On Marriage, Adultery and Slut Shaming (With Reference to the Case of Lady Chatterley)

Illustration by Flavia Felipe for an article on 

slut shaming in Teen Vogue (3 June 2016)

 

 

I. 

 

Slut shaming is the practice of denigrating a young woman for acting in a manner that violates social norms regarding sexually appropriate behavior. 

 

It's not something I would normally condone or engage in, but, in the case of Constance Chatterley, who, arguably, is one of the most selfish and conniving figures in 20th-century literature, I'm prepared to make an exception ...

 

 

II. 

 

By the author's own admission, Lady Chatterley's Lover is "obviously a book written in defiance of convention" [a]. A book which not only elevates profanity to the level of a phallic language, but lends support to the idea that adultery is justified if at least one spouse is bored or sexually frustrated. 

 

"Far be it from me to suggest that all women should go running after [...] lovers" [b], says Lawrence. 

 

But, actually, that is precisely what he suggests. That because her marriage to Clifford is sexless, it is therefore an empty sham and Connie is entitled to seek her pleasure elsewhere and stage a passionate revolt against her wedding vows to love, honour and obey her husband, in good times and in bad, in sickness and in health, forsaking all others, etc. 

 

This may or may not make her a slut - and, as indicated, it's not a word I would normally use (or feel comfortable using) - but it certainly places her amongst those who experience "an intense and vivid hatred against marriage [...] as an institution and an imposition upon human life" [c].  

 

Although, according to Lawrence, that's because Connie is one of those unfortunate modern women who only know counterfeit marriage, i.e., marriage that is personal rather than phallo-cosmic [d]. 

 

And that's why she's justified in cheating on Clifford and running off with another man; because her marriage is false (based on an affinity of mind and shared interests), whereas her relationship with Mellors is authentic (based on fucking and shared passion).   

 

 

III.

 

Constance Chatterley is the sort of privileged young woman who, when considering the terrible consequences of the war, only thinks of how it brought the roof crashing down on her hopes for the future. 

 

Never mind the forty-million casulties, including her own husband, Clifford, who was shipped back to England from Flanders more or less in bits and paralysed from the waist down. After all, he could wheel himself about quite happily - but what was she going to do? For she was still young and despite her teenage love affair with a sulky musician in Dresden before the war -  twang-twang! - her body was full of unused energy ... 

 

And so this bonny Scotch trout with big blue eyes and "rather strong, female loins" [e] finds herself a lover; a successful young Irish playwright, called Michaelis, whom she fucks in her parlour at the top of the house, then seeks his assurance that he'll not let on to Clifford - because what her husband doesn't know can't hurt him. At no time does Connie consider her adulterous behaviour immoral.  

 

Connie and Mick meet whenever possible after this for what in modern parlance is known as a quickie - and it is quick, because he was "the trembling, excited sort of lover whose crisis soon came, and was finished" [29]. 

 

Thus, Mick fails to satisfy Connie (even though she eventually learns how to keep him inside her after he has come, just long enough so that she can achieve her own orgasm) and they soon break up (even though he does ask her to divorce Clifford and marry him, promising a good time). 

 

After their final act of illicit coition, however, Michaelis turns on Connie and attempts to shame her for bringing herself to climax after he has already ejaculated:

 

"When at last he drew away from her, he said, in a bitter, almost sneering little voice:

      'You couldn't go off at the same time as a man, could you? You'd have to bring yourself off! You'd have to run the show!'" [53]

 

Unsurprisingly, this shocks and humiliates Connie; she was "stunned by this unexpected piece of brutality" [54] - especially as it was due to the unsatisfactory nature of his own performance that she was obliged to be active [f]. If she's a slut, then he's something far worse and Connie is well-shot of this irritating little prick. 

 

Her next lover is her husband's gamekeeper - Oliver Mellors; the ultimate Lawentian bad boy who despite having certain physical advantages over Clifford and Michaelis - and able to write a fine letter when he wants to - remains a thoroughly bad son, bad husband, bad father, bad employee, bad citizen, and - unless one likes it rough and Greek style - a bad lover [g].          

 

 

IV.

 

Connie's affair with Mellors is so-well known, that I needn't go into explicit detail here. Although we are told that, after Michaelis, Connie's sexual desire for any man collapsed, it isn't long before she seeks out a bit of rough in the woods, initially engaging in a spot of voyeurism as she spies on Mellors washing himself, "naked to the hips, his velveteen breeches slipping down over his slender loins" [66]. 

 

This, apparently, is a visionary experience for Connie; one that hits her in the middle of her body and which she receives in her womb. And so, that night, she takes off her clothes and stands naked before the huge mirror in her bedroom, admiring her bottom - where life still lingered - but mostly feeling sorry for herself and resentful of Clifford. She was unloved and old at twenty-seven and married to a man with crippled legs and a cold heart. The injustice of it all! 

 

And so to the keeper's hut ... where she seduces Mellors with her tears, allowing him to fuck her on an old army blanket spread on the floor. Then she hurries home in time for dinner, with no real afterthought about what she's done. 

 

The next evening, she returns to the woods and to Mellors, telling him that she doesn't care about anything; her marriage, her status, her reputation ... She just wants him to fuck her again - and quickly, so she can be home once more in time for dinner.

 

The affair blossoms and Connie begins to weave her web of deceit; something that isn't too difficult for a woman to whom lying comes "as naturally as breathing" [147]. Only Mrs. Bolton guesses what's going on and she's full of admiration for Connie being able to lie to Clifford with such brazen nonchalance.

 

Before long, Connie's pregnant; which, arguably, had been her intention all along - Mellors simply being a convenient means to this end, like a stud animal (which he suspects, but Connie denies; see p.169).  

 

Connie plans a trip to Venice, partly to provide a cover story for her pregnancy; Clifford can believe she had an affair with a wealthy gentleman abroad, or her old artist friend Duncan. Her sister, Hilda, is told about Mellors - much to her outrage. She tells Connie: "'You'll get over him quite soon [...] and live to be ashamed of yourself because of him'" [238] [h].

 

Ironically, when Hilda meets Mellors, he tries to make her feel bad about herself as a woman, telling her, for example, that whilst a man gets "'a lot of enjoyment'" [245] out of a woman like her sister, she would fail to sexually satisfy any man, being, he says a sour crab-apple, in need of proper graftin'. Until then, he adds, she deserves to be left alone. 

