In Times of Sorrow and Fear is When Poets Appear

Ireland's greatest living poet 

and America's greatest ever Speaker

 

I. 

 

Irish poetry has a long and illustrious history. 

 

Whether written in Gaelic, in English, or formed within the complex interplay of these two languages and traditions, no one can deny that the bards of Ireland - both in their medieval and modern incarnations - have produced a body of work that is uniquely rich and worthy of admiration.   

 

Arguably, however, Irish poetry this week scaled new heights and we can now add the name of Bono to a roll call of honour that includes Swift, Wilde, Yeats, and Heaney ...

 

 

II. 

 

I know that his St. Patrick's Day poem for Ukraine has been much mocked and dubbed by some as the worst poem ever written - I even saw it described, shamefully, as a war crime in its own right, inflicting unnecessary suffering upon those who have had the misfortune to hear it. 

 

I find that shocking and I simply don't understand all the personal abuse and ridicule aimed at mega-rich rock superstar Bono, who is attempting to bring a message of peace and love to the world. But, as Taylor Swift once famously said, the haters gonna hate (hate, hate, hate, hate, hate) and it's up to the rest of us to rise above their animosity and shake off all negative vibes.

 

Bono's poem is a profoundly beautiful verse and I will be forever grateful to the first female Speaker of the United States House of Representatives, Nancy Pelosi, for sharing it - in her own inimitable manner - during the annual Friends of Ireland Luncheon, held at the White House earlier this week: click here. 

 

I didn't think I'd ever read lines more moving than those written by William McGonagall, recounting the terrible events of December 28th, 1879 (i.e., the Tay Bridge disaster in Dundee). But Bono has surpassed even this glorious verse with lines like these:

 

They struggle for us to be free 

From the psycho in our human family 

Ireland's sorrow and pain 

Is now the Ukraine 

And Saint Patrick's name now Zelenskyy.

 

Brilliant. 

 

Now send on the Riverdancers ...

 

 

 

I Still Dream of Orgonon: Notes on the Strange Life and Times of Wilhelm Reich (Part 2: The American Years)

Wilhelm Reich (1890-1957)

 

Folge der Stimme deines Herzens, auch wenn 

sie dich vom Pfad schüchterner Seelen abführt [1]

 

 

III. The American Years 

 

Reich arrived in New York in September 1939, having accepted a position as Assistant Professor at the New School of Social Research, teaching a course on the 'Biological Aspects of Character Formation'. Despite certain misgivings, which he expressed in his diary, one likes to think Reich secretly had high hopes for his new life in the New World; for, as the song says, life can be bright in America ... [2] 

Alone in a strange country and without much else to do in the evenings, Reich began experimenting on mice (as you do); injecting them with bions. Soon afterwards, however, he met the woman who was to become his second wife (and lab assistant) Ilse Ollendorff, so presumably had something else to occupy him at night. 

It was shortly after he arrived in the US that Reich announced his discovery of a bio-cosmic force that he called orgone energy (or, sometimes, orgone radiation). This, arguably, is the thing most people remember him for today (if they remember him at all). Reich claimed to have observed it emanating from the mice after injecting them, as well as in the night sky through a special telescope he called an organoscope.   

Indeed, according to Reich, orgone energy was present everywhere and in everything; from the blue of the sky to the blue of sexually excited frogs; from red blood cells to the chlorophyll of plants. In 1940, he began to construct orgone accumulators; a modified Faraday cage made of wood and lined with stone wool and sheet iron. 

 

Initially they were designed for lab animals, but he soon knocked up some human-sized sex boxes, as they became known, and volunteers from amongst his patients were encouraged to sit inside - naked, of course. Soon, he was claiming that his orgone accumulators could not only treat schizophrenia, but cure cancer and that he was on the verge of producing a unified theory of physical and mental health. 

 

Hoping to have his ideas scientifically endorsed, Reich contacted and met with Albert Einstein in January 1941. Although initially encouraged by their discussion - and the fact that the latter agreed to home-test a small orgone accumulator - Reich was ultimately disappointed when Einstein wrote to him to say thanks, but no thanks. 

 

And despite Reich pestering the physicist with lengthy letters reporting his latest experimental results, Einstein refused to reconsider the matter and eventually wrote asking that his name not be used in connection with the accumulator. Reich suspected this was all part of the same conspiracy which had cost him his position at the New School in May 1941 and seen him evicted from his apartment after neighbours complained about his strange experiments.    

  

Now things quickly went from bad to worse: after the German declaration of war in December 1941, Reich was arrested by the FBI and taken to Ellis Island, where he was held for three weeks on suspicion of being an enemy alien. Even after his release, he was placed under surveillance (admittedly, this was unfair since Reich was both Jewish and an ardent anti-fascist, forced to flee his homeland because of the Nazis). 

 

Undeterred, Reich purchased an old farm in Maine, in November 1942, and slowly built this up as his home and research centre, calling it Orgonon. In 1950, accompanied by his wife and two children, as well as several colleagues and an artist friend, he moved there on a full-time basis. [3]

 

Up until this time, Reich's activities had attracted little interest from the American press and the coverage he did receive was largely uncritical, if bemused. But suddenly his reputation came under attack and his work was branded pseudo-scientific nonsense which made many false or misleading claims. The Food and Drug Administration (FDA) investigated and concluded that Reich was, indeed, a fraud of the first magnitude [4].

 

And he didn't help matters when, in 1950, he established the Orgonomic Infant Research Centre (OIRC): it's one thing asking adults to strip off and sit in a box, but to involve naked young children in your reserach is never a good idea; several who were treated by OIRC therapists later claimed they had been physically and sexually abused - although not by Reich - and he agreed to close the Centre in 1952 in order to avoid a court case involving one of his team.         

 

By this date, Reich had also divorced his wife on the suspicion that she'd had an affair; what was good for the gander wasn't so good for the goose, it seems. Ilse nevertheless continued working alongside him for another three years, but only after signing confessions about her infidelity and secret feelings of fear and hatred for him.

 

When not denouncing his ex-wife, Reich was telling everyone he knew about his latest discovery - deadly orgone radiation, which, he said, caused desertification; a problem that, conveniently, could be solved with his new cloudbusting technology (basically a number of 15-foot metal pipes mounted on a mobile platform and connected to cables that were inserted into water). 

