The Clare Spark Blog

April 28, 2013

Hatred and sanity

Nazi ad for Der ewige Jude

Nazi ad for Der ewige Jude

Despite the fact that Psalms 97:10 adjures the faithful “O you who love the Lord, hate evil!” (Tanakh), I’m writing this blog because a dispute broke out on a friend’s FB page, regarding whether the emotion of “hate” was always to be detested and repressed, or whether it was the sane response to a world spinning out of control: authoritarian, death-obsessed, and failing. I was the “hater” who was stigmatized. So I’m writing this blog to defend not only myself but Philip Roth’s character “Mickey Sabbath” in his 1995 novel SABBATH’S THEATER, a righteous hater if there ever was one. Call Mickey crazy if you prefer: I call him and his creator genius artists, with out-of-bounds imaginations that are unsurpassed.

I laid out the longstanding antagonism between “Christian” love and “Jewish” hate here: https://clarespark.com/2010/08/15/nazis-exhibit-der-ewige-jude-1937/. I will quote the most relevant paragraph now to illustrate the “binary opposite” that any historian should recognize; the subject was journalist Andrew Sharf’s characterization of “the Eternal Jew” as neutral, not derogatory:

No European myth is benign or even neutral with regard to Jews or to the liberal values that Andrew Sharf wants to defend, nor can it be otherwise. All Jews, including the “eternal” ones, are “bad”; the antithesis of Christian and Jew corresponds to the antipodes of Christian [organic] conservatism* and Jewish [classical] liberalism: (heartfelt) mysticism and (heartless) science, trust and withering skepticism, loyalty and betrayal, community and mob, busy bee and parasite, garden and wasteland. “Good Jews” like Lessing’s Nathan the Wise, Cumberland’s Sheva, Walker’s Schechem, and Dickens’ Riah who appeared in the humanitarian literature of the late eighteenth and early to mid-nineteenth century were good only because they were more Christian than the bourgeois Christians who were behaving like Shylock and Fagin; capitalism purged of its Judas red-beards would presumably lose its heartless and exploitative character. Christian landlords would never evict a tenant, Christian bankers would never foreclose a mortgage: this demented idea is fundamental to the völkisch revolution of Nazism,[2] but was not their invention. Nazi anti-Semitism, then, was only partly about the considerable material advantages in expropriating Jewish property and expelling Jewish rivals: Nazis, to maintain their credibility as redeemers and protectors, would have to plunge a stake in the heart of the “demon Thought” (to use Byron’s expression). For the antifascist critical mind is not found in a guilt-ridden Adam shrinking from conflict with illegitimate authority or from the perception of other irreconcilable conflicts. Instead, the anti-Semitic/ anti-intellectual mind anxiously mystifies class and gender antagonisms by positing (an unattainable) harmony as “normal.” Brandishing images of solidarity, the fascist bonds people only to “romance” in a false utopia necessarily maintained through deceit, terror and catharsis.

I was born into a non-observant Jewish family: all my grandparents were immigrants from Eastern Europe. Most of my childhood was spent following my adored father-the-doctor around the US as he ran various pathology laboratories for the U.S. Army in which he served as a captain (after the war, he told me resentfully about the antisemitism he encountered). I was usually the only Jewish kid in my eight public schools in Texas, Missouri, California, then in Coney Island and Elmhurst Queens. Nothwithstanding the lack of intellectuality in my immediate family, I was never indoctrinated one way or another to either hate being “Jewish” or to hate the invariably white Christians in my immediate environs. Not long before she died, my mother Betty Spark asked me, were I to do it over again, would I choose being Jewish. (This from another secular Jew.) I said of course, and thought to myself today, “I only wish I had learned Yiddish for its spectacular vocabulary of derision,” a language my mother spoke and understood, but had not bothered to teach me.

My family ca. 1942

My family ca. 1942

I’ll say this about my sort of Jewish Mother: she advised me never to carry a grudge; i.e., never to become a hater. As the daughter of a doctor, I have diagnosed many “haters” whose anger was turned against themselves, leading to ulcers and worse. I take after Betty in this respect, and cling to those qualities in myself that make me a better warrior and a wiser mother and grandmother. Some think of me as cold, detached, and male-identified.