 

Afterwards, even Connie complains that he was rude to Hilda, but Mellors is unapologetic. In fact, he suggests that what Hilda had needed was not only a good fucking, but a beating: "'She should ha' been slapped in time'" [246] to stop her becoming so wilful. 

 

One might have expected Connie to object to this remark also. But, actually, she finds his anger and violent misogynistic fantasies sexy and obediently retires to the bedroom at his suggestion, allowing Mellors to fuck her up the arse in order that she may discover her ultimate nakedness and overcome all sense of shame:

 

"It was a night of sensual passion, in which she was a little startled, and almost unwilling [...] Though a little frightened, she let him have his way, and the reckless, shameless sensuality shook her to her foundations [...] burning the soul to tinder. 

      Burning out the shames, the deepest, oldest shames, in the most secret places. [...]

      [...] She would have thought a woman would have died of shame. Instead of which, the shame died. [...] She felt, now, she had come to the real bed-rock of her nature, and was essentially shameless. She was her sensual self, naked and unashamed. She felt a triumph, almost a vainglory!" [247]

Now, I used to think that was unquestionably a good thing; that Nietzschean innocence involves the defeat of all bad conscience (i.e., involves becoming-fearless, guilt-free and devoid of shame). But now, living in a brazen, barefaced, shameless society that has forgotten how to blush, I'm not so sure. 

 

Shame may be an unpleasant and negative emotion, but perhaps it's a vital one after all if it enables us to act with restraint and a little modesty; enables us, paradoxically, to take pride not only in what we are and what we do, but in what we're not and what we don't do. To transgress boundaries and violate norms isn't always admirable; it can, in fact, just be despicable and dishonourable behaviour 

 

This is not to say that Connie should have a scarlet letter A sewn on her clothing à la Hester Prynne, but I'm not sure she should be held up as a role model either; she's selfish, narcissitic, snobbish, deceitful, and shameless.   

Even so, Clifford goes a bit far when Connie finally reveals the true details of her affair; telling his wife, for example, that she ought to be "'wiped off the face of the earth!'" [296] and despairing of the "'beastly lowness of women!'" [296].

 

Her desire to marry Mellors and bear his child proves, says Clifford, that Connie is abnormal and not in her right senses: "'You're one of those half-insane, perverted women who must run after depravity, the nostalgie de la boue.'" [296] 

 

Which is perhaps the last word in slut shaming insults ...     

 

     

Notes

 

[a] D. H. Lawrence, 'A Propos of Lady Chatterley's Lover', in Lady Chatterley's Lover and A Propos of "Lady Chatterley's Lover", ed. Michael Squires, (Cambridge University Press, 1993), p. 334. 

 

[b] Ibid., p. 308. 

  

[c] Ibid., p. 319. 

 

[d] Although Lawrence suggests that "at least three-quarters of the unhappiness of modern life" can be blamed on marriage, he then goes on to make a passionate defence of it, agreeing with those who consider marriage the greatest contribution to social life made by Christianity. 

      Crucially, however, he wishes to re-establish marriage as a sacrement "of man and woman united in the sex communion" and place it back within a phallo-cosmic context, so that the impersonal rhythm of marriage matches the rhythym of the year. For there is no marriage, asserts Lawrence, which is not "basically and permanently phallic, and that is not linked up with the sun and the earth, the moon and the fixed stars and the planets [...] that is not a correspondence of blood" (blood being the substance of the soul within Lawrence's philosophy). 

      On the other hand, there is counterfeit marriage; marriage that takes place "when two people are 'thrilled' by each other's personality: when they have the same tastes in furniture or books or sport or amusement, when they love 'talking' to one another, when they admire one another's 'minds'". This is "an excellent basis of friendship between the sexes, but a disastrous basis for marriage". Such personal marriages, lacking blood-sympathy, always end in "startling physical hatred".    

      See 'A Propos of Lady Chatterley's Lover', op. cit., pp. 319-326.

[e] D. H. Lawrence, Lady Chatterley's Lover, op. cit., p. 19. Note that future page references to the novel will be given directly in the post. 

[f] Later, however, this complaint against modern women as either frigid or sexually wilful, is repeated by Mr. Tenderness himself, Oliver Mellors, in an infamous and prolonged rant against his ex-wife and former girlfriends, that leaves Connie in no doubt about his views on female sexuality: women should be sexually receptive (though not passive) and at other times active, though not too active and certainly shouldn't grind their own coffee; they shouldn't be too pure, but neither should they be like old whores with beaks between their legs; they shouldn't make a man come too soon or in the wrong place (the vagina being the only right place to ejaculate); and, finally, they should absolutely never ever display any signs of lesbianism, either consciously or unconsciously. See chapter XIV, pp. 200-203. One imagines that Connie must have been mortified to hear all this and reminded of what Michaelis had said to her, although she simply says: "'You do seem to have had awful experiences of women'" [204].  

[g] See the lengthy character analysis of Oliver Mellors published on Torpedo the Ark on 6 July 2020: click here.

[h] This is an interesting remark. For it shows that it's not only men who practice slut shaming as a form of regulatory criticism; women will also slut shame a peer or, as in this case, sister, if they dress a little too provocatively, behave a little too promiscuously, or otherwise transgress accepted codes of conduct or boundaries of class, for example. Thus Hilda later tells Connie: "'But you'll be through with him in a while [...] and then you'll be ashamed of having been connected with him. One can't mix up with the working people." [240]

      Without wishing to oversimplify matters, we might say that when men slut shame, they are usually just being sexist pigs playing a game of double standards which benefits them; when women do it, however, it seems to betray some form of intrasexual competitiveness and be a more visceral reaction. Perhaps this is why Connie is so happy to escape the dominion of other women: "Ah! that in itself was a relief, like being given another life: to be free of the strange dominion and obsession of other women. How awful they were, women!" [253].     

Gone Fishing

Recreational cruelty: Bob Mortimer and Paul Whitehouse 

proudly showing off a catch on their popular TV show, 

Gone Fishing, as the poor carp struggles to breathe 

 

 

All of a sudden, there seem to be a shoal of programmes on TV that involve the gentle art of fly fishing, with even elderly comedians Mortimer and Whitehouse getting in on the act [1]. 