 

Reich insisted that his cloudbuster could unblock orgone energy in the atmosphere and cause rain. He described his new research as cosmic orgone engineering. Unusually, this did not seem to require that anyone remove their clothes or agree to a massage.  

 

Meanwhile, the FDA were continuing their investigations and in the spring of 1954 obtained an injunction against the interstate shipment of orgone accumulators and promotional literature for said devices. Reich refused to appear in court, arguing that no judge was in a position to evaluate his work on primordial, pre-atomic cosmic orgone energy - which is true, but then, who is?          

 

Perhaps annoyed by Reich's non-appearance and insulted by his attitude (as expressed in a letter), the judge not only granted the injunction, but instructed that accumulators, parts and instructions be destroyed, and that several of Reich's books that mentioned orgone be withdrawn from circulation. 

 

Of course, Reich being Reich, he thought this further evidence of the conspiracy against him; a conspiracy he now believed had extraterrestrial origins. And so he started chasing UFOs (or energy alphas) which he saw zipping across the skies over Orgonon, leaving black streams of deadly orgone radiation in their wake. When he thought one was in range, Reich would fire a cloudbuster at it, in the hope that this would drain away the negative energy (and thus save planet Earth) [5]. 

 

And Reich being Reich, he of course violated the injunction against him and so was charged with contempt of court in 1956. Initially refusing to attend court to fight the charge, Reich eventually decided to defend himself, pleading not guilty, whilst at the same time admitting that one of his associates had sent an accumulator part through the post. 

 

The jury were not sympathetic to his tale of an alien controlled conspiracy and the judge discreetly suggested to Ilse Ollendorff that she might consider finding psychiatric help for her ex-husband. Thus, Reich was found guilty and sentenced to two years in jail. The Wilhelm Reich Foundation was also fined $10,000 (equivalent to around $104,000 today) and any remaining orgone accumulators had to be destroyed by court order; which they were, along with over six tonnes of Reich's books, journals and papers.       

 

Reich appealed the decision, but lost. He also wrote to J. Edgar Hoover, director of the FBI, but to no avail. And so, on March 12, 1957, Reich entered Danbury Federal Prison (Connecticut), where he was examined by a psychiatrist who recorded paranoia, manifested by delusions of grandiosity and persecution. A week later, Reich was transferred to the Lewisburg Federal Penitentiary and examined again. This time it was decided that whilst he was mentally competent, he could become psychotic if unduly stressed.

 

Fellow inmates referred to Reich as either the flying saucer nut, or the sex box guy. He told his son that he passed the time studying mathematics and crying. When, having served one-third of his sentence, he became eligible for parole, Reich expressed his hopes for the future and looked forward to regaining his liberty. Unfortunately, he died of heart failure, aged sixty, just days before his parole hearing and likely release.

 

 

IV. Closing Remarks

 

Reich was buried in a vault at Orgonon, without ceremony. No academic journals saw fit to publish obituaries. Former friends within the psychoanalytic community who had at one time thought him brilliant, also stayed schtum, perhaps not wanting to speak ill of the dead (their general view being that he had become an embarrassment to himself and the profession).  

 

Nevertheless, in the years since his death - and for all his crackpottery - his work has significantly shaped developments within psychotherapy and influenced a number of intellectuals and artists, including William Burroughs, Jack Kerouac, Norman Mailer, and - as mentioned in part one of this post - Deleuze and Guattari. 

 

To tell the truth, I'm amazed that anyone bothers to take his work seriously today - but then some people also continue to read Jung! Perhaps, being a tad more generous, we might paraphrase something that Camille Paglia once said of Freud: Critics always miss the point because they think he produced pseudoscience, when in fact he created great art. [6]  

 

And besides, even false facts and fake discoveries can have real effects ...

 

Notes

 

[1] In English, this reads: 'Always follow your heart, even if it leads you from the path of timid souls.' It is just the kind of clichéd romantic nonsense that I would have thought profound when young, but which now makes me roll my eyes.     

[2] I'm quoting from 'America', a song written by Stephen Sondheim and Leonard Bernstein for the musical West Side Story (1957). 

[3] Readers might be interested to know it is now the Wilhelm Reich Museum and holiday cottages are available to rent, including the cabin Reich himself lived in. 

[4] In return, Reich labelled the FDA hoodlums and fascists. Believing himself to have the support of President Eisenhower, he was as uncooperative with invesitgators from the FDA as he could be, though they continued to go about their work, interviewing his colleagues, students, and patients. Apparently, one university professor who had bought an orgone accumulator, told them that he knew the device was useless, but it secured him domestic tranquility as his wife was happy to quietly sit in it for several hours each day.  

 

[5] Reich even rented a house in Arizona in order to stage a full-scale battle with the aliens and thought there was a very remote possibility that his own father had, in fact, been from outer space. In a sense, Reich by this stage of his life and career has more in common with David Icke than he does with Freud.   

 

[6] See Camille Paglia, Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, (Yale University Press, 1990), p. 228. Paglia's actual line reads: "Freud has no rivals among his successors because they think he wrote science, when in fact he wrote art." 

 

 

To read part one of this post - on the European years - click here.  

 

 

I Still Dream of Orgonon: Notes on the Strange Life and Times of Wilhelm Reich (Part 1: The European Years)

Wilhem Reich (1897-1957)

Photo possibly by A. A. Brill (c. 1922)

 

Once we open up to the flow of energy within our body, 

we can also open up to the flow of energy in the universe.

I. Opening Remarks

 

I could have featured Reich in my recent series on the grand perverts of Austria, but decided that he is such a unique figure that he deserves a post in his own right. 

 

I'm not, however, very familiar with his work: I once read an English translation of Die Massenpsychologie des Faschismus  (1933) [1] and a funny little book entitled Listen, Little Man! (1948), in which he outlined his political philosophy (an idiosyncratic form of libertarian socialism). 

 

Mostly I know of Reich due to the fact that he's mentioned with admiration by Deleuze and Guattari in Anti-Oedipus (1983) [2]. 

 

That, and the fact that Kate Bush once wrote a song inspired by him [3].

 

 

II. The European Years

 

Wilhelm Reich was born in 1897, in Dobzau, Galicia, then part of the Austro-Hungarian Empire, but now in western Ukraine and awaiting the arrival of Russian bombs and soldiers. 

 

Although both his parents were Jewish, Wilhelm was brought up to speak only German and punished for using Yiddish expressions, or playing with the local Yiddish-speaking children. Oy vey! 

