Honey for Everyone

Carmen Dene on the cover of Span, Issue 101, 

(Town and Country Publications, Jan, 1963)

There are many reasons to enjoy The Avengers episode entitled 'Honey for the Prince' [4/26] - the lovely opening scene with Steed and Mrs Peel returning home from a party in a gay and flirtatious mood as dawn breaks, for example, or Emma wearing a revealing harem costume and dancing the dance of the seven veils before then fighting a would-be assassin - but, for me, the really exciting thing is the kinky cameo appearance of Carmen Dene in the role of a sexy masseuse to the sleazy villain of the piece (played by Greek character actor, George Pastell).

Although Miss Dene, born in Liverpool, 1944, to a Spanish mother, had minor roles in several major films in the 1960s, including Goldfinger (1964), Genghis Khan (1965), and Carry On Up the Khyber (1968) - often being cast for her Mediterranean good looks - she is perhaps most fondly remembered by those in the know as a regular model in the trio of pin-up magazines published by Town and Country during the 1950s, '60s and early-to-mid '70s - Spick, Span and Beautiful Britons.

This is not, unfortunately, the time or place to outline a full history of these publications, but readers who are interested in such are encouraged to visit the invaluable site Vintage Fetish Magazines, by clicking here. I would, however, like to put on record my love for these magazines and the numerous models featured therein; girl-next-door types, posing in their underwear in the somehow reassuring (if slightly shabby and sexless) suburban settings of Post-War Britain, thus allowing those with no interest in glimpsing stocking tops and directoire knickers, to admire the furniture and upholstery of the times, or simply stare at the wallpaper.

Ultimately, if given the choice between today's explicit, charmless, full-colour pornography and this lost black and white world of erotica and home decor, full of girls who haven't been surgically or digitally enhanced and interiors that haven't been designed with so much coolness and good taste that all the joy has been drained from them, then I know which I'd choose.

As one gets older, it seems, one becomes increasingly nostalgic for - and seduced by - naivety and queer signs of life. One wants a world in which it is still possible to dream and to play and there's honey for everyone ...

Flappers

The playful flapper here we see, 

the fairest of the fair.

One of the reasons that I still very much love the flappers is because they continue to piss off puritans of all stripes who, as the critic H. L. Mencken put it so wonderfully, are those persons forever gripped by the terrible fear that someone, somewhere may be happier or having more fun than they are.

Unfortunately, this seems to include followers of D. H. Lawrence, one of whom wrote in response to a question I asked about the latter’s antipathy to the young women of the Jazz Age, that flappers were almost as bad as bunny girls. When pressed to explain this rather surprising comparison, this former editor of the D. H. Lawrence Society Newsletter sent the following text:

"Flappers are ridiculous and degrading. Lawrence hated them as he (rightly) hated the vulgar songs of Bessie Smith. Who wouldn’t look on flappers as anything but women exploiting their sexuality and being exploited? Essentially, it’s the absurd falsity of them that is so objectionable. They have been industrialised; mass produced – it’s repulsive! And all that phony joie de vivre is equally nauseating; I don’t for a second believe in their kind of good time. I won’t even mention their physical appearance – the boyishness that Lawrence commented on and so despised."

Where does one begin with this astonishing attempt to channel the spirit of Lawrence at its most malevolently misogynistic?

Well, firstly, it’s true that Lawrence on one occasion became so incensed with Frieda repeatedly playing a recording by the great American blues singer Bessie Smith, that he smashed the gramophone record over her head in an act often portrayed by commentators as violent domestic comedy, but which might better be construed as humourless domestic violence.

I also have to admit that the writer of the above pretty much manages to summarise the main reasons for Lawrence’s antipathy towards the flappers: their independence, their hedonism, their promiscuity, their artificiality and their superficiality (in dress, manner, and behaviour).

I think the really crucial point, however, is the one he leaves to last and wishes not to mention - but nevertheless can’t help mentioning: what Lawrence most dislikes about the flappers is their physical appearance. And by this we refer not so much to the short skirts they liked to wear (though doubtless Lawrence objected to these too), but to the actual bodies of the flappers, in shape, in size, and in their somewhat androgynous character.

