The Existentialist Poetic of Thoreau's Journal

Henry David Thoreau conceived of his writing of nature in his Journal as an experiential form of writing. As he commented in his entry of 2 July 1852, ‘Nature is reported not by him who goes forth consciously as an observer, but in the fullness of life. To such a one she rushes to make her report.’ The grounding of nature writing within one’s own personal experience is emphasized again by Thoreau on 19 April 1854: ‘I am not interested in mere phenomena, though it were the explosion of a planet, only as it may have lain in the experience of a human being.’ Such sensual experience generates the reader’s sense of the writer’s physical presence, so that we no longer feel imprisoned in our mechanized contemporary environments but instead actively there, out there, with Thoreau. ‘The forcible writer stands bodily behind his words with his experience. He does not make books out of books, but he has been there in person.’ (3 February 1852)

Thoreau drew a direct link between the plenitude and degree of illumination of a reader’s or student’s cognition, and that student’s ability to immerse himself in studies which enable him to become charged by sensual experience.

‘It is essential that a man confine himself to pursuits – a scholar, for instance, to studies – which lie next to and conduce to his life, which do not go against the grain, either of his will or his imagination. The scholar finds in his experience some studies to be most fertile and radiant with light, others dry, barren, and dark. If he is wise, he will not persevere in the last, as a plant in a cellar will strive toward the light. He will confine the observations of his mind as closely as possible to the experience or life of his senses. His thought must live with and be inspired with the life of the body. […] Dwell as near as possible to the channel in which your life flows.’ (12 March 1853)

Here we find an affinity between the impulses underlying Thoreau’s journalizing and a central aspect of Weimar era German thought to which I have referred often on this blog. For we are reminded here of Jaspers’ early existentialism which, as Chris Thornhill writes in his study Karl Jaspers, sought to ‘deploy Kant as the basis for an existential metaphysic of possible lived unity’. Jaspers’ early existentialism, Thornhill notes elsewhere, sought precisely to overcome Kantian antinomies such as that of reason and experience, by ‘incorporating all aspects (cognitive, practical and sensory) of human life in an encompassing account of rational and experiential existence’. This existentialist project was anticipated by Thoreau’s requirement of the subjectivist researcher, ‘whether he be poet or philosopher or man of science’, that ‘His thought must live with and be inspired with the life of the body’:

‘There is no such thing as pure objective observation. Your observation, to be interesting, i.e. to be significant, must be subjective. The sum of what the writer of whatever class has to report is simply some human experience, whether he be poet or philosopher or man of science. The man of most science is the man most alive, whose life is the greatest event.’ (6 May 1854)  

In his journal entry for 14 July 1852, Thoreau had already related his concern with the ‘most alive’ to the question of a living language. Here he pointed to the emergence of the sort of artificial, manufactured-to-death language which characterizes today’s bureaucratic, public sector discourse and capitalist, private sector discourse alike. ‘A writer who does not speak out of a full experience uses torpid words, wooden or lifeless words, such words as “humanitary,” which have a paralysis in their tails.’ The deathliness of ‘humanitary’ results from its excess: from its self-aggrandizing add-on, the suffix ‘-itary’. Just as here he notes the excessive moment of particularity in ‘humanitary’, on 30 March 1853 Thoreau went on to comment on how a particularizing, analytic perspective on life diminishes our full experience, or our existential sense of ‘possible lived unity’. His references to ‘view’ and ‘the unbounded universe’ make it clear that he thinks of such full experience in terms of our visionary capacity:

‘Ah, those youthful days! are they never to return? when the walker does not too curiously observe particulars, but sees, hears, scents, tastes, and feels only himself, - the phenomena that show themselves in him, - his expanding body, his intellect and heart. No worm or insect, quadruped or bird, confined his view, but the unbounded universe was his. A bird is now become a mote in his eye.’

Crucially, for Thoreau the writing of full experience is genuine poetry, because such a writing conveys the ‘affinity’ or sympathy between the writer and whatever he has experienced – ‘the phenomena that show themselves in him’. In that way it also conveys the sympathy between the particular elements of nature which scientific observation simply separates. ‘What affinity is it brings the goldfinch to the sunflower – both yellow – to pick its seeds? Whatever things I perceive with my entire man, those let me record, and it will be poetry.’ (2 September 1851) Or again, three years later on 24 September 1854: ‘What name of a natural object is most poetic? That which he has given for convenience whose life is most nearly related to it, who has known it longest and best.’ Thoreau’s preoccupation with a unified life’s possibilities of sympathy and relationality, enabled him to describe the action of existential poetic naming which derives from imbibing a natural object’s spirito-existential ‘nutriment’: on 19 September 1854 he had written, ‘I have given myself up to nature; I have lived so many springs and summers and autumns and winters as if I had nothing else to do but live them, and imbibe whatever nutriment they had for me’.  