 

Wilhelm was homeschooled until the age of twelve. But when his mother was discovered having an affair with his live-in tutor and soon afterwards committed suicide, he was sent off to an all boys' school. Reich would later write about these events in his first published paper, detailing his shame and guilt, but also expressing his own incestuous fantasies involving his mother.

 

After the War, in which he served on the Italian front, Reich headed for Vienna, where he enrolled in law at the University. However, he found the subject tedious and so switched to medicine. Although he found this much more to his liking, he rejected the mechanistic concept of life which then dominated in favour of a more vitalist philosophy.

 

In 1919, he had a fateful first meeting with Freud, from whom he had requested a reading list for a seminar on sexology. Interestingly, it seems they left an equally strong impression on one another and Freud smoothed the younger man's way into the Vienna Psychoanalytic Society and encouraged him to start meeting with patients of his own; one of whom, 19-year-old Lore Kahn, he was soon fucking, even though Freud had advised not to get romantically involved with patients.

 

Sadly, she became seriously ill and died shortly after the affair with Reich began [4]. Swiftly putting his grief to one side, he then seduced another patient, Annie Pink - an 18-year-old medical student and friend of Frl. Kahn's - though he did eventually do the decent thing and marry her, at the insistence of her father, and she went on to become a well-known shrink in her own right.    

 

Despite what would now be regarded as gross professional misconduct (at the very least), Reich was apppointed deputy director of Freud's outpatient clinic and he worked there until 1930, forming his own theories on human psychology to do with repetitive patterns of behaviour, speech, and physical posture serving as ego defence mechanisms, or what he termed character armour.     

 

Reich was highly regarded by his contemporaries and colleagues at this time and many found his lectures and seminars spellbinding. His first book was also well received and won him further professional recognition, including from Freud, who in 1927 arranged for his appointment to the executive committee of the Vienna Psychoanalytic Society.   

 

Thus, everything was coming up Rosen for Reich and he seemed to have a bright future ahead; despite one of his early patients protesting that Reich was, in fact, a psychopath; and despite the fact that Freud was increasingly concerned about the theory that psychic health depended upon the full discharge of libidinal energy. 

 

Such ideas, tolerated at first within the psychoanalytic community, would later be ridiculed. And when Reich tried to reconcile his new theories with Marxism, he would increasingly be regarded as part sexual revolutionary and part sexual lunatic (although, to be fair, he was certainly not the only intellectual attempting to marry psychoanalysis and Marxism at this time).     

 

In 1927, Reich opened half-a-dozen Sex-Pol clinics in Vienna, where members of the proletariat could receive free psychoanalysis, political instruction, and contraceptives. These proved so popular that Reich also took to the streets in a mobile clinic and began distributing sex-education pamphlets door to door.

 

This same year also saw publication of Die Funktion des Orgasmus, which he dedicated to Freud. Unfortunately, the latter was not overly impressed and took two months before sending a short thank you note (which didn't go down too well with Reich). Freud's view, essentially, was that it was an oversimplification to view everything in terms of orgastic potency.   

 

In 1930, Reich and his wife moved to Berlin, where he continued his work and set up more Sex-Pol clinics. Although he joined the German Communist Party, his new comrades were troubled by his promotion of sexual freedom for everybody - including adolescents - and they eventually refused to publish his material. 

 

And so Reich discovered that moral puritanism belongs as much on the radical left as the reactionary right. 

 

Having said that, it was the Nazis who, in 1933, most vociferously attacked his work and forced him to flee Germany with his mistress, a dancer called Elsa Lindenberg. The couple initially retreated to Vienna, then moved to Denmark, Sweden, and finally settled in Norway, where he and Lindenberg were to remain for five years [5].

 

It was whilst in Oslo, that Reich attempted to ground his orgasm theory in biology, exploring whether the libido was in fact a form of bio-electricity or a chemical substance [6]. These investigations led on to his bion experiments, where he played Dr. Frankenstein and sought to create rudimentary new forms of life (and explain the origin of cancer). 

 

Unsurprisingly, many within the scientific community in Norway expressed their scepticism regarding Reich's work. Whilst some simply dismissed his theories on bions as nonsense, others accused him of being ignorant of even basic scientific procedures and micro-biological facts. When in 1938 his visa expired, several scientists argued against this being renewed and his case became something of a cause célèbre in Norway [7]. 

 

When Reich eventually left Norway, he did so feeling a little humiliated and full of anger for those who had denounced him and ridiculed his work. The scandal - and his various love affairs - had also taken its toll on his relationship with Lindenberg. And thus when Reich asked her to accompany him to the United States, she declined, leaving him to set sail all on his lonesome. 

 

Details of Reich's American years can be found in part two of this post: click here.

 

 

Notes

 

[1] It was the 1983 Pelican edition, The Mass Psychology of Fascism, trans. Vincent R. Carfagno.

 

[2] For Deleuze and Guattari, Reich deserves credit for being the first to address the question of the relationship between desire and the social field (and for daring to go further in this direction than Marcuse). Whilst admitting his work has its problematic aspects, they find Reich's comparison of sexuality with cosmic phenomena, such as electrical storms or sunspot activity, preferable to Freud's "reduction of sexuality to the pitiful little familialist secret" and it was Reich, more than anyone else, who upheld the great perverse truth of psychoanalysis, i.e., "the independence of sexuality with regard to reproduction".

      See: Gilles Deleuze and Félix Guattari, Anti-Oedipus, trans. Robert Hurley, Mark Seem, and Helen R. Lane, (University of Minnesota Press, 1983), pp. 291-92.

 

[3] Kate Bush, 'Cloudbusting', a single release from Hounds of Love, (EMI, 1985): click here to play and watch the offical video, dir. Julian Doyle, and ft. Donald Sutherland in the role of Wilhelm Reich.

 

[4] Lore Kahn's parents claimed that their daughter had died after a botched illegal abortion, possibly performed by Reich himself. Whilst recognising the tragedy of what happened, Reich also found his role within the young woman's death and subsequent suicide of her mother absurdly amusing, noting in his diary: 'I am acting out a comedy, while causing the people around me to die!'   

 

[5] Hopes that he might be able to set up shop in London were dashed when it became clear that support from the psychoanalytic circle in England was not going to be forthcoming. It had been decided that Reich had unresolved hostility issues and was living in a world of his own. 