In brief, the flappers, with their bobbed hair, flattened chests, narrow hips, and pert little bottoms, weren’t womanly enough for Lawrence, who, as is evident from his choice of wife, his descriptions of Constance Chatterley, and his paintings, clearly had a penchant for plump, curvaceous, fleshy females.

His attempt to body shame the flappers - something that, shockingly, is still being carried on by some of his followers even today - is rooted therefore not only in his puritanism and problematic gender politics, but also in his own sexual preference for BBW.

Ultimately, the slim and sophisticated figure of the flapper left him limp - and Lawrence resented them for it.

On Courage, Conviction and the Necessity of Change

A tadpole that has so gaily waved its tail in the water must feel very sick when the tail begins to drop off ... The tail was its dearest, gayest, most active member ... but the little green frog in the grass is a new gem after all. 

- D. H. Lawrence 

As Nietzsche says, it’s a common error to suppose that a person of conviction is courageous because they stick to their guns, their ideas, beliefs and principles, no matter what. This might be a method of establishing a solid reputation and of being recognized as dependable, like a trusted tool, within a society dominated by slave morality, but it takes a certain plucky insouciance to lack conviction, adopt brief habits, and hold one’s views lightly.

That is to say, the brave individual is one who regularly sheds his ideals like a snake sheds its skin; not because he changes his mind - for what kills all that is old and redundant within us is not a victory of reason, rather, it’s a form of vital energy. We shed skins and negate our former selves because new life bubbles up inside us and produces new feelings and, indeed, in certain species, entirely new forms of being. If the caterpillar had conviction, it would never become a butterfly; if the tadpole insisted on continuity and self-preservation, it would never sprout little legs with which to leap into the future as frog.

Like Nietzsche, Lawrence fully understands the importance of this and develops the idea of change as a vital necessity in a late article entitled ‘The State of Funk’.

There is, he admits, a certain justification for fear when change is upon us; because change of any sort can be dangerous and involve an element of suffering. But - having conceded that change often brings pain and uncertainty - there’s still no excuse for what Lawrence calls funk. Rather, it’s the duty of men and women when confronted by new and problematic conditions to face up to things with a little courage and good humour; not retreat behind well-known and well-worn positions and make a blustering display of their moral certainties, or offer ready-made solutions:

"There is no ready-made solution. Ready-made solutions are almost the greatest danger of all. A change is a slow flux, which must happen bit by bit. ... You can’t drive it like a steam-engine. But all the time you can be alert and intelligent about it ... Patience, alertness, intelligence, and a human goodwill and fearlessness, that is what you want in a time of change. Not funk."

Lawrence goes on to argue that it is in our power to change, our capacity to adapt, and our readiness to admit and fulfil new needs that our best hope and greatest strength resides. To be firm is one thing. But to be secretly full of fear and of petrified opinion is something else; something that leads to bullying and, ultimately, has disastrous consequences.

In sum: change is inevitable - not merely because external conditions change, but because we change and change vitally as the years pass: "New feelings arise in us, old values depreciate ... Things we thought we wanted most intensely we realise we don’t care about. The things we built our lives upon crumble and disappear, and the process is painful."

Painful, but not tragic; for we can live without conviction - and perhaps even live more gaily.


Notes

Nietzsche, The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974), IV. 296, 307.

D. H. Lawrence, ‘The State of Funk’, Late Essays and Articles, ed. James T. Boulton, (Cambridge University Press, 2004), pp. 218-224. Lines quoted are on pp. 220 and 221.

On Nietzsche's Hypomania

Nietzsche Burst! Designed by by Rev. Shakes (2014) 

Available on numerous gift items from www.zazzle.ca

If there's one thing I hate, it’s being told to cheer up or to smile, by strangers possessed by a will to happiness; fascists of optimism and positive thinking, always looking on the bright side and finding strength through joy.

Nor, come to that, do I want eternal bliss or a perpetual feeling of euphoria and I don’t trust those who fantasise about elevated moods and this, regrettably, includes Herr Nietzsche, whose writing is at its least convincing, least interesting, and least readable when he indulges his poet's taste for ecstasy and utopian fantasy.