On 2 January 1859, Thoreau’s exposition of ‘vital and natural’ poetic language brought him to counterpose ‘artificial’, patriarchal, academic regulations of language to the free speech of mothers, brutes and animals:

‘When I hear the hypercritical quarrelling about grammar and style, the position of the particles, etc., etc., stretching or contracting every speaker to certain rules of theirs, - Mr. Webster, perhaps, not having spoken according to Mr. Kirkham’s rule, - I see that they forget that the first requisite and rule is that expression shall be vital and natural, as much as the voice of a brute or an interjection: first of all, mother tongue; and last of all, artificial or father tongue. Essentially your truest poetic sentence is as free and lawless as a lamb’s bleat.’

Thoreau’s suspicion of academic language use – of ‘literacy’ – rests on his sense that, just as natural life itself symbolizes human experience, so too, conversely, human symbolic expression is grounded in natural phenomena: ‘Talk about learning our letters and being literate! Why, the roots of letters are things. Natural objects and phenomena are the original symbols or types which express our thoughts and feelings’ (16 October 1859). It is because their language conveys the sourcing of letters in natural things that ‘We cannot spare the very lively and lifelike descriptions of some of the old naturalists’, as he writes on 17 February 1860 (for example). ‘They sympathize with the creatures which they describe.’ But for Thoreau, importantly, a vital and natural – poetic – language conveys not just nature’s facticity, but its spirit too. On the following day, his journal entry expounded his animist phenomenology and noted the inadequacy of traditional scientific description to that phenomenology:

‘Surely the most important part of an animal is its anima, its vital spirit, on which is based its character and all the peculiarities by which it most concerns us. […]

   Science in many departments of natural history does not pretend to go beyond the shell; i.e., it does not get to animated nature at all. A history of animated nature must itself be animated.’

On 15 February, Thoreau wrote of ‘the physical fact which in all language is the symbol of the spiritual’; his sense of natural phenomena as being symbols of natural anima, explains his intention – stated nine years earlier on 9 November 1851 – that lively and lifelike, poetic expression is to convey ‘animated’ phenomena on their own terms, without reducing them to mere brute facticity, as would the ‘common sense’ view of nature. For only such a form of expression can convey the sympathy between the writer’s anima and nature, or the way in which the writer has experienced and imbibed natural anima. ‘My facts shall be falsehoods to the common sense. I would so state facts that they shall be significant, shall be myths or mythologic. Facts which the mind perceived, thoughts which the body thought.’  

Thoreau opposes vital poetic language and the experience of nature which it conveys, or what he calls ‘the true growth and experience, the living speech’ (16 October 1859), to the paralyzed vitality and ‘dry technical terms’ which he associates with academic science’s specialist accounts of nature:

‘I look over the report of the doings of a scientific association and am surprised that there is so little life to be reported; I am put off with a parcel of dry technical terms. Anything living is easily and naturally expressed in popular language. I cannot help suspecting that the life of these learned professors has been almost as inhuman and wooden as a rain-gauge or self-registering magnetic machine. They communicate no fact which rises to the temperature of blood-heat. It doesn’t all amount to one rhyme.’ (6 May 1854)

On 5 September 1851 we find Thoreau praising James John Garth Wilkinson’s The Human Body and Its Connection with Man, Illustrated by the Principal Organs for its analogical method. By drawing quotidian physical analogies (such as when he describes the papillary cutis as ‘“an encampment of small conical tents coextensive with the surface of the body”’), Wilkinson, Thoreau feels, finds in popular, nonspecialist language a means of communicating unified, existential reason’s sympathetic experience of the body: this is true cognition or ‘perception of truth’.

‘The faith he puts in old and current expressions as having sprung from an instinct wiser than science, and safely to be trusted if they can be interpreted. The man of science discovers no world for the mind of man with all its faculties to inhabit. Wilkinson finds a home for the imagination, and it is no longer outcast and homeless. All perception of truth is the detection of an analogy; we reason from our hands to our head.’

Nine years later, on 13 October 1860, Thoreau’s existentialism leads him to argue that, because of their success in conveying ‘the highest quality of the plant, - its relation to man’, ‘it is commonly the old naturalists who first received American plants that describe them best’. Here Thoreau again advocates (the ‘free and lawless’ writing which can relay) singular, existential cognition over professional scientific knowledge:

‘After all, the truest description, and that by which another living man can most readily recognize a flower, is the unmeasured and eloquent one which the sight of it inspires. No scientific description will supply the want of this, though you should count and measure and analyze every atom that seems to compose it.’