 

Only it's not such a gentle art - certainly not for the fish, who is subject to the violence of being hooked, reeled in, and manhandled. Despite recent research indicating that these beautiful and intelligent creatures experience fear and react to pain in similar ways to birds and mammals [2], there are still anglers who dispute or deny the cruelty involved in their recreational pursuit [3].  

 

We don't keep the fish out of the water for long and always put them back unharmed, is the familiar line of argument. But this ignores the trauma that the fish suffers and overlooks the fact that the hook used to catch them often causes damage to the mouth, thus making it difficult (and painful) for the fish to feed after their release.

 

Of course, Nietzsche would point out that just because something causes suffering that's no reason not to do it; i.e., the fact that pain hurts is not an argument [4]. Further, there might even be wisdom to be found in pain (as in pleasure); fish, for example, might have learnt something from the experience of being caught over the centuries by anglers which has ultimately helped them survive as a species. 

 

But surely fish experience enough danger in their daily life under the water to keep them on their guard, without human beings adding to their fear, stress, and suffering. Nietzsche makes a good case for the non-alleviation of natural hardship and danger, but that doesn't mean we should go out of our way to increase or intensify the pain felt by other animals.  

 

Otherwise, we must say yes to badger-baiting, fox hunting, and bullfighting as well as what Byron described as the cruellest, the coldest, and the stupidest of pretend sports - fishing [5].

 

 

Notes

 

[1] To watch episodes of Mortimer and Whitehouse: Gone Fishing go to BBC Online: click here. 

      The series has received widespread praise for its warmth, charm, and gentle humour. Many critics even find it poignant as the two comics reflect on their own mortality (both men having recently undergone heart surgery). No one, as far as I can see, stops to give a thought to the fish whose participation in the show, whilst central, is non-consensual and one might ask if the real joy of the show is listening to two old friends reminisce about the good old days, whilst contemplating the beauty and tranquility of their surroundings, then why do they need to also catch fish for our entertainment.   

[2] Whether fish experience pain in the same way that we do is a contentious issue (especially amongst those who subscribe to some form of human exceptionalism). But it seems fairly obvious, both from observation and from knowing what we do about their brains and nervous system, that they certainly don't like having sharp metal hooks pierce their mouths and being hauled out of the water into an environment in which they cannot breathe (and which can cause their gills to collapse).   

 

[3] It's worth remembering that fishing litter left behind by careless anglers also presents a danger to other forms of wildlife, including birds and small mammals.  

 

[4] See Nietzsche, The Gay Science, IV. 318. 

[5] For the record, I'm not - unlike members of PETA - arguing for fishing to be outlawed. But I do think people should be actively encouraged to treat fish with care and respect, even if - as D. H. Lawrence says - we may never know their gods. I develop this idea in a post published last year on the intelligence of fish: click here. 

 

Thanks to David Brock for inspiring this post.

 

  

Take a Walk Into a Future of Diminished Reality with Amy Webb ...

Photo of Amy Webb 

by Elena Seibert (2018)

 

In a recent video released on Twitter by the World Economic Forum, three leading futurists predict what the world will be like after the Great Reset has been accomplished and human life completely enframed within technology ... [1]

Stuart Russell, the British computer scientist known for his contributions to the field of AI, predicts that the age of manual labour will finally come to an end, freeing us up to engage in more fulfilling activities that make greater use of our abilities (such as online shopping and video games, presumably). 

 

Mike Bechtel, on the other hand, who is chief crystal ball gazer at the professional services network Deloitte, looks forward to a world in which ambient technology is integrated into the environment and ever-ready to lend support and obey our commands, enabling us to live without discontinuity or disruption (never losing our connection to the network again).

 

But it is a remark made by the founder of the Future Today Institute, Professor Amy Webb, that really caught my attention ... [2]

 

After predicting the increased use of gene editing technologies in order to redesign organisms for beneficial purposes (which sounds sinister enough), Webb went on to speak of diminished reality glasses, which would allow the wearer to remove unwanted objects from their field of view - such as garbage or other people.

 

It's nice to discover that Professor Webb equates her fellow human beings - or is she only referring to those who, in the future, haven't been genetically enhanced? - with waste material and how she finds the world so unsightly and distracting that she wishes not to see and not to know. 

 

I suppose diminished reality glasses work best when worn with noise-cancelling headphones and an old-fashioned peg on your nose, so that you can be virtually deaf as well as virtually blind, and not have to smell the garbage or other people either ...  

 

Notes

 

[1] The Great Reset refers to a fundamental transformation of society, leading to the zen fascist utopia in which no one owns anything (but all are happy), as dreamed of by Klaus Schwab (Chairman of the WEF) and others who subscribe to his globalist agenda. To find out more, go to the WEF Great Reset website: click here. To watch the video I refer to on Twitter, click here.

 

[2] Those interested in knowing more about Amy Webb can visit her website: amywebb.io / Those interested in knowing more about the Future Today Institute should click here.  

 

Believe in the Ruins: In Praise of Hayat Nazer

We make art lest we should perish from the truth ...

 

 

I.

 

I don't know if Muslims, like Christians, believe that God moves in a mysterious way, but I suspect they probably do. 

 

So one assumes the more devout citizens of Lebanon were prepared to accept this as an explanation for why, one year ago, God allowed a huge quantity of ammonium nitrate stored at the (state owned) Port of Beirut to explode, killing over two hundred people and injuring many thousands more (not to mention causing extensive property damage and leaving an estimated 300,000 people homeless).    

 

The blast was so big and so loud, that it was felt across the entire region and heard in Cyprus, more than 150 miles away. American geologists recorded it as a seismic event measuring 3.3 and it is considered one of the most powerful artificial (and non-nuclear) explosions in history.  

 

Obviously, the 2,750 tonnes of ammonium nitrate shouldn't have been kept in a warehouse without proper safety measures - and alongside fireworks - for the previous six years. But, even so, God could've stepped in and stopped the disaster, if only he weren't so damn mysterious.

 

And the Lebanese officials who repeatedly ignored warnings could also have prevented the disaster, if only they weren't so corrupt and incompetent. 

 

Fortunately, apart from feckless politicians and an enigmatic deity, Lebanon is blessed with Hayat Nazer ... 

 

 

II. 