      The unique form of treatment Reich developed from 1930 onwards also caused eyebrows to be raised and alarm bells to sound. Based on touch, it involved patients stripping off and allowing him to perform a special type of massage in order to loosen their body armour (i.e., their muscular and characterological rigidity). In the hope of retrieving repressed childhood memories and triggering genuine feelings, Reich would also ask patients to physically simulate certain emotions (such as anxiety, rage, and ecstasy). If the session was successful, he claimed to see waves of pleasure move through the bodies of his patients (what he called the orgasm reflex or streaming). Initially wanting to call this new treatment orgasmotherapy, Reich evetually settled on the name of vegetotherapy (i.e., arousal therapy).  

 

[6] In 1935, Reich also bought an oscillograph and attached it to student volunteers at the University of Oslo, who agreed to touch and kiss each other while he monitored the results. As you do ...

 

[7] The affair generated a good deal of press coverage throughout 1938, with more than 165 articles and letters appearing in Norwegian newspapers, the vast majority of which attacked Reich and his work. 

Footnote on Quentin Tarantino's 'Once Upon a Time in Hollywood'

Margot Robbie as Sharon Tate and Margaret Qualley as Pussycat

in Once Upon a Time in Hollywood (dir. Quentin Tarantino, 2019)

Quentin Tarantino's penchant for bare female feet in his films has been well-documented - one might think of Uma Thurman, as Mia Wallace, in Pulp Fiction (1994), or Bridget Fonda as Melanie in Jackie Brown (1997) - and for those who share this particular fetish Once Upon a Time in Hollywood (2019) doesn't disappoint.    

There are multiple foot shots and both Margot Robbie, as Sharon Tate, and Margaret Qualley as Manson Family member Pussycat [1], have their shoes off for a considerable amount of screen time (1 min. 26 seconds and 1 minute respectively).

 

Tarantino has naturally been asked about this and, in recent a GQ interview, said:

 

"I don’t take it seriously. There’s a lot of feet in a lot of good directors' movies. [...] Like, before me, the person foot fetishism was defined by was Luis Buñuel [...] And Hitchcock was accused of it [...]” [2] 

 

It's interesting to discover that Tarantino doesn't take accusations of being a foot festishist seriously - which isn't quite the same as denying his podophilia. And he's right to point out that other directors have also been accused of the same thing.  

 

I think film critics who complain that Tarantino's shots of feet don't serve any narrative purpose, either don't know (or don't understand) the history of cinema and its inherenty kinky aesthetic (founded as it is upon exhibitionism and voyeurism, for example). 

 

Nor might they know that the real Sharon Tate loved going barefoot in public and when she went to restaurants where this might be a problem, she would put rubber bands around her ankles in order to create the illusion that she was wearing sandals.  

 

And so, to suggest that Tarantino just includes these shots for his own sexual pleasure is, therefore, ignorant and insulting to him as a director. 

 

In Once Upon a Time in Hollywood, for example, the scenes in which Tate puts her bare feet up on the back of the seat in front of her at the cinema and Pussycat puts her bare feet up on the dashboard of the car being driven by Cliff Booth (Brad Pitt), tell us something significant; namely, that whereas Tate has successfully stamped her mark on the silver screen, Pussycat and her fellow Manson Family members will merely leave a nasty stain on popular culture, like the mark left by a squashed bug on a windscreen.

 

As to why it is that the soles of Tate's feet are dirty, whilst the soles of Pussycat's feet are clean in comparison, well, I'm no Christian Metz, but perhaps Tarantino is suggesting that the former will have her sins forgiven and her feet washed clean by the tears of love and laughter she inspires in others [3], whereas Pussycat, who has deliberately chosen to take the path of evil and follows in the devil's footsteps, is deceptively clean and attractive on the outside, but corrupt of soul and filthy of mouth [4].     

Notes

[1] The character of Pussycat is a composite figure inspired by several of Manson's real followers, including Ruth Ann Moorehouse, whom Manson frequently sent into the city to entice men with money back to Spahn Ranch, and Kathryn ('Kitty Kat') Lutesinger. 

 

[2] See the interview with Tarantino by John Phipps in GQ magazine (3 Sept 2021): click here. 

[3] To watch the scene with Margot Robbie as Sharon Tate at the movie theatre in Quentin Tarantino's Once Upon a Time in Hollywood (2019), click here. 

 

[4] To watch the scene with Margaret Qualley as Pussycat hitching a ride from Cliff Booth (Brad Pitt) in Quentin Tarantino's Once Upon a Time in Hollywood (2019), click here. 

 

 

Grand Austrian Perverts 3: Sigmund Freud

Sigmund Freud (1856-1939) [1]

Photo by Max Halberstadt (c. 1921)

 

A sexual act is perverse if it has abandoned the aim of reproduction 

and pursues the attainment of pleasure as an aim independent of it.

 

 

I. 

 

So far in this series on großen Perversen Österreichs, we have discussed the cases of Arthur Schnitzler and Egon Schiele [2]. 

 

But I could have very easily have selected another writer - Sacher-Masoch, for example - just as I might have chosen another painter as the subject of my study, such as Gustav Klimt. For there are plenty of grand perverts [3] in the world - particularly in the arts - and Austria has its fair share of 'em.

 

This dilemma of choice is just as real within the world of psychoanalysis: Otto Gross and Wilhelm Reich certainly have strong claims to be considered within this series, for example. 

 

However, I've already written a post in memory of the former [click here] and although the latter - with his orgone accumulators and sex-pol clinics, etc. - is certainly an interesting figure, ultimately, one can't help thinking back to the man who initially inspired them both, Sigmund Freud ...

 

 

II.

 

Freud has a good claim on being perhaps the grandest of all grand perverts; one who understood how the inherently perverse nature of human sexuality - and the manner in which the perversions are either repressed or sublimated - is central to the reproduction of heteronormative civilisation.           

 

Although, as a reader of Lawrence and Deleuze, I am obviously not a Freudian, I will always be grateful for his insight that one does not become a pervert; that one is, rather, born such. And that even after healthy adult individuals renounce the polymorphously perverse pleasures of childhood in favour of undeviating genital intercourse, these kinks don't just disappear, but return in a multiplicity of strange forms.   

 

Indeed, for Freud, no matter how necessary it is to repress the perverse aspects of our nature - and no matter how well we sublimate such pleasures (even to the point of neurosis) -  "some perverse trait or other is seldom absent from the sexual life of normal people" [4] - even if this is just the desire to explore the mouth of one's lover with one's tongue in a passionate kiss. 

