around her glass.” This is a good detail, he says. A wasp is something we can all relate to as a thing that gets our attention when it’s around. The reader is “there,” as Burroughs puts it, imagining how it would be seeing the wasp.

We’ve all got a go-to strategy for dealing with wasps. I had a friend who, if a wasp landed on his face, would just sit absolutely still until the wasp got bored and flew away. Anything not to annoy the wasp. I’m usually a bit more pro-active, jumping up and shooing until it clears off.

The point is, the wasp puts you in the story because you immediately know what you would do in that situation.

Your drink, the moment before a wasp lands on the edge of your glass. What will you do?? (Photo by Lefteris kallergis on Unsplash)

At this point in his life (Burroughs was 83), he would read, and scribble a bit, read some more… until friends dropped around in the late afternoon and it was time for cocktails. In his last journals, Burroughs often seemed frustrated that he couldn’t get a new piece of writing going. He’d try jumping off from whatever he’d been reading. Today he’s reading a book about a psychiatrist, which gets him thinking about the career he never had in medicine. He starts writing a story about a doctor who spies on his patients as they sit in the waiting room, but he only gets a couple of lines in.

“What I’m writing here is lifeless and flat as old mud-spattered snow.”

Burroughs is concerned with liveliness today; how to make words and images jump off the page at the reader. He can’t find anything as vivid as a wasp.

(I’ve been reading Last Words: The Final Journals of William Burroughs, edited by James Grauerholz.)

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Fact and Fiction

I’m making notes for my Substack and I came across this passage from Hume, quoted by Barry Stroud in his 1977 book on the philosopher:

“If one person sits down to read a book as a romance, and another as a true history, they plainly receive the same ideas […] tho’ his testimony has not the same influence on them. The latter has a more lively conception of all the incidents. He enters deeper into the concerns of the persons […] He even goes so far as to form a notion of their features, and air, and person. While the former, who gives no credit to the testimony of the author, has a more faint and languid conception of all these particulars …”

Stroud takes issue with what Hume is saying here, because we all know it’s just as easy to get engrossed in a fiction, to see all the details clearly in our minds and feel for the characters, as it is when we’re reading something we believe to be true.

But I think Hume might be on to something here. I think the reason fiction can often seem so vivid to me and make me care so much is because I do believe it to be true, at least in the moment as I’m reading it. In Hume’s terms: though I’m reading a “romance” I’m reading it “as a true history.” When my impressions are “faint and languid” it’s usually because I’m not very interested in the book, and so I can’t “get into it” and make the imaginative leap into believing it, and this happens at least as frequently with non-fiction as it does with fiction. With non-fiction I might know that technically what I’m being told is true, but because it’s been told so distantly and abstractly I don’t believe it happened quite this way and so effectively I don’t believe the account that I’m reading.

In short, I’m very taken with Hume’s notion that to believe something means to have a strong impression of it in the mind, even if (as Stroud points out) Hume himself seems to have been very dissatisfied with this part of his own theory.

(I’ll write more about Hume and belief on my Substack, which is now up and running if you’d like to subscribe.)

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Friends and Readers

I’ve been reading Jack Kerouac’s Vanity of Duluoz, towards the end of which he describes the way William Burroughs showed support for him in the early years, motivating him to write more as he experimented and found his voice and the courage to tell his story.

Jack would show William his work and say “Well …?” and Will would read it, and finish reading it, and then nod his head and say “Good, good.”

Jack would ask: What specifically did you think about it?

Will would reply: “Why, I don’t specifically think of it. I just rather like it, is all.”

Jack would blush, perhaps feeling he was being prideful in some way expecting and desiring praise, and he would meekly say “Well … it was fun writing it.”

And Will would nod sagely and ask Jack how his family was doing.

I’d read about this interaction before and it was presented as something Jack found frustrating. It can certainly be upsetting, having put your heart and soul into some work, to show that work, especially to a valued friend, and get almost nothing in response. But here, Jack seems to value what his friend did for him when he writes that “he, yes, waited for more. Elsewhere there was only established fact and ruinous retreat.” However little William offered in the form of constructive criticism or stirring praise, he was always there waiting for more. Jack had a reader, and that was enough to motivate him to keep going. To say the same thing another way: he had a friend when he needed one.

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On David Hume and Perception

I’m putting together some notes for a long-term project I’m planning to share on my Substack (which you can go and look at and even subscribe to if you like! It’s a bit bare for now but I will begin posting soon). It’s going to be an attempt to explain in an interesting way, and in as clear terms as possible, what Hegel is doing in his Phenomenology of Spirit, which is a really interesting and influential book which is, unfortunately, pretty impossible to make sense of on first (or even second or third) reading, but which I do think everyone could benefit from reading.

One of the first few topics I want to discuss on the new blog is David Hume’s ideas about “perception,” and the use Hegel makes of these ideas. So I’ve been making notes on Hume’s work and I’m sharing some of these here.