 

Born in Tripoli, this 33-year-old former UN humanitarian worker turned full-time artist, has produced a magnificent sculpture from the twisted metal and broken glass, thereby reclaiming the ruins and redeeming the suffering caused by the Beirut blast.

  

The untitled female figure stands nine feet in height, with her right arm raised and a stopped clock at her feet, showing the time of the explosion: 6.08. It is everything - and does everything - that Ian Rank-Broadley's statue of Diana, Princess of Wales, standing in the Sunken Garden of Kensington Palace, isn't and doesn't do.  

 

For whereas Nazer's piece embodies the gritty resilience of the Lebanese people, Rank-Broadley's symbolises the sentimentality and aesthetic awfulness that the British pride themselves on (one is only relieved that the children standing with Diana aren't all holding teddy bears). 

 

Finally, it might be recalled that Nazer has used debris in her art before; previous works include the figure of a phoenix made from pieces of the tents erected by protestors during the October Revolution (2019) which were destroyed by the authorities, and a heart-shaped sculpture assembled from rocks and empty teargas canisters, collected during clashes between protesters and the security forces. 

 

She's an idealist, of course; acting in the name of Love. And that's unfortunate and problematic. But she's also talented, courageous, and beautiful, so I'm prepared to overlook her philosophical shortcomings.

 

 

hayatnazer.com

 

 

Note: for an interesting article on Hayat Nazer and her work, by Fizala Khan, in The Kashmiriyat (1 Nov 2020), click here. 

 

 

And What are Chickens For in a Destitute Time?

Hühnergeist (SA/2021)

 

 

A sub-species of a good-looking bird from Southeast Asia known as the red juglefowl, chickens were originally reared for fighting or ceremonial purposes and there are numerous references to them in myth, folklore, and literature. Indeed, once upon a time, such sacred animals had greater divine status even than man and only they were worthy of sacrifice [1]. 

 

But then someone had the idea of eating them ...

 

And now they are reared and slaughtered in their billions as a cheap source of food and the intensively farmed chicken has just about the most miserable (if mercifully short) life of any bird on the planet - hardly a day goes by without some fresh horror being revealed (to a largely indifferent public). 

 

These intelligent and sensitive creatures are not just killed, but negated as beings in their very birdhood by the system within which they are enframed. That's what Heidegger meant when he suggested a metaphysical equivalence between mechanised food production and the manufacture of corpses in Nazi extermination camps [2]. 

 

And it's surprising, I think, that there are critics who still find this idea morally insensitive and/or philosophically absurd. What would it take, one wonders, to have them acknowledge the essential sameness that reduces all life - be it avian or human being - to raw material ...? 

 

To argue, like Žižek, that there is no malevolent will to humiliate and punish birds by the farmers - whereas this plays a key role in the treatment of prisoners prior to their murder - may or may not be true, but I don't see that intentionality alters anything; you still end up with a lot of dead chickens [3].

 

I can't help hoping that, one day, the spirit of these birds will come home to roost ... Then we'll understand that our destiny has never been separate from theirs [4].    

  

       

Notes

 

[1] See Jean Baudrillard, 'The Animals: Territory and Metamorphoses', in Simulacra and Simulation, trans. Sheila Farier Glaser, (The University of Michigan Press, 1994), pp. 129-141. The line I'm paraphrasing is on p. 133. Later in the text, Baudrillard develops this point and writes: 

 

"Whatever it may be, animals have always had, until our era, a divine or sacrificial nobility that all mythologies recount. Even murder by hunting is still a symbolic relation, as opposed to an experimental dissection. Even domestication is still a symbolic relation, as opposed to industrial breeding." [134]  

 

[2] See Martin Heidegger's Bremen lecture of December 1949 entitled Das Ge-Stell in volume 79 of his Gesamtausgabe (1994). The English translation of this volume, trans. Andrew J. Mitchell, is published as the Breman and Freiburg Lectures, (Indiana University Press, 2012), and the above text appears as 'Positionality'.   

 

[3] In other words, we should speak of impact rather than intention.

 

[4] Jean Baudrillard, 'The Animals: Territory and Metamorphoses', Simulacra and Simulation, p. 133.   

What's-a-Matter Midge? (Hey!)

Midge Ure and Joe Dolce photographed in 1981 -

guess who has just scored the number one single

 

 

I.  Schadenfreude (n);  pleasure derived from another's misfortune or humiliation ...

 

I have to admit, it amuses me to discover that - even after all these years - singer-songwriter Midge Ure is still pissed off by the fact that Joe Dolce beat him and his synth-pop combo, Ultravox, to the number one spot in 1981 [1]. 

 

Let us remember the time, reminding ourselves (and explaining to younger readers) who the principle protagonists of this little drama are, beginning with one of Scotland's greatest musical exports ...

 

II. Midge Ure (He'll Love You Forever and Ever)

 

Midge Ure may now just be one of those talking bald heads who regularly appear in rockumentaries on Sky Arts and be better known for his charity work, but, back in the day, he was a flash young fucker from the outskirts of Glasgow, with good-looks, bags of talent, and responsible for some big hits in the '70s and early-mid '80s.

 

He started off as a member of Slik - who were a bit like the Bay City Rollers - and so impressed Malcolm McLaren that, prior to auditioning Johnny Rotten and giving him the job, Midge was offered the role of lead singer with the Sex Pistols in 1975. 

 

Obviously, he turned it down, but, two years later, he would link up with bassist Glen Matlock (after the latter was fired from the Sex Pistols and replaced by Sid Vicious), to form the Rich Kids, releasing the glorious pop-punk anthem Ghosts of Princes in Towers in August 1978. 

 

Leaving the band due to musical differences, Midge next formed Visage, along with Rusty Egan (who had also been in the Rich Kids) and Steve Strange on vocals. Their second single, Fade to Grey (1980), was another top ten hit written and produced by Ure.   

 

But, arguably, it's Ultravox with whom Midge is most associated and best remembered. Replacing John Foxx as the lead singer and guitarist in November 1980, he revitalised the group and ensured they had massive commercial success, including seven top ten albums and seventeen top forty singles, until finally disbanding in 1987. 

 

This included the title track from their fourth album, released as a single in January 1981, Vienna ...     

 

 

III. Austria 2 Italy 1

 

I have to admit, despite its haunting notes and pizzicato strings, Vienna means nothing to me - it's way too mystic and soulful for my tastes. 