When I, as a citizen and a historian, see politicians, lackey journalists, schoolteachers, professors, former lefty friends, Pacifica radio, and millions of quacks, abuse their powers by mis-educating other people, I believe that a form of “hatred” is the only rational response. That does not mean that I am impervious to the power of old attachments: I remain fond of many who no longer speak to me. It also does not mean that I have succumbed to Christian forgiveness. I don’t believe in forgiveness in all cases, though I do not oppose those who are more “charitable” than I. I prefer repentance, self-understanding, and reparations. (My observant son-in-law tells me that Jews are required to ask for forgiveness for humiliating slights three times. If the victim refuses to forgive, then the Jew may hold on to his anger. If thievery or violence are involved, then one goes to the law.)

Put me in a box with Captain Ahab, a character who is almost always wildly misread for ideological reasons (see https://clarespark.com/2010/06/12/preface-to-second-edition-of-hunting-captain-ahab/). We are connoisseurs of revenge. We are warriors against all forms of evil, especially arbitrary, duplicitous authority that diminishes the creativity of individuals. If that makes me a jerk with both a ramaging Id and a Hebraic puritan superego,  and, hence, a bit mad, so be it. I stand with Herman Melville, Philip Roth, and bless his crazy heart, “Mickey Sabbath,” a Jew I can understand.

[For earlier blogs on the problem of evil, see https://clarespark.com/2013/01/12/hate-hard-liberty-quick-fixes/, or https://clarespark.com/2011/05/20/the-mentalist-melville-blake-and-israel/.]

[Note on the Nazi poster advertising the “show” that 1. this is unmistakably the Wandering Jew of medieval myth, then resuscitated during the Reformation; and 2. Nazi ideology held Jews responsible for bringing communism to Germany. Anticommunism was the chief factor that bound Hitler to the German people. The Wandering Jew myth had nothing to do with communism, which did not exist when the myth was invented, though some trace it to the New Testament.]

April 26, 2013

The television season goes Dark

The-following-posterI understand that television is not considered to be other than escapist entertainment, and not a business with pretensions to artiness or literariness, but there are many critics who treat its more upscale offerings with the reverence once reserved to Balzac (for instance see the indefatigable Terri Gross in her new interview with Matthew Weiner, creator of MAD MEN: in the part I heard she was insisting that Don Draper has a “death wish”).

As the 2012-2013 season draws to a close, I must say that I can’t remember a time when popular entertainment was as ideological driven or death-obsessed. I admit to not understanding the adolescent craze for vampires or zombies, though I have my suspicions of deranged right-wing Romanticism and/or the adolescent desire to irritate parents. But I do get the populist flavor, laced with morbidity, of the “better” television series, especially those directed to a more upscale, presumably educated audience.

Lest I be misunderstood, I am not nostalgic for the television fare of the 1950s and 1960s, with its frequently inane glorification of the ordinary folksy American family, rural or urban. The material introduced in response to 1960s and 1970s uproars was critical, and though usually anti-American and anti-establishment, was at least well-written, brilliantly acted, and interesting to decode for its (typically populist) politics. Nor do I fail to detect the ideology in the theater popular when I was growing up: at least it was well meaning, brilliantly written, conceived, and performed—and relatively anti-racist.

But what to make of such paranoia-inducing recent offerings as the romantic necrophiliac THE FOLLOWING (internet gossip reports it renewed!), or the ongoing goriness in CRIMINAL MINDS, or the hatred of hedge fund managers profiting off evil drug companies as displayed in the last episode of PERSON OF INTEREST, or amoral rich people as were evident in DECEPTION, now in SCANDAL (the last episode particularly horrifying), MAD MEN, REVENGE, and even the apparently harmless and well-written THE GOOD WIFE, a love triangle that manages to mostly evade the possibly unparalleled corruption of  Democratic Chicago, while “Alicia” wavers between family and sex? (I have been watching reruns of the Dick Wolf generated LAW AND ORDER: CRIMINAL INTENT, and find the same targets, often Jews, who are either the perps, or who as doctors and lawyers are equally loathsome and corrupt. In one episode, “the Jewish mob” is identified as the most “vicious” of all: oh really?). Add to that the swipes at Mossad in the ever-popular NCIS, and you have the picture. Nouveaux riches and the government enforcers (cops, government regulators, other bureaucrats, CIA, etc.) whom the moneybags obviously control in their own depraved interest, are the chief subjects of the most watched television shows. The poster for THE FOLLOWING (illustrated) shows the dual character of those who serve “law and order.” “Order” for whom? is clearly implied as Bacon and Purefoy are halves of one whole, following Poe’s “William Wilson” in its doppelgänger conception, perhaps a major conceit in the imagination of television writers. And don’t be fooled by the poster for THE FOLLOWING. “Joe Collins” (James Purefoy) is clearly the protagonist, and he stepped out of character in the most recent episode to plug Green living. Why not Kevin Bacon, who barely appears in the series, and whose character is an alcoholic to boot?