 

As Freud says, far from being that which transcends perversion, love is that which liberates it: "Being in love [...] has the power to remove repressions and reinstate perversions" [5] - that's what makes it so intensely exciting and feel so dangerous. 

 

It's unfortunate, therefore, that as psychoanalysis developed it became increasingly hostile to perversions and paraphilias. Whether Freud himself was responsible for this, or whether certain reactionary followers appropriated and contained his more radical ideas within a more traditional metaphysical schema, is debatable.     

 

Commentators who wish to stress the revolutionary nature of Freud's project will perhaps give him the benefit of the doubt, arguing that his work subverts traditional theories of sexuality, even if, ultimately, he remains an idealist. Jonathan Dollimore, for example, suggests that Freud's theory of the perversions retains and develops the paradoxes and displacements that give it its dynamic nature [6]. 

 

I think that's true. And I also agree with Dollimore when he writes that Freud is unrelenting in finding perversion "in those places where it is conventionally thought to be most absent" [7] - such as childhood. 

 

For children are not just sexual beings, but their sexuality is quintessentially perverse. Like that of many artists and intellectuals, who retain a certain quality of childlike innocence about them even when exploring illicit desires and forbidden pleasures.  

 

 

Notes

 

[1] I'm not - for obvious reasons - going to try and provide full details of Freud's life and work here in this short post; rather, I just wish to discuss his theory of perversion, the aspect of his psychoanalytic project that interests me most. However, for those who would like the very barest of biographical facts ... 

      Born to Jewish parents in the Moravian town of Freiberg, in May 1865, Freud qualified as a doctor of medicine in 1881 at the University of Vienna, the city where he lived and worked for most of his life, having set up his clinical practice there in 1886. 

      In 1938, Freud fled Austria to escape Nazi persecution (his books were prominent amongst those burnt in 1933) and he died in London in 1939. 

      As the founder of psychoanalysis, his influence upon Western thought and culture in the 20th-century has been immense and he is often named alongside Marx and Nietzsche as one of the three great masters of suspicion (a term coined by the French philosopher Paul Ricoeur). And even if, today, psychoanalysis as a diagnostic and clinical practice is in decline and many of his ideas contested, Freud's writings as a form of fiction-theory, remain of great interest to many scholars across the humanities. 

      As D. H. Lawrence wrote in his Introduction to Fantasia of the Unconscious (1923), we should be grateful that Freud insisted on the importance of the sexual element in our lives: "We are thankful that Freud pulled us somewhat to earth, out of all our clouds of superfineness."   

    

[2] For the post on Schnitzler, click here. For the post on Schiele, click here. 

[3] I am borrowing this phrase from D. H. Lawrence, who, in a letter to Aldous Huxley, once described St. Francis, Michelangelo, Goethe, Kant, Rousseau, Byron, Baudelaire, Wilde and Marcel Proust as grand perverts. Click here for my post on this subject.

[4] Sigmund Freud, Introductory Lectures on Psychoanalysis, Vol. 1 in the Pelican Freud Library (Penguin Books, 1973), p. 364. 

 

[5] Sigmund Freud,  On Metapsychology: The Theory of Psychoanalysis, Vol. 11 in the Pelican Freud Library (Penguin Books, 1984), p. 95.

 

[6] Jonathan Dollimore, 'The Cultural Politics of Perversion: Augustine, Shakespeare, Freud, Foucault', originally published in Genders No. 8: (University of Texas Press, Summer 1990), pp. 1-16, but which can now be read in the open access online version of Genders on the University of Colorado website: click here.    

      In this brilliant essay - which has informed my thinking here and elsewhere - Dollimore attempts (amongst other things) to sketch out the far-reaching implications of Freud's theory of the perverse; to show how, at the very least, "a range of central binary oppositions (spiritual/carnal, pure/degenerate, normal/abnormal), oppositions upon which the social order depends, are either inverted, removed, or collapsed into a relational interdependence".

 

[7] Ibid. 

 

Grand Austrian Perverts 2: Egon Schiele

Egon Schiele (1890-1918)

Photo by Anton Josef Trčka (1914)

 

Ich bestreite nicht, Bilder erotischer Natur gemacht zu haben. 

Aber sie sind immer Kunstwerke und den Künstler einzuschränken ist ein Verbrechen.[1] 

 

 

I. 

 

Whilst I have previously expressed my dislike of Egon Schiele's treatment of his devoted muse and lover Wally Neuzil - click here - it would be amiss to write a series of posts on the grand perverts [2] of Austria and not include this brilliant young artist. 

For he may have been a bit of a shit and his concern with marrying advantageously so he could climb the social ladder may make me despise him, but there's no denying that this protégé of Gustav Klimt - another grand pervert in his own right [3] - was a hugely talented figurative painter, whose work is noted (and notorious) for its twisted body shapes and explicit sexual nature.

 

 

II.

 

Egon Leo Adolf Ludwig Schiele was born in Tulln, Lower Austria, in 1890. 

 

As a child, he was fascinated by trains and would obsessively spend his time drawing them. I imagine that this was due more to the fact that his father was in charge of the local railway station, rather than an immature form of siderodromophila, but, who knows, maybe these early sketches did have a fetishistic or erotic component to them, which might help explain why his father one day became so enraged that he destroyed them. 

 

It might also explain why even his schoolfriends found him queer - that and the fact that this shy, reserved young man also had an incestuous desire for his younger sister, Gerti; something else that met with paternal disapproval [4]. 

 

By the time he turned sixteen, it was obvious that Egon had a tremendous talent for drawing and so he was enrolled first at the School of Arts and Crafts in Vienna (where Klimt had once studied) and then at the more traditional Academy of Fine Arts (also in Vienna). 

 

Although he stayed at the latter institution for three years, Schiele despised the ultra-conservative style of painting being taught [5] and so, in 1907, he decided to contact Klimt, who was known to mentor talented young artists. Klimt was so impressed by Schiele, that he not only helped find models and potential clients, but bought some of the young artist's drawings himself.  

 

Perhaps not surprisingly, therefore, Schiele's earliest work shows the strong influence of Klimt, although there are also similarities with his slightly older contemporary - and rival - Oskar Kokoschka. However, he soon developed his own distinctive style and, free from the conventions that had been imposed upon him at the Academy, he began to explore (and distort) the human form, particularly in its sexual aspect. 