Thoreau’s rejection of the language of academic science and advocacy of an existential poetic, relates to his rejection of professional, scholarly literacy in favour of popular, democratic literacy. ‘Anything living is easily and naturally expressed in popular language.’ On 6 December 1859:

‘Literary gentlemen, editors, and critics think that they know how to write because they have studied grammar and rhetoric; but the art of composition is as simple as the discharge of a bullet from a rifle, and its masterpieces imply an infinitely greater force behind it. This unlettered man’s [Irving’s] speaking and writing is standard English. Some words and phrases deemed vulgarisms and Americanisms before, he has made standard American.’

Walden Pond in 1908

We are reminded of the earlier remark that ‘the first requisite and rule is that expression shall be vital and natural, as much as the voice of a brute or an interjection’. It is as if, for Thoreau, an academic aesthetic architecture of ‘grammar and rhetoric’ is to be supplanted by a demotic aesthetic physics of verbal force and compaction. Already on 12 November 1851, he was thinking in terms of ‘interjection’ and discharge: ‘Those sentences are good and well discharged which are like so many little resiliencies from the spring floor of our life, - a distinct fruit and kernel itself, springing from terra firma.’ The ‘continent concentrated thoughts’ of which Thoreau wrote on 30 August 1856 recall these well-defined resiliencies. In order to adequately reflect the complexity of nature, Thoreau maintains on 27 October 1858, language really should be compounded – ‘ground together’ – rather like in German:

‘Who will undertake to describe in words the difference in tint between two neighbouring leaves on the same tree? or of two thousand? – for by so many the eye is addressed in a glance, In describing the richly spotted leaves, for instance, how often we find ourselves using ineffectually words which merely indicate faintly our good intentions, giving them in our despair a terminal twist toward our mark, - such as reddish, yellowish, purplish, etc. We cannot make a hue of words, for they are not to be compounded like colours, and hence we are obliged to use such ineffectual expressions as reddish brown, etc. They need to be ground together.’

A principle of compounding or compaction can also be found underlying Thoreau’s broader conception of writing as the creation of ‘a theme’, and subsequent identification of ‘one pertinent and just’ thematic ‘observation’. Thoreau’s idea of writing here would reverse today’s academic writing practice, which typically starts from a pre-set, often predatorily pre-identified theme, before exploitatively selecting the material (and only that material) which will enable one to sustain one’s forced argument. The dominative logic of subsumption, against which Theodor Adorno directed much of his thinking, continues to determine so much of what passes for intellectual life now. A commodity is to be delivered, or you will be made unemployed, your selfhood erased and then accused of mental illness, etc. On 3 February 1859 Thoreau noted:

‘The writer has much to do even to create a theme for himself. Most that is first written on any subject is a mere groping after it, mere rubble-stone and foundation. It is only when many observations of different periods have been brought together that he begins to grasp his subject and can make one pertinent and just observation.’

In his entry for 13 October 1860, Thoreau suggested that visionary affirmation of natural phenomena, by contrast with professional scientific description of nature, involves an existential, sensually delighting form of language which has its own inevitable momentum: like the interjections and discharges of which he writes elsewhere, these ‘unconsidered’ or ‘unconscious’ statements – acts of definition – are not impeded by the sort of career-sustaining guards and scruples which complicate academic language.

‘[…] unconsidered expressions of our delight which any natural object draws from us are something complete and final in themselves, since all nature is to be regarded as it concerns man; and who knows how near to absolute truth such unconscious affirmations may come? Which are the truest, the sublime conceptions of Hebrew poets and seers, or the guarded statements of modern geologists, which we must modify or unlearn so fast?’

On 1 April 1860, Thoreau’s understanding of how the action of inevitably releasing verbal statements of visionary definition accords with a principle of natural law – a ‘sympathy with the universal mind’ – is so transcendentally shocking as to negate for him the import of communication itself.

‘The fruit a thinker bears is sentences, - statements or opinions. He seeks to affirm something as true. I am surprised that my affirmations or utterances come to me ready-made, - not forethought, - so that I occasionally awake in the night simply to let fall ripe a statement which I had never consciously considered before, and as surprising and novel and agreeable to me as anything can be. As if we only thought by sympathy with the universal mind, which thought while we were asleep. There is such a necessity to make a definite statement that our minds at length do it without our consciousness, just as we carry our food to our mouths. This occurred to me last night, but I was so surprised by the fact which I have just endeavoured to report that I have entirely forgotten what the particular observation was.’