Are there any shows with family values? So far, BLUE BLOODS takes the prize. Irreproachably Irish Catholic and upright, the patriarchal Reagan family holds together in contrast to the decadent cities it valiantly disciplines. Even THE MENTALIST is terror gothic in spirit, and clearly plays on fears of the French Revolution, while teasing its faithful viewers that “Patrick Jane” is actually serial killer Red John, rather than someone likely to be very high up in the government. It too is paranoia inducing. Shame on you Bruno Heller, who should know better.

And SMASH, the backstage story of a Broadway musical, will not likely be renewed, while its writing and music to these ears are downright embarrassing. What a hollow victory for hip movement culture, with its glorification of the ever-misunderstood and pathetic Marilyn Monroe.  On to off-Broadway, inter-racial understanding, and the offbeat rock musical and heterosexual and homosexual pairing off. On television, racism/miscegenation has disappeared if you sing and dance well enough. Perhaps the same thing can be said for new Broadway shows, either PC or living off the bones of its ancestors.

Meanwhile, few in show business pay attention to education reform, the illicit power of the teachers unions, and their relentless, media-supported attempts to undermine the educations of real black and brown children in urban ghettoes and elsewhere. Try to find a decent public school in NYC or Los Angeles, homes of those who write and produce the mindless (though technically advanced) shows I have listed above.

Now tell me the condition of our urban schools is not racist in the extreme. The better historians lament the world wide indifference as the Holocaust and other horrors proceeded in the 1930s and 1940s, while today the hippest among us wallow in gonzo ressentiment, apocalypse, the undead, blood and gore. Who is indifferent now? Should we blame the audience, who allegedly want this polluted fare?

Is the great American experiment going down? If popular culture is any indication, the answer is “you betcha.” Who needs a Fifth Column or other demonic forces when you have the entertainment industry?

[I have blogged about most of the tv shows mentioned here and others: see https://clarespark.com/2012/03/16/index-to-blogs-on-popular-tv-shows/.]

good wife cast pic chris noth 2 season 2

May 20, 2011

The Mentalist, Melville, Blake, and Israel

Simon Baker as The Mentalist

SPOILER ALERT. The popular CBS show The Mentalist had a razzle-dazzle finale ending its third season. Not only was Captain Ahab mentioned, and the Blake poem that had ended the second season reiterated, but Patrick Jane confronted his White Whale, Red John, and shot him point blank in a shopping mall. (It turned out to be a bad man, but not Red John.)

Melville’s Moby-Dick has come up several times in this series, as has the problem of vengeance, and it is the question of “vengeance” and the problem of evil (the dark side of humanity) that is being talked about today on the internet.  As I wrote in my prior blog on The Mentalist, the Blake poem, The Tyger* was written in 1794, and whatever religious resonances it contained, it also clearly referred to the Reign of Terror as perpetrated by the Jacobins. (See https://clarespark.com/2010/05/20/criminal-minds-and-the-pathology-of-rural-america/.) Today’s undereducated television audience is probably more attuned to the Devil or fallen flesh (our purported dark interior) than it is to specific historical provocations that stir a poet, so today’s blog will try to pull together some themes that question the morality of “vengeance.”**

If there is an archetype for humanity seeking to stamp out evil, it is the Promethean Captain Ahab, his leg torn away by “Moby Dick.” His detractors (Ishmael, Starbuck, and the majority of Melville scholars, including those on the Left) have seen him engaged on a vindictive, futile, hubristic, and suicidal quest to abolish evil. If one understands that Melville wrote his masterpiece after decades of antislavery agitation that threatened to sunder the Union, one must concede that Melville had a very specific evil in mind, and that was the Slavocracy, as Charles Sumner and other antislavery men termed the national government as controlled by Southern slaveholders.

It is not irrelevant that Melville was sometimes read as “Jew” or “Hebraic” and identified with Ahab, or that David Herbert Donald, Sumner’s biographer, hinted that he was driven by Jewish blood through his mother (See Vol.1 of Donald’s biography, published 1960; the tone abruptly changed in Vol.2, published 1970, possibly because of the civil rights movement.)

The Mentalist is no New Age mystic, indeed is not a psychic as some viewers would like to think. He is rather something very like Captain Ahab: a “fighting  Quaker,” a materialist, a loner, and a shrewd mapper of his environment and the correlation of forces arrayed against his individuality. He sees corruption in high places, and cannot count on the legal system to catch the serial killer who murdered his wife and child; indeed, the legal system is hand-in-glove, he thinks, with evildoers, and is compromised by procedures at best. Thus the analogy I am making here with Melville as moralist, horrified by the institution of slavery, but also constrained by his family’s connections to take a public stand against it, except through indirection in his novels.