 

This included some shockingly honest nude self-portraits, including one from 1910 in which  he is seen grimacing, and another, from 1911, in which he is masturbating. Other nude portraits were equally provocative; not least those which featured very young (and very thin) models in sexualised poses, such as Girl with Black Hair (1910), or Nude with Red Garters (1911): see figures 1 and 2 below.

 

Many critics thought the works grotesque and pornographic and soon the authorities would be coming for Schiele, who, perhaps sensing that trouble was brewing, decided to leave Vienna and start afresh elsewhere ...

 

 

III.

 

Schiele and his mistress Wally first moved to the small town of Český Krumlov (German: Krumau), in southern Bohemia. Unfortunately, they quickly upset the locals with their lifestyle and the fact that Schiele tried to employ their young daughters as models. 

 

Obliged to move on, they travelled to Neulengbach, about 25 miles west of Vienna. However, as in Krumau, Schiele's studio became a meeting place for delinquent adolescents and unsavoury artist-types and soon the town's residents were up in arms, the Bürgermeister agreeing that something had to be done. 

 

And so, in April 1912, Schiele's studio was raided by the police who seized more than a hundred works they considered degenerate [6] and arrested him on a charge of seducing a girl below the age of consent (which was then - as now - fourteen in Austria) [7]. Schiele was imprisoned for three weeks while awaiting his trial, during which time he produced a series of twelve paintings depicting life behind bars. 

 

When his case was finally heard, the charge of seduction was dropped. But he was found guilty of exhibiting obscene drawings in a place accessible to children and the judge seemed to take a strange delight in burning one of these offending works over a candle flame in the courtroom itself.   

 

Deciding he really needed to settle down - and tone down the pervy-paedo content of his work - Schiele married in 1915 into a solidly middle-class family, breaking Wally's heart in the process. Despite being conscripted during the War, he continued to work and to exhibit. By 1917, he was back in Vienna and able to focus more fully on his artistic career. 

 

This was, in fact, his most productive period and at the Secession's 1918 exhibition, Schiele had fifty works on display in the main hall. He also designed a poster for the event; a version of the Last Supper, with himself in the role of Christ. The show was a huge success and not only did he receive many new portrait commissions, but prices for his older works dramatically increased.

 

Unfortunately, in the autumn of that same year, the Spanish flu [8] arrived in Vienna: it first killed his wife (who was six months pregnant at the time) and, three days later, on Halloween, it claimed Schiele's life too. Allegedly, his last words were: Der Krieg ist aus, und ich muss gehen ... 

 

Which is a nice line with which to close either a life or a post. 

 

 

Fig. 1: Schwarzhaariger Mädchenakt (1910)

Fig. 2: Akt mit roten Strumpfbändern  (1911)

 

 

Notes

 

[1] For those who don't read German and can't be bothered to have it translated, the lines in English read:  'I do not deny that I have made pictures of an erotic nature. But they are always works of art and to restrict the artist is a crime.'

 

[2] I am borrowing this phrase from D. H. Lawrence, who, in a letter to Aldous Huxley, once described St. Francis, Michelangelo, Goethe, Kant, Rousseau, Byron, Baudelaire, Wilde and Marcel Proust as grand perverts. Click here for my post on this subject.

 

[3] Gustav Klimt (1862-1918), was an Austrian symbolist and one of the most prominent members of the Vienna Secession movement. His primary subject was the female body and his works are marked by what is often rather coyly phrased as a frank eroticism. As he began to develop a more pervy style, his work was increasingly the subject of controversy; this culminated when the paintings he completed around 1900 for the ceiling of the Great Hall of the University of Vienna were criticized as pornographic.

 

[4] When Egon was sixteen he took his twelve-year-old sister Gerti - by train - to Trieste and spent the night in a hotel room with her. By this time his father had died, of syphilis, and he was technically in the care of his maternal uncle (another railway official).   

 

[5] Schiele's main teacher at the Academy was the German painter Christian Griepenkerl, who specilised in allegorical works based on themes drawn from classical mythology. As well as frustrating Schiele, Griepenkerl was also the man who twice rejected Adolf Hitler's application to study at the Academy in 1907-08. 

 

[6] As Cody Delistraty reminds us in his essay 'Rethinking Schiele' in The Paris Review (3 Dec 2018):

      

"Working at precisely the time that fin-de-siècle decadence and excess was giving way to prewar conservatism, Schiele found that degeneracy would become a key term in his damnation. Degeneracy, of course, was also the term that the Nazis would use to describe so much of modern art, from works by Vincent van Gogh to Paul Klee to Edvard Munch." 

 

This interesting essay, which discusses Schiele's art in relation to questions of pornography and sexual exploitation, can be read online by clicking here. 

[7] Thirteen-year-old Tatjana Georgette Anna von Mossig. Frl. Mossig, from Neulengbach, was the daughter of an esteemed naval officer. I am grateful once more to Cody Delistraty for this information. 

 

[8] Unlike the coronavirus pandemic which caused global hysteria, the Spanish flu pandemic (1918-20) was exceptionally deadly and no one really knows how many people it killed, although estimates vary from 17 million to 50 million (and possibly as high as 100 million). Unusually, whereas the flu usually kills the very young and very old, this strain also had a high mortality rate amongst young adults, such as 28-year-old Schiele. 

 

 

To read the first post in this series on grand Austrian perverts - on Arthur Schnitzler - click here.   

 

To read the third post in this series on grand Austrian perverts - on Freud - click here. 

 

 

Grand Austrian Perverts 1: Arthur Schnitzler

Arthur Schnitzler (1862-1931) 

Photo by Ferdinand Schmutzer (c. 1912)

 

Ich schreibe über Liebe und Tod. Welche anderen Fächer gibt es?

 

 

I. 

 

If the Austrian writer Arthur Schnitzler is known at all today in the English-speaking world, it's as the author of the 1926 work Traumnovelle, which was adapted for the screen by Stanley Kubrick as Eyes Wide Shut (1999), starring Tom Cruise and Nicole Kidman [1].  

 

But he deserves, as a grand pervert [2] and pessimist, to be better remembered in my view ...

 

 

II.   

 

Schnitzler was born into a wealthy Jewish family in 1862. His father was a famous laryngologist - not something many people can say - originally from Hungary. And his mother was the daughter of a prominent Viennese doctor. 