(All Thoreau quotations here are taken from: Henry David Thoreau, The Journal, 1837-1861, ed. by Damion Searls (New York: New York Review Books, 2009))          

Conditioned

‘Whoever has lived through these times and paid attention feels in the inmost way that an hour of reckoning has now come for the German spirit. In sleepless nights of listening and waiting one senses, very close by, the hot breath of this spirit. Now that false dreams of power have been dreamed out, now that need and suffering have burst the hard shells that threatened to suffocate it, this spirit, with a monstrous display of power, struggles toward its realization. […] Nearly all of the innumerable movements that now tremble throughout Germany and shake it to its foundations testify, despite their apparently contradictory directions, to the desire and nature of this spirit. Youth groups that carry forward generalized human ideals or the ideas of the Germanic fraternities; communards whose values are linked to the communism of primitive Christianity; associations of the like-minded that have as their goal a renewal from within; interfaith religious groups; democratic-pacifist unions; and several efforts at popular education: all these seek the same thing, to emerge from abstract ideas anchored in the ego and arrive at concrete communal forms.’

                                     -Siegfried Kracauer, ‘German Spirit and German Reality’ (1922)

Kracauer’s insightful definition of the stirring of collective, existential spirit-life during the early years of the Weimar Republic, is quoted by Michael Jennings in the course of his essay on Walter Benjamin for the 2012 collection edited by Leonard V. Kaplan and Rudy Koshar, The Weimar Moment: Liberalism, Political Theology, and Law. This summary of the early existentialist Zeitgeist, as involving a struggling forth of Geist out of the conceptualizing ‘ego’ and into ‘concrete communal forms’, can be read as a programme statement of The Weimar Moment itself. In his ‘Introduction’ to the volume, Koshar stresses its ambition to attend to the theological dimension of the intellectual life of the Weimar era:

‘Although scholars such as Mark Lilla have celebrated liberalism’s separation of the political and theological spheres, the cumulative effect of these essays is to show that even in its most secular and “humanist” variations, the debate for or against liberalism constantly allowed “theological” themes and gestures entry.’

On this blog [here] I have referred to Chris Thornhill’s emphasis on the way in which Jaspers’ early existentialism evolved out of his critical reaction to neo-Kantianism, in particular the variety propounded by Heinrich Rickert. The Weimar Moment shows what Jennings calls the ‘the religious revival that swept Germany in the early 1920s’, to be instinct with the emergence of meta-Kantian – for instance existentialist – thinking at this time. In his contribution, John P. McCormick notes how Carl Schmitt and Leo Strauss also were both ‘deeply affected by the early-20th-century crisis of neo-Kantian thought in Germany’. In statements that bring to mind the debilitating crisis of contemporary academic rationality too, McCormick writes:

‘This crisis is perhaps best characterized as a widespread perception that Enlightenment rationality could not ground itself: that the most sophisticated system of reason required either a leap of faith to get itself off the ground or some external motivation outside the system itself.’ 

In the early 1920s Benjamin as well was becoming aware of the limitations of Kantian rationality, as Jennings stresses when he discusses Benjamin’s positive reception of Erich Unger, whose Politik und Metaphysik of 1921 Benjamin classed as the ‘most significant writing on politics of our time’. (Interestingly, Unger’s title foreshadows the sub-title of Thornhill’s 2002 book Karl Jaspers). As Jennings underlines, ‘each man’ – Unger and Benjamin – believed that philosophical thought ‘must move beyond a Kantian model that for them was based upon an inadequate understanding of human experience and knowledge’. Quoting Unger’s book, Jennings continues by noting that Politics and Metaphysics ‘thus conceives politics as an activity whose primary goal is the provision of an arena for psychophysical experience that may “correspond to a disclosure of divine reality”’. 

‘As Margarete Kohlenbach has put it, Benjamin and Unger shared the conviction that “philosophical thought is to seek to identify the conditions in which man could objectively experience, and thus know, that which in modern religiosity is at best believed, or somehow sensed, to be true.”’      