Consider now the hatred directed against the Jews of Western Europe after their emancipation in the 19th century. The polarizing Dreyfus case was only one example of the failure of a civilized government to enact justice. It was from this crucible that the journalist and playwright Theodore Herzl conceived the daring mission to create a Jewish state.  What role did the civilized nations play in the accelerating events that led to the horrors of the 20th century, and that threaten the Jewish state as I write this? The “Christianized” West was either complicit or indifferent to the murder of the Jews, and continued their indifference when the war was concluded, notwithstanding the supposed U.S. or U.N. support for the Jewish state. It was the willingness of Jews to take casualties in 1948 (plus arms supplied by a briefly friendly Soviet Union with its own agenda) that made the State of Israel possible, not helpful Western intervention. Writing in the early 1940s, Harvard’s star sociologist Talcott Parsons, whose “structural functionalism” still rules in academe, and who was cited favorably by David H. Donald, in Sumner Vol.2,  described the Jewish national character as reflective of a vindictive, savage God. One wonders how many liberal Jews today are fleeing from that archetype, joining in the anti-Ahab chorus as they imagine themselves to be assimilating and therefore acceptable to the American ruling class, those “moderate men” who hold to “virtuous expediency” (as Melville would have derisively put it).

Which brings me back to the higher law. John Locke wrote of the right to resist authority when the constituted government breaks its contract with the people. What makes Patrick Jane such an interesting character to me, is his uniqueness in popular television crime shows (with the possible exception of Bobbie Goren). You don’t see many apparent atheists depicted as the hero of a series, by necessity taking the law into his own hands, appealing to rough justice, or perhaps the higher law of Truth and Justice, as Sumner would have seen it. (Compare this series with Blue Bloods, frankly Irish Catholic in its sympathies, and where everything is done “by the book.”)

What do we mean, then, by “vengeance,” and who defines its legality?  And is the unforgiving Bruno Heller/Patrick Jane a writer who is running ahead of public opinion, indeed running ahead of his own authorial instincts? Melville, insofar as he identified with his mad Captain Ahab, surely was.

*Tyger Tyger. burning bright,
In the forests of the night;
What immortal hand or eye.
Could frame thy fearful symmetry?

In what distant deeps or skies.
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand, dare seize the fire?

And what shoulder, & what art,
Could twist the sinews of thy heart?
And when thy heart began to beat.
What dread hand? & what dread feet?

What the hammer? what the chain,
In what furnace was thy brain?
What the anvil? what dread grasp.
Dare its deadly terrors clasp!

When the stars threw down their spears
And water’d heaven with their tears:
Did he smile his work to see?
Did he who made the Lamb make thee?

Tyger Tyger burning bright.
In the forests of the night:
What immortal hand or eye.
Dare frame thy fearful symmetry?

** On 6-2-11, CBS replayed the episode “Red Moon” that ended with a serial killer, set on fire by a guard, reciting some lines from “The Tyger” as he is dying. This episode was written by Bruno Heller and directed by Simon Baker. After the poem is heard, “Patrick Jane” looks extremely disturbed. I suspect that both actor and author are more interested in “the dark [Satanic/vengeful] side” of our species than in exploring the moral dilemma of a man seeking justice in a society where the law is unevenly applied. See recap here: http://www.cbs.com/primetime/the_mentalist/recaps/310/recaps.php?season=3. To sum it up: without religion, the hounds of hell are released. “The mentalist” is an anti-hero, not meant to be an exemplar, and he is often read that way by viewers, as Red John himself. But as a regular viewer of the show, I prefer to think that both Heller and Baker know what they are doing, and that their view of [Ahab] coincides with mine.

May 20, 2010

“Criminal Minds,” “The Mentalist, “and the pathology of rural America

Thomas Gibson playing Agent Hotchner, scowling as usual

Like it or not, most Americans get their notions of mental health from the media, including the numerous television shows in which serial killers run amok until a heroic band of profilers psyches them out and captures them (but not before we have seen oceans of blood and other mayhem). (This blog was followed up here: https://clarespark.com/2011/05/20/the-mentalist-melville-blake-and-israel/.)