 

But it's regarded by the people who do like this kind of thing as one of the finest examples of the new romantic synth-pop genre and became Ultravox's signature song; one which Midge proudly continues to perform to this day (even though, apparently, when he first heard the classical-sounding orchestration he was hesitant about its use in a pop song, fearing it might be a bit too much even for a band that was proud of its own grandeur).  

 

Vienna was one of the best-selling singles of 1981 and voted Single of the Year at the Brit Awards; it reached number one in Ireland, Belgium, and the Netherlands, but it never made the top spot in the UK charts. Initially, Vienna was held in the number two position by John Lennon's Woman. But then, hilariously, Joe Dolce's comic masterpiece, Shaddap You Face, kept it there for a further three weeks.

 

Although known as a novelty record, the fact is people all over the world loved to sing along with Dolce's song (and still do). Not only did it get to number one in fifteen countries, but there have been numerous foreign language cover versions and the original single has sold over six million copies since its release. 

 

So hats off to Joe Dolce, an Italian-American-Australian singer-songwriter who is now highly respected as a poet and essayist. Maybe, one day, Midge will even agree to meet him - having turned down the opportunity to do so when in Australia a couple of years back - and the two will produce a song together ... I think that would be kind of nice.

   

 

Notes

 

[1] I'm basing this on recent press reports, including this one in the Scottish Mail on Sunday, by John Dingwall (18 Oct 2020): click here. 

      To be fair to Midge, I can imagine it would be irritating to be forever asked about Joe Dolce and subject to mockery throughout the last forty years - such as in this scene from the sixth and final episode of the BBC sitcom Filthy, Rich and Catflap (Feb 1987), featuring Rik Mayall and Ade Edmondson: click here.  

 

Discography: 

 

Slik, 'Forever and Ever', single released from the album Slik, (Bell Records, 1975). 

 

Rich Kids, 'Ghosts and Princes in Towers', single released from the album Ghosts and Princes in Towers, (EMI, 1978). 

 

Visage, 'Fade to Grey', single released from the album Visage, (Polydor, 1980). 

Ultravox, 'Vienna', single released from the album Vienna, (Chrysalis, 1980). 

Joe Dolce Music Theatre, 'Shaddap You Face', (Full Moon Records, 1980).

Readers interested in Midge Ure can visit his official site: midgeure.co.uk

Readers interested in Joe Dolce can visit his official site: joedolce.net

I, Too, Dislike It: Thoughts on The Hatred of Poetry by Ben Lerner

Fitzcarraldo Editions (2020) 

fitzcarraldoeditions.com

 

 

I.

 

Any work with the word hatred in the title is likely to catch my attention. 

 

For hatred is a poorly appreciated passion, often understood purely in reactive terms as love on the recoil, as if the latter were the great primary term or essential prerequisite and the former lacked its own positivity or dynamism. 

 

The fact is, however, that whilst love makes blind and compromises judgement, hatred activates areas of the brain involved in critical evaluation. Thus, whilst love may seem to promise human salvation, it's hate which has enabled us to survive as a species [a].  

Still, we're not here to discuss hatred per se, but, rather, Ben Lerner's essay from 2016 in which, paradoxically, he uses his hatred of poetry to construct an interesting defence of the art and craft of which he is himself a skilled practitioner [b].

 

 

II. 

 

Lerner opens with the revised (shorter) version of Marianne Moore's 'Poetry':

I, too, dislike it.

    Reading it, however, with a perfect

      contempt for it, one discovers in

    it, after all, a place for the genuine. [c]

 

And that's a clever place to open and a clever little poem to open with, although I must confess to being uncomfortable with the final word; one that not only refers us back to ideals of truth and authenticity, but retains echoes of a concern with paternal origins and racial purity.

 

Still, we're not here to discuss the etymology and politics of the word genuine: it's the unforgettable first line that matters most; a line that has been on repeat in Lerner's head for even more years than Bartleby's I would prefer not to has been in mine [d]. I know exactly what Lerner means when he speaks of a refrain having either "the feel of negative rumination" or "a kind of manic, mantric affirmation" [e]. 

 

There is, then, something about poetry that makes us all dislike it - even if we continue to read it, write it, and wish to safeguard it. It's an art form which, as Lerner points out, has been defined for millennia by this rhythm of denunciation and defence. Maybe, he suggests, that's because poetry always fails to deliver what it promises to deliver; i.e., it always at some level disappoints. 

 

This probably has something to do with the limits of language. For language can never quite capture the transcendent impulse that often inspires great poetry and, as Nietzsche says, we posit words where feeling ends. 

 

Thus, whilst poetry clears a space for something, it isn't the thing itself. At best, poetry is a kind of approximation or simulation and this irritates a lot of people who want the real deal and demand the impossible from language (that it describe the indescribable, for example). The song of infinitude, writes Lerner, "is compromised by the finitude of its terms" [13]. 

 

This means that the poet is a tragic figure - someone gripped by a kind of obsessive compulsive disorder, filled with recurrent dreams and imaginative fantasies and repeating the same errors over and over again. In my view, the sanest poets learn to climb down Pisgah and attend, like Francis Ponge, to the nature of things as actual objects. To substantiate mystery is the task of the artist and their concern should be with immanence, not transcendence. 

 

But that's just my view: it's not necessarily Lerner's view. For even if he admits of the impossiblity of genuine poetry - and confesses that he can't hear the planet-like music that the Elizabethan poet Philip Sidney claims to hear - I sense that he still admires those who attempt to project existence into the fourth dimension of being and place individual experience within something bigger - something like Humanity, for example. 

 

But I might be mistaken here; for Lerner, like many contemporary poets, expresses acute hesitancy about the desire to speak for everyone and is sceptical of the Whitmanesque fantasy of a poet who could "unite us in our difference, constituting a collective subject through the magic of language" [60] [f]. 

 

 

III. 

 

There are many reasons to dislike Plato. But, to his credit, he didn't take any shit from poets, as Larry David might say. 

