A rare but recent photo of Thomas Tritchler
taken in Salzburg, Austria
The dreary utilitarianism of the English intellectual tradition is of course a historical given. But recently this Orwellian weakness for plain speaking has been reasserted by Elliot Murphy in his otherwise valuable study of anarchism and British literature.
In Unmaking Merlin (Zero Books, 2014), Murphy devotes an embarrassingly reactionary chapter to mocking obscurantist French poststructuralism - the decadent representatives of which he is clearly far too real and rational to care to understand. Against those sceptical writers who value irony and regard critical thinking as an indispensable inheritance of that hermeneutic tradition inaugurated by the great masters of suspicion (Marx, Nietzsche, and Freud), Murphy oddly joins hands with pantomime moralist Roger Scruton, for whom Foucault's The Order of Things is to be dismissed as:
"An artful book, composed with a satanic mendacity ... [whose] goal is subversion, not truth [that perpetrates] the old nominalist sleight of hand that was surely invented by the Father of Lies - that 'truth' requires inverted comas, that it changes from epoch to epoch, and is tied to the form of consciousness, the episteme, imposed by the class which profits from its propagation ..."
Since I would gladly affirm Scruton's scornful review as a ringing endorsement, we at least both know where we stand; he in his Anglican pulpit haranguing the heretics and frauds of aesthetic thought; I, presumably, whispering to demons with a forked tongue in a Parisian graveyard. At any rate, it feels good to know that as well as wearing Prada and having all the best tunes, the Devil is also a chic-y postmodernist!
In an instructive essay on British anti-intellectualism, Ed Rooksby has traced such inverted snobbery to the father of modern conservatism, Edmund Burke, who, in his repudiation of the romantic idealism of the French Revolution, subsumed the horror of free thinking beneath the twin lenses of natural prejudice and common sense. The inductive methodologies of Francis Bacon and Isaac Newton would now underpin an ontological realism whose homespun incarnation assumed an irremediably naive strain.
Not for nothing did Oscar Wilde lament England as the 'home of lost ideas'. At the very least, in a culturally and financially bankrupt nation in which Stephen Fry offers the closest approximation of a public intellectual, it can be safely assumed one is unlikely to be breathing the rarefied air of grand thoughts.
In an instructive essay on British anti-intellectualism, Ed Rooksby has traced such inverted snobbery to the father of modern conservatism, Edmund Burke, who, in his repudiation of the romantic idealism of the French Revolution, subsumed the horror of free thinking beneath the twin lenses of natural prejudice and common sense. The inductive methodologies of Francis Bacon and Isaac Newton would now underpin an ontological realism whose homespun incarnation assumed an irremediably naive strain.
Not for nothing did Oscar Wilde lament England as the 'home of lost ideas'. At the very least, in a culturally and financially bankrupt nation in which Stephen Fry offers the closest approximation of a public intellectual, it can be safely assumed one is unlikely to be breathing the rarefied air of grand thoughts.
Thomas
Tritchler is a poet and critical theorist based in Calw, Germany. He
has written and researched extensively on a wide range of authors,
including Hölderlin, Nietzsche, Ted Hughes and Jean Baudrillard, and on
topics including Romanticism, the Holocaust, and the politics of evil.
He has recently worked with the Berlin-based art cooperative Testklang.
Thomas Tritchler appears here as part of the Torpedo the Ark Gastautoren Programm and I am very grateful for his kind submission of a lengthy text written especially for this blog, edited into three separate posts for the sake of convenience.
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