That Nietzsche should find the prospect of a future humanity embodying a single great feeling and resting on clouds something delightful, is deeply disappointing and depressing. Like Anna Brangwen, I prefer to let many feelings come and go - even negative ones - and to keep my feet firmly on the ground. I love those things which save me from being swept up into any Absolute and spit on the idea of man's perfectibility.        

If we need to get over our humanity, then it's for the same reason and in the same manner we need to get over an illness, or a broken heart. Ultimately, it's a question of recovery and convalescence, not transcendence or salvation. It takes time and it can be a painful process. It requires patience and perhaps a prolonged period of silent reflection; it's not something to excitedly sing and shout about (like a madman).

Sometimes, in his hypomania, Nietzsche seems to misunderstand his own project and betray his own attempt at a revaluation of all values ...


See: Nietzsche, The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974), IV. 288.      

In Praise of Modern Science

ilovesciencestore.com

For those overexcited vitalists who like to pretend that everything is alive, science deadens existence. Similarly, for those conceited anthropocentrists who like to imagine that Man is at the heart of the universe, science displaces and dehumanises.

Thus, for many people - not just poets and priests, but, regrettably, a significant number of philosophers - hostility towards science is second nature and they long for a re-enchantment of the world; to see things once more with the eyes of children, primitives, or the practitioners of occultism.

But, of course, not only would it be extremely foolish to try and return to an earlier, pre-scientific age of superstition and sorcery, but one might challenge the very presumption that knowledge kills. For in fact, knowledge does no such thing; on the contrary, it stimulates a taste and a desire for ever greater understanding and, as Nietzsche writes, the will to truth is ultimately what distinguishes men from animals and higher human beings from the lower; "the former see and hear immeasurably more, and see and hear more thoughtfully" [301].

Of course the world of rational enquiry is indebted to its religious inheritance - Nietzsche happily admits that the modern sciences would never have developed if the way had not been prepared by "magicians, alchemists, astrologers, and witches whose promises and pretensions first had to create a hunger ... for hidden and forbidden powers" [300] - but it's natural science and not supernatural fantasy that makes the world ever fuller, ever more complex, ever more wondrous.

The fact that many people refuse to see this is ultimately because the severity of science - what Nietzsche describes as its inexorability in all matters great and small - makes the uninitiated feel dizzy and afraid. They can’t catch their breath in the rarefied atmosphere created by those who have left the muddy waters of myth and religion behind.

But for those of us who have become accustomed to the discipline of science and its experimental practice, there is no place we'd rather live than in this "bright, transparent, vigorous, electrified air" [293].


See: Nietzsche; The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974). The numbers in the body of the text refer to sections, not pages.

On the Architecture of the Future

In response to a growing population and a resultant shortage of housing, it seems that every available space is now being built on in London and the surrounding suburbs. But whenever I see a new development, I always recall what Nietzsche wrote on the subject of high density housing and overcrowded city streets:

"One day, and probably soon, we need some recognition of what above all is lacking in our urban areas: quiet and wide, expansive places for reflection."

We need to build not just shopping centres, apartment blocks, and corporate skyscrapers, but sites free from commerce, traffic, and endless human noise (where good manners would prohibit even the use of mobile phones); public squares, parks and even rooftop fields that would afford men and women the opportunity to step aside, to breathe, and to briefly experience the joy of the vita contemplativa (for like other herd animals, man too is a ruminant).

Places that, as Nietzsche puts it, allow us to take a stroll round ourselves. And so the question is: where are the architects of the future who have the know-how and the vision to create such an environment; a home fit for men and cows.


See: Nietzsche, The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974), IV. 280. Note that I have slightly modified Kaufmann’s translation.

Sanctus Januarius: A Nietzschean New Year Message

Portrait of St. Januarius, by Caravaggio (1607)

Granting himself the right to do so in accordance with popular custom, Nietzsche famously opens Book IV of The Gay Science, written in January 1882, with a new year's resolution:

"I want to learn more and more to see as beautiful what is necessary in things; then I shall be one of those who makes things beautiful. Amor fati: let that be my love henceforth! I do not want to wage war against what is ugly. I do not want to accuse; I do not even want to accuse those who accuse. Looking away shall be my only negation ... I wish to be only a Yes-sayer." [276] 

This section, one that I often return to, might be regarded as an essential thought for me; fundamental to the philosophy of Torpedo the Ark which is all about having done with judgement and the assigning of blame, or subscribing to what Nietzsche elsewhere terms a hangman's metaphysic.