In the Enquiry Concerning Human Understanding, Hume criticises rationalism, which is the philosophical belief that reason, rather than experience, is the best way to understand truths about the world. He shows how rationalism first of all raises doubts about the ordinary perception of the world, and then how rationalism starts to bring doubts against itself, until it ends in the absolute destruction wrought by the extreme form of scepticism he calls “Pyrrhonism.”

The problem of perception isn’t a problem until you start doing philosophy. Natural instinct tells us that what we perceive when we look around us are objects, or things, in the world. It’s such an obvious thing to say that it looks like I’m saying nothing when I say it: for example, I see a book beside me; when I say “I see a book” I am saying that “I” (the observer) sees a book (the object). It is sentences like this, over-explaining the absolutely obvious, that can make non-philosophers, perhaps forgivably, believe that philosophers are absolutely wasting their time.

In Hume’s words: “It seems evident, that men are carried, by a natural instinct or prepossession, to repose faith in their senses” and so “we always suppose an external universe” (151*) And people get along fine in this natural belief and perhaps some never question this belief for the whole of their lives.

“But this universal and primary opinion of all men is soon destroyed by the slightest philosophy, which teaches us, that nothing can ever be present to the mind but an image or perception.” (152)

In other words, reason and philosophy come in and tell us: no, what you see when you say “I see a book” is only the “perception” of a book. Things look different to different people, and to the same person at different times, for example this book is a dark green but when I hold it to the window it looks lighter in the sunlight, so does the colour really belong to the object? And so on for all the qualities of an object. We don’t want to doubt that there’s an object there, but it seems impossible to deny that all we can ever see of the object is our perception of it, and never the object itself.

We want to believe in objects, and an external world, because to deny the world and everything in it would be to exist alone in the universe, with everything that seems to exist having reality in your own mind only. So reason asks: is there any way we can prove that there are external objects? And if you are a rationalist it will be essential that you find some rational proof. Because though it’s true that I want not to be alone in the universe, if I’m a rationalist I will refuse any belief that’s not grounded in reason.

“By what argument can it be proved, that the perceptions of the mind must be caused by external objects, entirely different from them, though resembling them …?” (152-153)

It’s a strange predicament to be in, and utterly baffling to a lot of non-philosophers. Why on earth have you put yourself in this hole? You insisted there was no external world despite the evidence of the senses, and now you want to prove there is some world behind the one we can see in order to prove that the very objects we can see exist at all!

Philosophy persists in its endeavour to find this world behind the world but ultimately finds that we can’t prove any such thing because every argument that can be made with reason can be defeated by another that reason brings against itself. In other words: scepticism arises from the use of reason. And there is no limit to scepticism. “Pyrrhonism” is a term Hume uses broadly to describe scepticism of the most extreme kind: an example that might come under this heading would be Zeno’s Achilles and the Tortoise thought-experiment that seems to prove that space, and therefore the material world, cannot really exist. Pyrrhonian scepticism is a problem for rationalism because it seems to show that, even if there is a world behind our confused world of the senses, it can’t be anything like the one that we perceive, since very basic notions, such as the concepts of time and space, are concepts for things that cannot possibly exist.

“This is a topic, therefore, in which the profounder and more philosophical sceptics will always triumph, when they endeavour to introduce an universal doubt into all subjects of human knowledge and enquiry.” (153)

Reason always turns back on itself: it looks for reasons for its reasons, and checks its own working. So every reason for the existence of something causes reason to search for possible objections, and there is always one to be found. In other words, whatever rationalism can offer, scepticism, the ungrateful child of reason, can easily mock to scorn.

Ultimately, the cycle is broken with laughter. We give up on this extreme use of reason. In Hume’s words:

“And though a Pyrrhonian may throw himself or others into a momentary amazement and confusion by his profound reasonings; the first and most trivial event in life will put to flight all his doubts and scruples, and leave him the same, in every point of action and speculation, with the philosophers of every other sect, or with those who never concerned themselves in any philosophical researches. When he awakes from his dream, he will be the first to join the laugh against himself, and to confess, that all his objections are mere amusement …” (160)

Since the rigorous proofs of rationalism are always unsuccessful (since stronger objections can always be found), any “proofs” offered for anything must appeal to something other than pure reason. Hume suggests common sense. Proofs for Hume are a sort of proof “beyond reasonable doubt,” to use a legalistic phrase, appealing to the judgement and instincts of the one assessing the situation.

This is why Hume will use phrases like “it seems evident” in his reasoning. Ultimately we can’t get further than a preponderance of evidence about anything we learn through experience. Famously, Hume brings arguments that call into question the existence of minds, the world, space, and time, and yet at the end of the day he still believes in them.