Rodrigo Chacón, in his contribution to The Weimar Moment titled ‘Hannah Arendt in Weimar: Beyond the Theological-Political Predicament?’, notes the shift in Arendt’s terminology in the course of her life, so that later ‘she would attempt to provide existential concepts for the religious notions that she had used in her dissertation’. For example, ‘human “createdness” would become human “conditionedness” (Bedingtheit)’. Yet Chacón thus suggests that Arendt’s existentialism was inseparable from the initial accent on religious experience in her thinking. In the 1920s, he writes, Arendt was ‘deeply marked by the attempts of Heidegger and [Rudolf] Bultmann to provide a philosophical account of certain Christian possibilities of existence’. Opposing Arendt’s later emphasis on existential Bedingtheit to Hermann Cohen’s neo-Kantian ‘hyper-normativism’, Chacón points to the way in which Heidegger’s and Bultmann’s attention to existential experience of the spiritual quality of our life – of Christian possibilities – modulated in Arendt’s mature thought into her existentialist attention to ‘existential sources in Christian religious experience’:

‘Like Bultmann, Barth and others, Arendt was not a moral – let alone a “normative” – thinker, […] because (human) morality – especially in the form of an ethics of the “pure will” – is essentially a rebellion against what conditions us or what is given to us. Thus [for example], again like Bultmann, Arendt problematized a fundamental ethical and religious precept – neighbourly love – from the standpoint of a more authentic understanding of its existential sources in Christian religious experience.’

The essay from Samuel Moyn and Azzan Yadin-Israel, ‘The Creaturely Limits of Knowledge: Martin Heidegger’s Theological Critique of Immanuel Kant’, focusses on Heidegger’s 1928 work Kant and the Problem of Metaphysics. Here again Bedingtheit and an awareness of human limitations seems to offer the key. Moyn and Yadin-Israel argue that ‘unlike Kant’s, Heidegger’s philosophical argument is intended to win assent for an anthropology of human abasement, neediness, and dependence’. It is in temporality, Moyn and Yadin-Israel assert, that Heidegger finds ‘the damning proof of man’s dependence and indigence – an insuperable limit to his autonomy and perfectibility’. Or alternatively they maintain that, in Kant and the Problem of Metaphysics, Heidegger transfers autonomy to time. They cite the following extract, commenting that it ‘touches on precisely those capacities that for Kant mark the human subject as a citizen of the noumenal world but transposes them so that they are now attributes of time: self-activation, independence of experience, and a kind of autonomy’.

(Marketa Luskacova)

‘Time is only pure intuition to the extent that it prepares the look of succession from out of itself. […] This pure intuition activates itself with the intuited which was formed in it, i.e., which was formed without the aid of experience. According to its essence, time is pure affection of itself. [….] As pure self-affection, time […] forms the essence of something like self-activating.’        

Indeed for Heidegger, as Moyn and Yadin-Israel continue, ‘Time must be self-affecting for human being to remain consigned to a state of receptivity’, of dependence and finitude. This reference to receptivity leads into Moyn and Yadin-Israel’s discussion of Heidegger’s ideas of attunement, summoning and service. Kant and the Problem of Metaphysics : ‘In order to allow the being to be what and as it is, however, the existing being [Dasein] must already have projected that it is a being on the strength of what has been encountered. Existence means dependency upon the being’. As Moyn and Yadin-Israel put it, ‘Knowledge, Heidegger concludes, lies not in the individual’s ability to gain mastery over nature but in an ability to properly orient oneself toward receiving the revelation of the world.’ As Chacón notes too, for Heidegger ‘revelation was to be understood in terms of Dasein’s openness for meaning or sense (Sinnoffenheit)’. Moyn and Yadin-Israel see Heidegger’s location ‘squarely in the aftermath of Barth’s insistence that man’s indigent need for external revelation be recovered as the lost core of Christianity (with Heidegger obviously displacing the source of this necessary revelation)’, as determining his emphasis on ‘Readiness to be summoned to receive the external gift of revelation, presented as an offering and made available through the agency of the “wholly other”’. The Weimar Moment repeatedly returns to the link made by Weimar dialectical theology between conditionedness and revelation. Chacón quotes from Bultmann’s ‘The Eschatology of the Gospel of John’ of 1928: ‘To know him [sic; God] is to see him as really made manifest, and that means to recognize him as Creator, to submit one’s self to be determined by him.’ Ulrich Rosenhagen, in his article treating the Weimar era Jewish-Protestant encounter, summarizes Friedrich Gogarten’s Die religiöse Entscheidung (1921; The Religious Decision) as both an attempt ‘to define a new language of God and revelation beyond history’, and a rejection of religion qua ‘an arrogant human enterprise to overcome the absolute contradiction between creator and creature’.   