This blog is about the episode of CBS’s Criminal Minds that aired on Wednesday May 19. Although most of their prey reside in Southern, Midwestern, and Western rural and small town America (and this was no exception), this show that weekly demonstrates the prowess of a team of Quantico-trained FBI agents strongly came out against the internet (especially social networks) as a source of murderous “narcissism”.  Social networks, they allege,  primarily cater to vanity, enabling voyeurs and attention-hungry techies (like last night’s murderer). The output of these new-fangled maddening inventions is [the Red State of] “Anarchy.”  Narcissism is understood as a craving for attention among those who, sucked into celebrity culture, have inflated self-esteem and have found their own niche among the pale-faced perverts who populate these non-urban , almost wilderness, areas. But most subtly of all, the killer of May 19 wanted to kill women who looked like him (this exact phrase was repeated several times). Is it too much of a leap to propose that embedded in this horrific tale is a reproach from liberals to conservatives who have resisted affirmative action and other liberal remedies for institutional discrimination? Are conservatives indeed all nativists and racists who instinctively abhor those who are “different?”

As many of these blogs have argued, “narcissism” is the term of opprobrium traditionally ascribed to everyone from actors and artists to mad scientists, and to technicians of every kind, including greedy Wall Street businessmen.  It is a reproach emanating from communitarians and other corporatists whose diagnosis of fascism rested upon the idea that Hitler’s supporters were one-sided in their educational training and experience, hence lacked the spirituality that can only be instilled by “faith.” Or Faith, Hope, and Charity, as Glenn Beck likes to put it, echoing centuries of religious conservative thought.

But Freud and many of his followers described normal or “healthy” narcissism, understood as having developed a strong sense of self, and being able to soothe oneself in the face of social disapproval or grievous losses. One gets this healthy narcissism from a strong maternal bond (I am referring here to attachment theory as put forth by John Bowlby), with separation from the mother managed successfully. This healthy narcissism grounded in early echoing and mirroring of the child’s feelings, never came up in the episode, though it could have been worked in by the didactic genius team member Reed, who did simply state that “narcissism” was overused in today’s world, while later brilliantly analyzing the facial configurations of the killer’s prior victims to show that key elements coincided with his own face.

It is true that Facebook is used by many for trivial purposes, but to condemn the internet as a dangerous innovation that causes sadism and a life of mayhem directed against women is overreaching of a particularly dangerous, almost criminal character. And, oh, the internet is possibly the most democratizing technical innovation of the recent past. Finally, the gatekeepers of mass media have lost their monopoly on news and opinion.

Added 5-21-10: The Mentalist ended its second season on 5-20, beginning with a televised murder of a woman alone in her bed. The plot was remarkably similar to that of Criminal Minds, except that now it is clear that the threat of the internet extends to ordinary persons possessed of movie cameras, hence able to realize their demonic ambitions. But this series was more literary than the Criminal Minds episode, for the serial killer Red John, having mentalist Patrick Jane in his clutches (wrapped in plastic), and wearing a mask quotes Blake’s famous poem about the Reign of Terror (1793-94), “The Tyger”. (The first verse only: Tyger! Tyger! burning bright /In the forests of the night,/What immortal hand or eye/Could frame thy fearful symmetry?)  . Blake’s poem is not just about the Terror and the furies of unleashed mobs, but about the Promethean element in civilization that has continuously terrified the upper classes in the Age of Revolution. But here is the best part. Patrick Jane returns to his austere prison-like room (the iron cage of materialism?), lies down on a mattress very much like a pallet, with the Red John smiley face painted on the wall above his bed. And the mentalist (an opponent of magical thinking) then repeats the first verse of “The Tyger.” What to make of this?
Bruno Heller (writer for the HBO series Rome as well as The Mentalist) is an educated man. He knows about Doppelgängers. As a rejector of the supernatural, Heller probably knows that artists who write against the centuries of magical thinking are educating the lower orders in the ways of empiricism, and no less than Herman Melville, fears the volcanic rage within himself that he could be releasing in the proto-revolutionary audience by mocking those who do not rely upon close observation of this world. Bruno Heller’s Promethean characters, no less than Melville’s Captain Ahab and other red-flag-flying usurpers of priestly authority, are both the mentalist (does he have a heart?) and Red John.

[Added 12-15-10. I have read Zoe Heller’s The Believers, and in an interview she discloses that her father Lukas is anti-religion, married a non-Jew, and has or had a half-sister who survived Auschwitz. I cannot know what her brother Bruno Heller’s beliefs are regarding the Nazi phenomenon. Perhaps he is one who sees the seizure of power as the revolt of the masses and an outgrowth of Jacobinism in the West. From the Wiki description of the family, they all sound like liberals.]

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