 

So, no surprises then, that in 1879 young Arthur Schnitzler should begin studying medicine, qualifying as a doctor in 1885. Although he took up a job in Vienna's General Hospital, his heart wasn't in it: he wanted, rather, to become a writer and would eventually abandon the medical profession and opt for the life of a man of letters. 

 

In 1903, he married Olga Gussmann, an aspiring young actress and singer half his age, who also came from a Jewish middle-class background. The marriage lasted for eighteen years - and the couple had two children - before separating in 1921, ten years before Schnitzler's death.      

 

 

III.

 

As a member of the Austrian avant-garde, Schnitzler happily played with literary and social convention [3] and his works were regarded as controversial; both for their sexually explicit descriptions - much appreciated by Freud - and for their rebuttal of antisemitism.

 

Following the first public performance, in 1920, of his play Reigen (1909) [4], Schnitzler was not only condemned as a pornographer, but attacked in the vilest manner possible for his Jewishness. When asked by an interviewer why all his works betrayed the same perverse obsessions, he replied: 'I write of love and death. What other subjects are there?

 

Perhaps not surprisingly, Hitler was not a fan; describing Schnitzler's work as Jüdischer Dreck and his books were first banned by the Nazis, then burned by the Nazis. 

 

Fortunately, Schnitzler's papers - including manuscripts, letters, and an almost 8,000 page diary in which he recorded full details of his many sexual encounters and experiences - were saved from the flames and eventually ended up in Cambridge University Library.       

IV.

In closing, I'd like to mention Schniztler's philosophical pessimism. 

 

As Byung-Chul Han reminds us, in one famous aphorism, Schnitzler "proposes a relationship between bacilli and the human race" [5] and presents a vision "of an ontological or even a cosmic necessity for the general demise of life" [6]. 

 

It is a vision in which "the secret fate of every individual is to destroy the other" [7], not because of any evil intention to cause harm, but simply because: "Existence as such is already violence." [8]  

 

Notes

 

[1] Kubrick's version of Schnitzler's psycho-sexual fantasy makes significant changes to the original story and its setting; for example, the film takes place in New York in the late 1990s, not in Vienna in the early 1900s. Kubrick also removed all references to the Jewishness of the characters.      

[2] I am borrowing this phrase from D. H. Lawrence, who, in a letter to Aldous Huxley, once described St. Francis, Michelangelo, Goethe, Kant, Rousseau, Byron, Baudelaire, Wilde and Marcel Proust as grand perverts. Click here for my post on this subject.

[3] Schnitzler was a member of Jung-Wien, a society of fin de siècle writers who experimented with the more radical aspects of Modernism, challenging 19th-century realism and moralism, and promoting a politics of desire. Schnitzler was the first writer of German fiction to use stream of consciousness as a narrative mode. He was also a great practitioner of what is now known as microfiction.    

 

[4] Reigen - better known by its French title, La Ronde - was written by Schnitzler in 1897 and privately printed in 1900. It provocatively examines issues to do with class and sexual morality.  

 

[5]  Byung Chul-Han, Topology of Violence, trans. Amanda DeMarco, (Polity Press, 2018), p. 97. 

      The aphorism in question can be found in Arthur Schnitzler, Aphorismen und Betrachtungen, (S. Fischer Verlag, 1967), pp. 177-78. It is quoted in full (and translated into English) in Han's text, p. 97.

 

[6-8] Ibid., Note 41, p. 146.

 

 

To read the second post in this series on grand Austrian perverts - on Egon Schiele - click here.  

 

To read the third post in this series on grand Austrian perverts - on Freud - click here.

No Justice, No Peace

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I.

 

No justice, no peace is a political slogan one often hears chanted during protests; particularly protests involving the black community. Its precise meaning is said to be contested, which is rather surprising as I would've thought its message is perfectly clear: as long as there is social injustice, there will always be political discord and violence [1].

 

What's interesting is how it ties ideas of justice and peace - or injustice and violence - inextricably together. And that's what I wish to examine here ...  

 

 

II. 

 

According to Byung-Chul Han, the fact that working-class children have restricted educational and employment opportunities, is an injustice, but it isn't a form of violence: "If violence is used as shorthand for general social negativity, the contours of the idea become hazy." [2] 

 

In other words, the conception of violence must be kept clear and distinct from other ideas and, indeed, not conflated or confused with the operation of power. For even structural forms of oppression in which power is embedded and codified within a system - be it a social, political, or legal system - "is not violence in the strict sense of the word" [3]. 

 

Rather, it is a rulership technique which allows those in control to "rule discreetly and much more efficiently than ruling by violence" [4]. 

 

 

III. 

 

Byung-Chul Han is not the only theorist to hold such a view; the Italian philosopher Vittorio Bufacchi, whose work is primarily concerned with questions of social injustice and political violence, also suggests that there is a need to rethink the relationship between these things. 

 

Whilst conceding that it is tempting to describe acts of injustice as acts of violence - if only to emphasise their brutality and immorality - he nevertheless argues that, ultimately, there is nothing to be gained by a polemical attempt to either replace one term for the other, or see them as synonymous: "Violence being a more extreme phenomenon than injustice [...]" [5]        

 

The thing is, however, as a working-class child, I feel myself entitled to speak of violence. And whilst I might not jump in front of racehorses or wear a BLM t-shirt, I'm also sympathetic to women who experience systemic sexism, or persons of colour who experience institutional racism, as forms of violence. 

 

For even if such violence is mostly symbolic and disguised or invisible, that doesn't make it any less real. And for academics to insist that despite the often intimate relationship between power and violence "there is a structural difference between them" [6], feels like an anaemic form of sophistry.          

 

Notes

 

[1] Obviously, I am interpreting the slogan as a conditional statement, implying that civil peace is impossible without social justice and which not only sees violence as a consequence of injustice, but arguably warns of (or threatens) such. Others, by contrast, see it as a conjunctive statement to be interpreted as saying that neither peace or justice can exist without the other. 

      Interestingly, just as its meaning is somewhat ambiguous, so is the origin of the slogan somewhat obscure, some researchers tracing it all the way back to a note written by the African-American author and activist Frederick Douglass in 1859.    

 

[2] Byung-Chul Han, Topology of Violence, trans. Amanda DeMarco, (Polity Press, 2018), p. 77.

 

[3] Ibid., p. 78. 