 

The irony of Plato's dialogues, however, is that "they are themselves poetic: formally experimental imaginative dramatizations" [26]. And Socrates might even be thought of as "a new breed of poet" [26]. The further irony, is that by attacking poetry as he did, Plato makes it seem sexier - more powerful, more dangerous - than it really is:

 

"How many poets' outsized expectations about the political effects of our work, or critics' disappointment in what actual poems contribute to society, derive from Plato's bestowing us with the honour of exile?" [28] [g]

 

This mistaken attack on poetry has continued in one form or another down the ages. One suspects that the Romantics were very much aware of something that Nietzsche later formularises: what doesn't kill a thing makes it stronger. Thus they secretly revelled in the attacks upon them: It is better to be hated than loved ... an idea which Malcolm McLaren would later subscribe to.   

 

 

IV.

     

Lerner tells us that his favourite poet is Cyrus Console, his boyhood friend from Kansas (which may be true, or may simply be a touching gesture on his part). And he confesses that he's "never found Keatsian euphony quite as powerful as Emily Dickinson's dissonance" [46], to which one can only reply: moi non plus. 

 

In fact, I'm fairly sympathetic to Lerner throughout this work and mostly in agreement with what he says; even if I suspect he'd characterise my hatred of poetry as a defensive rage against all otherworldliness (that is to say, as a form of reaction, whereas I tend to see this as a form of active nihilism or a negation of the negative).   

 

I certainly share Lerner's "refusal of modernist nostalgia for some lost unity of experience and [...] rejection of totalizing ideologies" [97]. That  would serve as a fine description of my own postmodern project (even if Lerner says it with reference to Charles Orson's 1949 verse 'The Kingfishers', and not Torpedo the Ark).

   

I'll close this post, if I may, with what might (and should) have been Lerner's own conclusion: Poems are like the meterological phenomenon known as virga - i.e., observable streaks of water or ice crystals trailing from a cloud that evaporate before they ever reach the ground. 

 

In other words, poetry is a shower of rain "that never quite closes the gap between heaven and earth" [100] [h].  

 

 

Notes

 

[a] I say more on the advantages of hatred in a post published in November 2014: click here. 

 

[b] As well as three highly acclaimed novels, Lerner has also published three poetry collections: The Lichtenberg Figures, (Copper Canyon Press, 2004); Angle of Yaw, (Copper Canyon Press, 2006); and Mean Free Path, (Copper Canyon Press, 2010). These three volumes, plus a handful of newer poems, have been brought together in No Art (Granta Books, 2016).

      For more information on Lerner and to read a selection of his work, visit his page on the Poetry Foundation website: click here. 

 

[c] See The Complete Poems of Marianne Moore, (MacMillan, 1967). 

      The original (longer) version of 'Poetry' was published in Others for 1919: An Anthology of the New Verse, ed. Alfred Kreymborg, (Nicholas L. Brown, 1920) and can be read on poets.org by clicking here.

 

[d] I have always had an ambivalent relationship to Bartleby the scrivener; sometimes I hate him, sometimes I am taken with his strange beauty and negativism beyond all negation. See one of the very earliest posts on TTA (31 Jan 2013) in which I discuss Melville's great anti-hero: click here. 

 

[e] Ben Lerner, The Hatred of Poetry, (Fitzcarraldo Editions, 2020), p. 9. Future page references to this work will be given directly in the text.   

[f] Lerner provides an excellent discussion of Whitman in The Hatred of Poetry, see pp. 61-70. His conclusion is clear: "the Whitmanic program has never been realized in history, and I don't think it can be" [67]. In other words, poetry is incapable of reconciling the individual and the social; of transforming millions of individuals into an authentic people. Later in the text, Lerner describes the desire for universality as a form of white male nostalgia (see pp. 78-85) and veers towards identity politics in a fairly lengthy discussion of Claudia Rankine's writing (pp. 87-96).    

[g] Lerner provides an interesting discussion of poetry and politics - particularly in relation to the idea of being avant-garde - later in his work; see pp. 53-57. 

      For the avant-garde, writes Lerner, "the poem is an imaginary bomb [...]: It explodes the category of poetry and enters history. The poem is a weapon - a weapon against received ideas of what the artwork is, certainly, but also an instrument of war in a heroic, revolutionary struggle [...]." But of course, ultimately poems are bombs that never go off - much to the annoyance of those who hope to achieve real political change via poetry. 

[h] It's unfortunate that this isn't Lerner's closing remark; that he goes on to qualify it, thereby undermining the strength of his own argument:

 

"I hope it goes without saying that [...] poems can fulfill any number of ambitions [...] They can actually be funny, or lovely, or offer solace, or courage, or inspiration to certain audience at certain times; they can play a role in constituting a community; and so on." [101-102]

Lerner then provides a kind of postscript in which he attempts to explain how that can be; i.e., how poetry as a linguistic practice might overcome or bypass the internal contradictions he's been describing. Lerner thus ends his book not with an interesting comparison between poetry and a weather event, but with a (slightly nauseating) plea for the genuine and hate's sublimation:

"All I ask the haters - and I, too, am one - is that they strive to perfect their contempt, even consider bringing it to bear on poems, where it will be deepened, not dispelled, and where, by creating a place for possibility and present absences (like unheard melodies), it might come to resemble love." [113-114]

For an earlier review of The Hatred of Poetry - one which I had forgotten writing back in October 2016, until kindly reminded by a friend of mine - click here. 

 

 

On Those Who Have Been Refused Entry Into the Land of the Free ...

Photo by John Tiberi of the Sex Pistols 

(Steve Jones / Johnny Rotten / Sid Vicious / Paul Cook) 

on the eve of their first American tour (January 1978)

 

 

I. 

 

As might be imagined, there exists a fairly extensive list of notable persons who have been deported from the United States for one reason or another, often on the grounds that they are aliens who are hostile to the American way of life defined in terms of motherhood and apple pie [1].  

 

It's a list that includes, for example, the English comic actor and director Charlie Chaplin and the Russian political activist and writer Emma Goldman; the latter described by J. Edgar Hoover shortly before her removal in 1919, as one of the most dangerous women alive.

 

II. 

 

But it's not this list or the figures upon it which interests me here: I am, rather, concerned with the list of notable people who have been refused entry into the Land of the Free ...

 

This a list that includes Kurt Blome, the high-ranking Nazi scientist who performed illicit medical experiments on concentration camp prisoners, Gerry Adams, the Sinn Fein President and IRA sympathiser, and, rather more surprisingly, footballer Diego Maradona, domestic goddess Nigella Lawson, and singer-songwriter Lily Allen [2].    