If you are a rationalist then you need undisputed reasons for believing anything. But Hume is not a rationalist and so his belief is based on something else. As an empiricist his beliefs are based on experience. Well experience is not enough either, on its own. The whole debate between rationalists and empiricists is about what we do with the data we get from experience. Do we throw it out or make some use of it? Hume, as an empiricist, suggests that we appeal to common sense to interpret and judge what we experience in a sensible way, in a way that accords with everyday activity, with “action, and employment” (159), which demands that such things as self, world, time, and space exist.

(*Page references are to David Hume, Enquiries Concerning Human Understanding and Concerning the Principles of Morals published by Oxford University Press, 1975. In case you have a different edition, all the references are to parts I and II of section XII of the Enquiry Concerning Human Understanding.)

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Fire and Tears

According to the Mahabharata, there was a time when there was no death. Creation was the big thing, and a fiery god created and created things until the universe was packed. Until even he had to admit he’d overdone it.

Stubbing his toe for the (literally) millionth time on one of his creations he got so angry he caught fire and began to burn all the beautiful creatures he had made. And they just kept smiling through the flames as they burned and didn’t turn to ash because there was no such thing as death.

And the whole universe burning and smiling it was getting pretty hot and uncomfortable and the other gods came and said “It’s about time we had a clear-out.” But the creator-god couldn’t bring himself to throw anything away.

“Well at least stop being on fire then.”

So he cooled down and when he did the flames turned into a woman called Death.

“Death,” he said. “It’s your job to clear all this away.”

But she didn’t want to destroy anything any more than he did, so she ran away and stood on one foot for 35 billion years in the most impressive show of asceticism the universe has ever seen.

And the god sought her out but she wasn’t ready to be found. She couldn’t face the task for which she’d been created. And why should she? Having stood here, perfectly still, for so many billion years she’d proven she was capable of higher things than tidying up after a fiery old god.

But the god eventually got his way. Though she refused to obey, and wept at the very thought of destroying anything, the cruel god transformed her tears so that they now cause disease wherever they fall, and cause things to perish. And she couldn’t stop weeping for the injustice and for everything that would be lost. And the tears fell. And death became a reality in the world as they fell and quenched the flames and caused every smile to fade.

(I’ve been reading Hindu Myths by Wendy Doniger. The image is from Pixabay)

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Empty

To be empty inside is to have “no special way of moving or doing things so one way is the same … as another.” You learn things fast and follow instructions well. You are useful to others.

“The Dead Child” of William S. Burroughs’ The Wild Boys is this way: some trauma seems to have left him “blank” and all he knows is he has to get to the golf course and await further instruction.

A recurring theme in Burroughs is possession: bodies controlled or swapped, cold alien eyes looking out from an otherwise human face.

It feels very familiar. So many Hollywood and paperback thrillers have a main character who is empty at the start of the story, ready to be given a mission, called into action for one purpose only. Once things get going they’ll be told repeatedly to take a day off or get some sleep, but they’re not going to rest until the job is done.

I feel like Burroughs is tapping into a present-day fantasy: if only I could be emptier and more streamlined, my mind clearer and my purpose fixed, I could achieve great things.

It’s like we’re being taught to regret that we’re human. Or perhaps to accept that because we are human it is not for us to achieve anything noteworthy in this life. Life coaches telling us to get up at 4am if we want to succeed, as if sleep and dreams were things of no value and to be outgrown. Like you’ve got to be superhuman to be something. What’s life without human concerns? Without sleep and dreams? Empty yourself for success, be nothing, be useful.

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Home

I finished reading Future Home of the Living God by Louise Erdrich this morning.

The Earth is our home, and the future home will be the Earth to come. In the story, the planet is changing fast and the future seems highly uncertain. This is also true outside the book, in our own reality.

Home is the place where you are grounded. The place you put your feet down and feel “at home.” It’s the place without which you would have no existence at all. When drastic changes occur it can feel abruptly like you don’t belong anywhere, you have no home, and suddenly you’re not cut out for life on the Earth. Your very existence is threatened.

Sometimes you need something deeper than a home to crawl into, something subterranean and deeper than ground. Cedar seeks out the solitude of her own house where she lives alone. She calls this place her “den,” which is “the place I can be merely the nameless being I am, a two-decade-plus collection of quirks and curiosities, the biochemical machine that examines its own mind, the searcher who believes equally in the laws of physics and the Holy Ghost …”

In a sense everyone has a home, even if all you have is the wide earth. But without a den, a place to retreat to and bury yourself for a time, how could you have those mad thoughts that other people wouldn’t (perhaps shouldn’t) understand? How would you ever reconcile science and God? Mortality and hope? The irrational and the rational? You need a space to entertain those thoughts which, when uttered in the company of other people, fragment into a million pieces …

Perhaps some people don’t need a place to recharge and are happy to just roam the earth. All I can say is I could really relate to Cedar’s description of her den.

(Image: NASA, Public domain, via Wikimedia Commons)

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