 

[4] Ibid. 

 

[5] Vittorio Bufacchi, Violence and Social Justice, (Palgrave Macmillan, 2007), p. 2. 

      Later, Bufacchi admits that whilst the terms violence and injustice are not interchangeable, nevertheless the relationship between them is convoluted and they interact on several different levels. Thus it would be wrong to think of political violence and social justice as a mutually exclusive dichotomy, even if the former has an instrumental value and the latter an intrinsic value (i.e., violence is a means to an end, unlike social justice which is an end in itself). See his Introduction to the above text. 

 

[6] Byung-Chul Han, Topology of Violence, p. 79.   

My Name is Victor Frankenstein

Peter Cushing as Victor Frankenstein in  

The Curse of Frankenstein, dir. Terence Fisher, 

(Hammer Films, 1957) [1]

 

 

Although I have never read Mary Shelley's famous novel [2], I am of course familiar with the story of Victor Frankenstein and his monstrous creation [3] and, indeed, have always had an affinity for this noble and unorthodox young scientist - part thanatologist, part alchemist [4] - obsessed with generating new life from dead material.

 

For far from being the prototypical mad scientific genius, as portrayed in numerous cinematic adaptations of the novel, Frankenstein is actually a tragic figure, driven by a beautiful obsession.

 

And if, when things don't quite turn out as planned and he inadvertently endangers his own life and those of his family and friends, he comes to bitterly regret his unnatural experiments, nevertheless one has to admire him for challenging the judgement of God in the manner of a modern Prometheus.

 

But the primary reason I identify with Frankenstein - apart from his intelligence, curiosity about the world, and refusal to be bound by laws and conventions, is because I essentially use his technique as a writer. 

 

That is to say, I cut up dead bodies of text and stitch stolen ideas together in a diabolical manner. My creativity lies - if anywhere - in then being able to provide the electric spark or lightning flash of inspiration which makes the assembled piece of intertextual fiction-theory breathe with new life [5].

 

This might not make me an original [6] talent - any more than Frankenstein's work made him a god - but it does produce some interesting results, does require a certain degree of skill and hard work, and does make me, in a sense, both an artist and alchemist. 

 

  

Notes

 

[1] Readers might be interested to know that Frankenstein's first appearance on screen was in a silent short film released in 1910, dir. J. Searle Dawley, and starring Augustus Phillips as the good doctor and Charles Ogle as the Monster. 

      This was followed in 1931 by the famous Universal version of the tale, dir. James Whale, starring Colin Clive in the role of Frankenstein, opposite Boris Karloff as the Monster. Both actors reprised their roles in the 1935 sequel, Bride of Frankenstein (also dir. by James Whale).

      As much as I love Clive's portrayal, I have a particular soft spot for Peter Cushing's performance in The Curse of Frankenstein (1957), opposite Christopher Lee as the Creature, which is why I've used his image here. Cushing went on to star as Frankenstein in five more films for Hammer, subtly revealing different aspects of the character in each.

 

[2] I'm referring of course to Frankenstein; or, The Modern Prometheus (1818), written by Mary Shelley (whilst only eighteen years of age). 

 

[3] For those who aren't familiar with Shelley's figure of Victor Frankenstein, here's a brief character description and story outline:

 

According to the 1831 edition, Victor was born in Naples, but he describes his distinguished ancestry as Genevese.

      As a youth, he was intrigued by the works of famous alchemists such as Cornelius Agrippa and Paracelsus and longed to discover the so-called philosopher's stone; a mythical substance that could transmute base metals, such as lead, into gold and which was also an elixir of life, promising physical rejuvenation and immortality. 

      Later, however, Victor abandons alchemy for mathematics, which, he thinks, provides a more secure foundation upon which to base an understanding of the world. However, whilst at University in Bavaria, Frankenstein rediscovers his love for chemistry - this time in its modern form - and he makes a number of significant scientific discoveries; including discoveries about the bio-chemical nature of life, which enable him to animate non-living material. This research culminates in his creation of a being resembling man, but whom he comes to regard as a mixture of creature and demon.

     Rejecting the responsibility to care for his creation, the monster decides to seek revenge upon his maker; he murders Frankenstein's youngest brother, his best friend, and strangles Victor's bride, Elizabeth, on their wedding night. 

      Feeling that he has nothing left to live for, Frankenstein vows to destroy the creature and pursues the latter all the way to the North Pole, where he, Victor, eventully dies. Somewhat surprisingly, the monster is so overcome with sorrow and guilt, that he decides to commit suicide, before then disappearing into the frozen Arctic night.    

 

[4] One is tempted to also think of Victor Frankenstein as a Romatic poet, particularly as Mary's lover at the time of writing - and soon to be husband - Percy Shelley, inspired the character; for not only did the latter sometimes use the pen name of Victor, but, whilst a student at Eton, Shelley had conducted chemical experiments involving electricity. His rooms at Oxford were also filled with strange scientific equipment.  

 

 [5] It's been pointed out to me that my understanding of Frankenstein's monster as pieced together from body parts taken from numerous stolen corpses and reanimated by the use of electricity, owes more to the movies than Shelley's novel. In the latter, apparently, Frankenstein discovers the secret principle of life and it's this that allows him to painstakingly develop a method to vitalise inanimate matter, though the actual process is left rather vague. Neverthless, Frankenstein does assemble body parts, so I think my comparison stands and there's no need to split hairs, Maria.        

 

[6] Along with authenticity, originality is one of the concepts I despise the most: I don't care if my posts on Torpedo the Ark lack originality. And besides, as the Irish writer Oliver Goldsmith once wrote in The Vicar of Wakefield (1766), we can "pardon the want of originality, in consideration of the exquisite talent with which the borrowed materials are wrought up into the new form". 

      Or, as Roland Barthes would argue, the post-as-text is not expressive of an author's unique being. It's explainable only through other words drawn from a pre-given, internalised dictionary. Every new post is therefore, in some sense, already a copy of a copy of a copy whose origin is forever lost and meaning infinitely deferred. 

      To put that another way, if, as I do, you accept the idea of intertextualité, then questions of authorship and originality go out of the window and Síomón Solomon is right to claim in his brilliant study, Hölderlin's Poltergeists (2020), that every piece of writing is already a translation at some level and the author, whilst masquerading as a unified subject, is actually a multiple assemblage - like Frankenstein's monster - who speaks with many tongues (some of which are forked).