I think my favourite entry on the list, however, is Sebastian Horsley, who, after arriving at Newwark Airport in March 2008, was denied entry into the United States on the grounds of moral turpitude. 

 

After eight hours of questioning - and despite the fact that he had removed his nail polish as a concession to American sensibilities - Horsley was placed on a plane and sent back to London; his planned book tour and six-month stay in the US over before it had even begun [3]. 

 

In failing to enter and tour America, Horsley actually goes one better than his heroes the Sex Pistols, who, seen above in passport photos taken at the time, were initially denied visas by the US Embassy in London on the eve of their first American tour (members of the band having committed a number of criminal misdemeanours).   

 

Although obliged to cancel several shows, the band were, of course, eventually allowed in to the States, thanks to the efforts of their American record company, Warner Bros., and the lawyers acting on their behalf. Unfortunately, as everyone knows, things did not go well - which is not to say they didn't go as Malcolm hoped; the plan being not to sell tickets or records, but incite mayhem and disillusion [4]. 

 

 

Notes

 

[1] It might be noted that only those designated as aliens are subject to removal from the United States. In other words, a U.S. citizen or a U.S. national cannot be removed from the United States under any circumstances.  

[2] Maradona had numerous criminal convictions in Argentina, Italy, and elsewhere; Nigella was barred from boarding a flight leaving London for LA in 2014, having recently confessed to a cocaine habit; Lily Allen was refused a U.S. visa for having assaulted a photographer in 2007 and for singing in a mockney accent. 

 

[3] Torpedophiles will be aware that I have already written a post on the idea of moral turpitude with reference to the case of Sebastian Horsley: click here.   

[4] At the Winterland Ballroom, San Francisco, on the 14th of January, 1978, the Sex Pistols self-imploded before the eyes of the world and exposed rock music as a dying beast that needed putting out of its misery. To watch the show in full, click here. 

Götzen-Dämmerung: Notes on Wandering Wombs, Spontaneous Generation, Bodily Humours and the Ancient Greek Soul

Sounding out idols of the mind since 1888 

 

I. 

 

It's easy (and thus tempting) to look back on humanity's past and smile at some of the odd things that people - including philosophers and men of learning - used to believe. 

 

I've already written, for example, about the theory of maternal impression - click here and here - but thought it might be interesting to briefly mention three other ancient truths that we now know to be false [1] ...

(i) The Wandering Womb

Belief in the wandering womb (as a cause of hysteria) can be traced all the way back to the ancient Greeks, though it persisted as a popular idea in European medicine well into the medieval and early-modern period. 

 

For celebrated physicians like Aretaeus of Cappadocia, writing in the 2nd century AD, the uterus was a free-floating organ which resembled an autonomous creature happily living within the female body, sensitive to smells and always in search of fluids to sustain it. 

 

It wasn't until our knowledge of anatomy improved from the 16th-century onwards that this idea of a wandering womb began to slowly lose credibility and female hysteria would eventually become a condition associated with the mind, rather than the uterus [2].      

 

(ii) Spontaneous Generation 

 

The theory of spontaneous generation held that living creatures (such as fleas and maggots) could arise from non-living matter (such as dust and decomposing flesh) and that such processes were all part of the natural order [3]. 

 

Again, we have the ancient Greeks to thank for this amusing idea. 

 

For it was Aristotle who synthesised earlier explanations provided by the natural philosophers [φυσιολόγοι] for the mysterious appearance of organisms, into a coherent theory which would be taken as a matter of scientific fact for the next 2000 years (it wasn't until spontaneous generation was disproved by Louis Pasteur and others in the 1850s, that the term fell out of favour within scientific circles).  

 

 

(iii) Bodily Humours 

 

Even the father of Western medicine, Hippocrates, subscribed to a few mistaken notions, central amongst which was the idea that vital bodily fluids (or humours) determined human health and disposition. 

 

Again, this theory persisted well into the modern era as doctors down the centuries vainly attempted to balance blood, phlegm, and two types of bile (black and yellow), in the belief that any excess or deficiency of any one of these four humours would result in illness or a bad character. 

 

It wasn't until the advent of germ theory, which demonstrated that many diseases previously thought to be humoral were in fact caused by pathogens, that physicians were able to move on (though such ideas persist in those parts of the world that still practice traditional medicine).  

 

II.

 

The point I'm trying to make here is twofold:

 

Firstly, I'm trying to illustrate how even the best minds can get things wrong and how certain ideas can become so ingrained within our thinking over such long periods of time, that they become unquestioned articles of faith and common belief (doxa). 

 

Secondly, I'm trying to encourage readers not to simply look back and laugh at the mistaken ideas of antiquity, but ask themselves what cherished beliefs they might subscribe to as truths which will one day be exposed as fallacious and fantastical ...

 

I'm thinking, for example, of the still widespread belief in the psyche - a concept often used by people who think mind is something separate from (and other to) brain activity, but who still wish to sound rational rather than religious and so try to avoid words like soul or spirit. 

 

Like all of the ideas examined above, this one can be traced back to the ancient Greeks; ψυχή is central to the philosophy of Plato, and Aristotle wrote a hugely influential work on the subject. Indeed, the latter's theory of the three souls - vegetal, animal, and human - would dominate the field of psychology until the 19th century.

 

I'm reminded at this point of Nietzsche's realisation that one day we will have to overcome the last trace of Greek influence on our thinking - as beautiful and as profound as it may have once seemed - and take a hammer to all the old idols of the mind [4] ...  

 

 

Notes

 

[1] The big one, of course, would be God, but I can't imagine anyone reading TTA needs reminding of the circumstances surrounding his death.  

 

[2] Today, of course, hysteria is no longer a clinically recognised condition and no one thinks the womb a thirsty roaming animal.  

[3] The imaginary process by which life was believed to routinely and rapidly emerge from non-living matter (such as the seasonal generation of mice and other animals from the mud of the Nile), is sometimes referred to as abiogenesis. It should be noted, however, that spontaneous generation has no operative principles in common with the modern hypothesis of abiogenesis used within evolutionary biology, which argues that life arose from simple organic compounds over a time span of many millions of years.