But, although a short and seemingly straightforward passage, one has to be careful not to misunderstand what Nietzsche is saying here: 

Firstly, he is absolutely not saying that life is beautiful and attempting to fob us off with a feel good philosophy built upon false idealism. For Nietzsche, life is monstrous and inhuman and what is necessary in things (that is to say, fateful), is what most people would describe as morally repugnant or evil. 

Secondly - and even more crucially - Nietzsche not only wants to see what is necessary in things as beautiful (even when, in fact, it's often repulsive or malevolent in nature), he wishes to affirm this aspect as belonging to what he terms an economy of the whole in which all things are entwined. 

Thirdly, to love fate is not merely to resign oneself to the facts; but, rather, to interpret the latter and struggle to find new perspectives and create new ways of living.

Saying Yes, in a Nietzschean manner, doesn't therefore mean one must become a nodding donkey; one's No is contained in this affirmation and one learns how to actively negate the negative simply by turning one's face with aristocratic disdain upon those things (including those people and those gods) who demand worship, obedience, and submission. 

Happy New Year to all readers.


See: Nietzsche, The Gay Science, trans. Walter Kaufmann, (Vintage Books, 1974), IV. 276. 

Heterosis

Luma Grothe: the lovely face of fashion 

and Irma Grese: the ugly face of fascism

Nazis are obsessed with blood: both spilling the blood of others deemed racial inferiors and preserving the purity of their own blood, which is thought to possess superior qualities and derive from a divine origin. For the Nazis, therefore, the most dreadful thing in the world is the prospect of interracial sexual relations between people of Nordic stock and those who are of non-Aryan descent. They described this as a form of Rassenschande - an infringement upon the laws of Nature which Nazi policies of racial hygiene were designed to vigorously uphold and enforce.

German girls were warned that should they commit blood treason and choose to fuck with racial inferiors, not only would they be forever lost to their own people, but any unfortunate child that resulted from the illicit union would be a lamentable creature, fit only for extermination. Such irresponsible actions also had a far wider consequence: Hitler identified miscegenation as the sole cause of cultural destruction; "for men do not perish as a result of lost wars, but by the loss of that force of resistance which is contained only in pure blood."

Despite the pseudo-biology used to provide a scientific basis for these beliefs, they are, of course, little more than pernicious fantasies. The fact is many mixed race individuals exhibit not only extraordinary beauty - as in the case of Luma Grothe, pictured above - but what is known as hybrid vigour. In other words, certain traits are enhanced as a result of the dissimilarity in the gametes by whose union the organism was formed.

Now, this is not to say that all such unions produce supermodels. But, by and large, it’s inbreeding that’s genetically problematic rather than outcrossing. For it’s the latter practice that increases diversity and promises heterotic wonders, such as Miss Grothe, born under sunny South American skies to a German mother and a father of Japanese and African descent.

Ultimately, if given the choice between the above and Irma Grese - the blonde, blue-eyed Beast of Belsen - I know whom I’d choose to share a world with ...

Note: The line quoted from Hitler can be found in Vol. 1, Chapter 11, of Mein Kampf, trans. Ralph Manheim, (Hutchinson, 1969), p. 269. 

The Owl of Minerva

Photo of  the poet-philosopher Simon Solomon,

by Sara Larsson (2015).  

simonsolomon.ink

Here we are then at the fag end of another year; drifting about in that awful grey twilight zone that lies between Boxing Day and January 1st. Naturally, one reflects with a certain sad shyness on the twelve months past.

Indeed, according to Hegel, one is condemned as a critical thinker to do nothing but look back with large eyes and a sharp beak on historical events and ideas. For philosophy is a retrospective practice par excellence – ‘The owl of Minerva spreads its wings only when dusk begins to fall’ – as he put it so beautifully.