McCormick’s account of Schmitt’s and Strauss’ response to the crisis of neo-Kantianism is suggestive in relation to contemporary intellectual crises such as postmodern, nihilist relativism and the conversion of mass socialist politics (in the UK) into the debt-building profligacy of consumerist New Labour. But perhaps the progressivism of Blair’s ‘Things can only get better’ is morphing now into a wary stoicism, of ‘Things had better stay the same’. Recent academic phenomena such as the online journal Thinking Verse or Simon Jarvis’ ultra-formalist epic poem Night Office – which holds to an abababcc  rhyme scheme throughout all its 218 pages – can be read as rebellions against today’s version of the modern rejection of limits, or as restatements of the Weimar era theorists’ insistence on the need to evolve conceptions of conditioning form:  

‘Schmitt and Strauss each insisted that Enlightenment rationality was unravelling into a way of thinking that violently rejected “form” of any kind, fixated myopically on human capabilities rather than natural limits, and lacked any conception of the structural constraints that condition the possibility of philosophy, morality, and politics. Consequently, for both authors, Enlightenment reason obfuscates “genuine” expressions of rationality and obscures the necessity of political order as such.’    

McCormick analyzes Strauss’ schema of varying atheisms, in order to underline his conception of  the religious ‘fear that is necessary for stable human interactions’ (McCormick’s words) and founds political order:

‘Strauss observed that traditional atheisms associated with Epicureanism and Averoism [sic] were fundamentally soft; they rejected the harsh rigours of religious observance and diminished the necessity of fear of the divine. On the contrary, Strauss suggests that modern atheism, as expressed by a Hobbes or a Heidegger, confronts and embraces the harshness of human existence, accentuates the necessarily and fundamentally fearful state within which human beings exist, and accentuates the inescapable fact that human beings are in need, as such, of dominion, of being ruled.’

Whether manifesting now as submission to the principle of capital accumulation à la Weber, or else to an infantilizing consumer culture à la  the Wyndham Lewis of The Art of Being Ruled (1926), such religious awe remains the human norm. Surely religious fear and the need to submit underpinned what Kracauer called the imperialistic-militaristic ‘false dreams of power’ which afflicted Germany in the years preceding the First World War. When we need to be ruled we too in turn begin to dream those dreams; but arguably in ‘German Spirit and German Reality’, Kracauer, with his association of the growing thinking of existential spirit-life with its own ‘monstrous display of power’, begins to suggest a new form of power and an alternative way of being ruled. For what was the 1920s push towards the emergence of existential spirit-life but a more progressive manifestation of ‘The Hunger for Wholeness’ which Peter Gay, in his Weimar Culture, saw to characterize the Weimar era ‘fear of modernity’?

‘Not all who, in the twenties, hungered for connection and unity were victims of regression; a few, outnumbered and not destined to succeed, sought to satisfy their needs not through escape from but mastery of the world, not through denunciation but employment of the machine, not through irrationalism but reason, not through nihilism but construction – and this quite literally, for this modern and democratic philosophy was formulated in their writings and carried out in their buildings by architects.’

Jaspers is positioned on the same axis of civility as Gay's mentor, Ernst Cassirer. Jaspers’ early existentialism was not anti-Kantian, but meta-Kantian. If it sought to supersede Kantian formalism, it remained structured by the antinomies (such as reason/experience) which it sought to overcome by, in Thornhill’s words [here], ‘incorporating all aspects (cognitive, practical and sensory) of human life in an encompassing account of rational and experiential existence’. To submit to (the project of) such an encompassing account, or to seek to absorb oneself within psycho-physical wholeness, was the early existentialist variant of the more populist 1920s trend defined by Kracauer: ‘to emerge from abstract ideas anchored in the ego and arrive at concrete communal forms’. But of course the existentialists, like the new urban constructors, were either ‘outnumbered’ or (in Heidegger's case) seduced by Nazism: Germany drifted on into submission to authoritarian leadership, and remained fatally trapped within the old forms of power.          

Walser Addendum: Two Anthropologies

It may be that my reading of Walser in recent posts – with its reliance upon Simmel’s theory of depersonalization and then Jaspers’ projection of a hermeneutic of transcendence – is riven by a tension between two conflicting anthropologies, functionalist and transcendental. In his Karl Jaspers, Thornhill notes that whilst a functionalist anthropology ‘views human life as both produced, and adequately described, by its objective forms’, a transcendental anthropology such as Jaspers’ promotes the view that ‘the human being is most human, most existent, insofar as it is least material, and least bound by the objective forms (laws) of scientific rationality and social orientation’. Thornhill observes:

‘The constructive receptions of Kant which underpin the philosophies of Jaspers and Heidegger [...] describe an unbridgeable fissure at the centre of German existential thinking. On one side of this, Jaspers insists on the ethical difference of humanity from its forms. On the other side, Heidegger insists on its ethical adequacy to these. Jaspers’ philosophy is a morally transcendental anthropology, in which humanity interprets itself most truthfully in its unconditioned imperatives. This has later echoes in the neo-Kantian writings of Habermas. Heidegger, by contrast, provides the basis for a functionalist anthropology, anticipated already by Georg Simmel and Carl Schmitt, and echoed later by Arnold Gehlen, in which human life interprets itself as delivered unto its realized objective forms. Jaspers’ anthropology is strongly obligated to the remnants of idealism and transcendental subjectivism, and it creates a metaphysic of the person on the foundation of these. In Heidegger’s anthropology, in contrast, the transcendental subject, and its ethical derivates in practical reason, are replaced by a historicist metaphysic of the Volk, or of the functions which the Volk imposes upon its members.’

In my presentation of Simmel’s theory of depersonalization here it is unclear whether I am maintaining that Simmel critiques the functionalization of the human or (as Thornhill indicates) merely discerns it.

Behind the Mountains, part 3

A second radical implication of Walser’s articulation of modern self-abnegation, relates to the way in which it enables his writing to develop its thinking of freedom. In ‘Tobold (II)’ the narrator celebrates the fact that ‘I was a servant! I served!’:

‘My position, consequently, was a good one, which sufficed to set my person to rights. Isn’t it true our lives first take on beauty when we’ve learned to be unassuming, to forget or set aside our own wishes and desires, and instead devote ourselves with all our liberated, willing hearts to a precept and lifelong service, to satisfy people with our conduct, and meekly and boldly forgo beauty?’

The dialectic of the precept and liberation here is accompanied by a twinning of self-abnegation and self-exaltation (or self-transcending self-elevation), which Walser proposes in the preceding sentence. ‘So exalted I felt, even, I can say, yes, elevated far above my own person, which I scarcely dignified any more with so much as a hasty glance, or rather a hasty thought.’ Self-transcended, the narrator paradoxically no longer looks down on himself as on an alienated object (with ‘a hasty glance’), and can instead give a ‘hasty thought’ to his serving self. Walser’s sense of transcendence as something that gives one back to oneself, was voiced already in the following statements of the narrator’s towards the beginning of ‘Tobold (II)’.

‘Newly emerged from a terrible weariness of life, I attained fresh insights, began to enjoy living. As Peter, I’d had no real worldview, no true notion of life; […]. Living can be so tiresome when you lack an inspiring, elevating thought or point of view or vision to help you come to terms with the disappointments awaiting you in life. No longer did I chase after fame or the like; the sublime no longer drew my gaze. I had learned to love the small and insignificant, and, armed with this kind of love, I found life beautiful, just, and good. I was delighted to renounce all ambition.’

These lines identify self-abnegation, cast in terms of the renunciation of monetary ‘ambition’, with the self-transcending self-elevation enabled by pursuit of a transcendental idea, or ‘an inspiring, elevating thought or point of view or vision’. Walser thereby suggests that truly el(ev)ating happiness, true enjoyment of life, can be attained by holding to an inspiring vision of non-elevation. Elsewhere in ‘Tobold (II)’, the narrator identifies the happy condition of non-elevation itself – of ‘modest being’ – with spectatorship of an inspiring vision of others’ happiness. Genuinely fulfilling personal modesty is here contingent upon (liminal observation of) others’ illusory ‘glory’. Walser ironizes the notion that the elevated might really be freer: for him what matters is holding to the transcendental idea of happiness, to the 'glow' that surrounds the aristocratic diners 'playing their roles'. ‘I always took great pleasure in observing the splendour, the glory; for myself, though, I’d always desired a place in the quiet, modest background from which I could gaze with happy eyes up to and into the bright glow.’ The ‘twilight shadow’ is where the ‘common servant’ finds ‘a great benevolence’ and feels ‘most secure, most faithfully sheltered’, precisely because privileged life is viewed as a mere ‘magical spectacle’, at which the narrator ‘thought it lovely just to look on, entranced’. The idealizing worldview - the ‘whole picture’ – is what he ‘found so beautiful and cherished above all else’. But just this idealization of power is what enables him to find freedom in the refusal of power. ‘So I was always conscious of my merit, station, and joy in life, and took extraordinary delight in the modest being I embodied.’