 

[4] It might be argued that the analytic philosopher Paul Churchland has pushed philosophising with a hammer to its extreme in his eliminative materialism, which, as Nietzsche might have said, is radikal bis zum Verbrechen. 

      Churchland is convinced that neuroscience will eventually spell the end for psychology, which he thinks a fundamentally defective and confused theory. The problem, however, is whilst with hindsight we can see the inadequacies and absurdities of ancient theories, it's not so easy to see these within contemporary theories that remain part of our Lebenswelt and which the majority of people still believe to be not merely true, but blindingly obvious to anyone with common sense. 

      Readers interested in Churchland's work might like to see his crucial essay 'Eliminative Materialism and the Propositional Attitudes', in The Journal of Philosophy, Vol. 78, No. 2 (Feb 1981), pp. 67-90. I refer to this essay in a previous (and related) post to this one: click here. 

 

 

Aphantasia: On Eliminating the Imagination

Aphantasia (oil and clay) 

by Rachel L. Clarke

artphantasia.com

 

 

I. 

 

According to some, imagination is the foundation of material reality. That is to say, nothing actually exists before it has first been seen in the mind's eye. Such people have no evidence for this and so either quote poets or Plato for support, or fall back on good old common sense [1]. 

 

Isn't it obvious, they ask, that dreams, desires, and imaginative ideas encapsulate the true and essential nature of things and precede substantial forms. Think about it, they say, man like God creates by first imagining things and then willing them into physical existence.  

 

Well, I have thought about it and this mixture of idealism and folk psychology seems to me nonsense. I agree with D. H. Lawrence here; no mind - not even Jordan Peterson's - could have imagined a lobster "dozing in the under-deeps, then reaching out a savage and iron claw!" [2] 

 

Ultimately, I would suggest, we can only imagine things that already exist and that it is not the imagination that determines reality, but reality that shapes the imagination. To quote Lawrence once more: 

 

"Even the mind of God can only imagine 

those things that have become themselves: 

bodies and presences, here and now, creatures with a foothold in creation 

even if it is only a lobster on tip-toe." [3]

 

  

II.

In an essay on eliminative materialism, Paul Churchland argues that "our common sense conception of psychological phenomena constitutes a radically false theory, a theory so fundamentally defective that both the principles and the ontology of that theory will eventually be displaced, rather than smoothly reduced, by completed neuroscience" [4].

 

One of the problems with folk psychology is that when evaluated with regard to its coherence and continuity in relation to more recent work in evolutionary biology and neuroscience, it soon becomes increasingly suspect and would, argues Churchland, evoke open skepticism were it not one of our oldest and most cherished theories.

 

The fact is, that even the faculty of creative imagination, for example, is something that remains almost wholly mysterious within the framework provided by folk psychology. The latter believes its truths to not only be self-evident, but universally and eternally true and so is little prone to self-criticism or to change; perfect theories have no need to evolve in the light of new evidence or knowledge. 

 

Ultimately, folk psychology has become a form of faith or dogma, proud of its own conceptual inertia. At best, says Churchland, it provides a "partial and unpenetrating gloss on a deeper and more complex reality" [5] - one that is wholly material (rather than imaginary) in nature and not cluttered up with a lot of second-hand representations and hoary old archetypes [6].

 

         

Notes

 

[1] There's a very good reason why those who belong to a post-Romantic literary and/or post-Kantian philosophical tradition often return to a conceptual framework for mental phenomena based upon a remarkably conservative theory of common sense (or as they sometimes call it intuitive wisdom). For as Paul Churchland points out, it very conveniently provides "a simple and unifying organization to most of the major topics in the philosophy of mind, including the explanation and prediction of behavior, the semantics of mental predicates, action theory, the other-minds problem, the intentionality of mental states, the nature of introspection, and the mind-body problem". 

      Unfortunately, explanatory and predictive success does not necessarily make a theory true and those who subscribe to folk psychology might at least consider the possibility that its principles are radically false and its ontology is an illusion.

      See Churchland's essay 'Eliminative Materialism and the Propositional Attitudes', in The Journal of Philosophy, Vol. 78, No. 2, (Feb 1981), pp. 67-90. Lines quoted are on p. 68. I will return to this essay in part two of this post.   

 

[2] D. H. Lawrence, 'Demiurge', The Poems, Vol. I., ed. Christopher Pollnitz, (Cambridge University Press, 2013), p. 603. 

      Lawrence's opposition to the imagination as the ability to make pictures of the world and oneself in the mind without any external sensory input, is revealed in his review of The Social Basis of Consciousness (1927) by Trigant Burrow. Lawrence argues, for example, that mental images are a substitute for life. As soon as man falls into self-consciousness, he makes pictures of himself - that is to say, he imagines himself ideally - and then he tries to live according to the picture. The imagination is thus a form of imprisonment; we become trapped within a world of representation. If only, he says, we could understand and admit to ourselves that we and the world are not the same as the images we make, then we might be able to live and think and create in an entirely fresh (non-ideal) manner. Ultimately, says Lawrence, the imagination is not real: "It is a horrible compulsion set over us [...] The true self is not aware that it is a self. A bird as it sings sings itself. But not according to a picture. It has no idea of itself." Those who call themselves psychoanalysts, if they really cared about their patients, would liberate them from their own imaginations and get them back into touch with the world as it exists outside them (i.e. mind-independently): they must shatter the great image-producing machine that reflects nothing but their own human conceit. 

      See 'Review of The Social Basis of Consciousness, by Trigant Burrow', in D. H. Lawrence, Introductiond and Reviews, ed. N. H. Reeve and John Worthen, (Cambridge University Press, 2005), pp, 329-336. Lines quoted are on pp. 334 and 336.

 

[3] D. H. Lawrence, 'Demiurge', The Poems, Vol. I., op. cit., p. 603. 

 

[4] Paul Churchland,  'Eliminative Materialism and the Propositional Attitudes' ... op. cit., p. 67.

[5] Ibid., p. 74.

[6] Even some philosophers in the European tradition eventually grew tired of post-Kantian models of the imagination; Gilles Deleuze, for example, refused to think of it as something innate or natural, but, rather, something that has been constructed and authorised by the governing determinations of the good, the true, and the beautiful. 

 

 

Readers interested in knowing more about aphantasia - the inability to create mental images in one's mind - should visit the Aphantasia Network: click here.