In other words, philosophy cannot legislate for the future or even legitimately analyse the present, because it understands only with hindsight; it doesn’t appear until life has unfolded and already completed its processes. Like anatomy, philosophy presupposes a corpse.

Perhaps that’s why so many philosophers choose to ignore Plato and turn to poetry, which is a form of thinking and speaking the truth that has maintained something of its prophetic or visionary character – something alien to the world of pure reason. Poetry memorializes the past, but it also responds to the nowness of the moment and anticipates the day after tomorrow (or the god who is coming).

The thinker-as-poet, who challenges the divide between metaphor and concept and the separation of the real and the imaginary, does far more than simply play with words from behind a fool's mask, or frolic on rainbows. Theirs is a thinking which, as Heidegger says, is the topology of Being; i.e., that which tells Being the whereabouts of its actual presence (in things).

Like Lawrence, I think it a great pity that philosophy and poetry have been kept in an antagonistic relationship for so long; it's been damaging to both our intellectual and emotional life. We should value those writers who further textual promiscuity and remember Zarathustra's eagle, or Shelley's skylark, not just Minerva's wise old owl ... 

The Case of Evelyn McHale (The Most Beautiful Suicide in the World)

Photo of Evelyn McHale, by Robert C. Wiles. 

For poets, there is nothing more romantic than the suicide of someone young; particularly if they take their lives with an element of style and manage to leave behind them a good-looking corpse. And no one has managed to achieve this feat with more success than an attractive, twenty-three year old bookkeeper, called Evelyn McHale, in 1947.

Hers is often described as the most beautiful suicide in the world and I’m happy to share this view. What makes her case so magnificent and not merely tragic (or mundane), are the following six points:

1. She chose a magical date, May 1st, an ancient spring festival, on which to make her self-sacrifice, thereby lending her death a certain mythical aspect or celebratory pagan splendour.

2. She chose the right method for her location. When in Berlin, for example, one should swallow poison or use a gun; in London, it’s appropriate to throw oneself from a bridge into the Thames, or onto the tracks of the Underground before an approaching train. But, as Serge Gainsbourg observed, New York is all about the astonishing height of its buildings. And so, when in NYC, one simply has to jump.

3. Having chosen, rightly, to jump, Evelyn then selected one of the two truly great and truly iconic modern structures from which to leap: the Empire State Building. This 102-story skyscraper, located in Midtown Manhattan, is, with its beautiful art deco design, the perfect place from which to fall to one’s death and since its opening in 1931 only a select number of lucky souls have had the privilege (and fatal pleasure) of plunging from this iconic site.

4. She was impeccably dressed for the occasion, with gloves and a simple, but elegant, pearl necklace. Before jumping she calmly removed her coat and neatly folded it over the wall of the 86th floor observation deck. She also left behind her a make-up kit, some family snaps, and a suicide note written in a black pocketbook, in which she asked to be cremated without any kind of fuss or service of remembrance. In other words, even in death, Evelyn kept her composure - which brings us to our fifth point:

5. She didn’t land with an undignified splat on the pavement of 34th Street; but, rather, with a crash onto the roof of a waiting car. And it wasn't just any old car - it was a UN Assembly limousine, as if she wanted to make an impression on the entire world. And impression, as we see from the photo above, is the key word here. For Evelyn literally impressed herself into the roof of the Cadillac, so that it seemed to fold round her, with metallic tenderness. There is almost nothing to suggest the terrible violence of the scene - apart from the ripped stockings and the absence of shoes.

6. She conspired with fate to ensure there was a photographer nearby to instantly capture the event of her death on film; thereby ensuring her place within the cultural imagination. Indeed, fifteen years later, Andy Warhol would incorporate her image into his work, just as he did images of other beautiful women, including Marilyn Monroe and Elizabeth Taylor.

As for the student photographer, Robert C. Wiles, he also struck it lucky that day; his astonishing photo of Evelyn was published in Life Magazine as a full-page 'Picture of the Week' in the May 12 issue. It was his first - and last - photo ever to be published and one likes to imagine he hung his camera up after taking this perfect shot, but I don't know if this is true or not.

I'll stop here - but I could of course talk about (and darkly caress) this topic forever. For Camus was right: there is only one truly serious philosophical question - and that is the question of suicide.