In a short piece from 1917, ‘The End of the World’, Walser’s twinning of self-abnegatory, radical modesty with the self-transcending self-elevation enabled by pursuit of a transcendental idea, can be seen to expand into what could be called a broader geo-political twinning of apocalypse (or the limit) with utopia (or absolute freedom). In this piece, after ‘imagining the end of the world […] as a sea of bliss in which it could rock forever’, ‘everything looked so prosperous, fine, and free that at once the child was convinced this was the end of the world’. In this context we could also think of the inversion of nature associated by Walser with human conflict in ‘The Battle of Sempach’; when ‘Nature is […] annihilated in a battle’. ‘The sound was like a black, gaping abyss, and the sun now appeared to be shining from a darkened sky, glaring down more dazzling than ever, but as though from a hell, not the heavens.’ Here, unnaturally, the sun becomes brightest when as if apocalyptically detached from its heavens. Excessive brightness – brightness aspiring to the absolute, pushed to its limit – has already been associated with apocalypse on the previous page. ‘The whole earth, no matter how bright it looked, seemed to him to rumble and thunder in anger.’ Walser sees the earth, like the sky, to be darkened by its own aspiration to dazzle. A conception of the end of the world, for Walser, is inseparable from the conception of a transcendental urge towards brightness, freedom, utopia.

Walser’s imbrication of the limit and transcendence seems to me to be echoed by Karl Jaspers’ theorization of the decisive hermeneutic of transcendence available to those in existential crisis. As Thornhill summarizes in his book on Jaspers, for Jaspers ‘Transcendence is accessible only to a decisive hermeneutic, which stands in the absolute limit-situation of human existence, interpreting transcendence through its own crisis.’ Thornhill quotes from the third volume of Jaspers’ Philosophy : ‘“Failing [Scheitern]”, Jaspers argues, “is the encompassing ground of all cipher-being. Seeing the cipher of the reality of being arises from the experience of failing”.’

For Jaspers, Thornhill writes, ‘Being […] is present only negatively, as a series of possible implosions in the order of human consciousness, in which consciousness is referred to its own limits.’ Jaspers’ conception of the decisive hermeneutic of transcendence practiced by those in crisis, rests on the view that, subjectively, such implosions (as Thornhill notes) are ‘decisions’, through which ‘human life decides interpretively to reflect upon its own possibilities (ideas), acts in a manner which accords with these, and thus places itself upon a more unified level of reflection above its habitual practical and cognitive orientations’. The narrator in ‘Tobold (II)’ indeed decides to reflect upon self-abnegation, identifying it as a decision to ‘devote ourselves with all our liberated, willing hearts to a precept and lifelong service, to satisfy people with our conduct, and meekly and boldly forgo beauty’. Continuing his self-hermeneutic, he emphasizes too that to freely and decisively act upon such radical modesty, and ‘forgo heaven’, is to interpret the possibility of transcendence ‘many times more beautiful’:

‘For when I forgo something beautiful: doesn’t a brand-new, never-before-dreamed-of beauty a thousand times more beautiful come flying toward me in reward for my display of goodwill and my kind, strongly felt self-denial? And if, of my own free will, elevated by courage and compassion to nobler sentiments, I should forgo heaven: won’t I then, sooner or later, in reward for my righteous behaviour, fly into a heaven many times more beautiful?’    

We can view Walser’s writing as a whole in Masquerade and Other Stories as itself a decisive hermeneutic of transcendence, undertaken by a vulnerable adult. In linguistic terms, the transcendence at which it aims is, surely, the sort of visionary register to which Bernofsky points when – in her translator’s preface – she quotes from Walser’s ‘Meine Bemühungen’ (‘My Efforts’) of 1928-29. There he comments that in his late work he was ‘experimenting in the linguistic field in the hope that there existed in language an unknown vivacity which it is a pleasure to awaken’. This vivacity is in language but also beyond it, as Walser hinted already in his piece ‘Tableau Vivant’ from 1909. ‘Words won’t venture anywhere near the description of this dynamo. He sings, or something around him seems to be trembling with sounds. Behind the mountains, bells are ringing.’ Walser’s staged tableaux and prose masquerades are also aiming at transcendence in terms of an ideal ‘whole picture’, or ‘dream’, the construction of which they often dramatize. I am thinking here in particular of these marvellous lines in ‘The Aunt’:

‘Gradually I came into the mountains and soon reached an isolated village ringed all around by high crags; this was the birthplace of my mother. It seemed strange to me, yet also familiar and familial. The whole world, and I as well, appeared wonderfully old and young; earth and earthly life were suddenly a dream; I felt everything was perfectly comprehensible, yet also utterly inexplicable.’



Karl Hofer, 'Montagnola' (c. 1930)

What better description could there be of the goal of Jaspers’ hermeneutic process working towards (in Thornhill’s words) ‘a more unified level of reflection above its habitual practical and cognitive orientations’? Walser here captures the existential uncertainty – the sense of the ‘utterly inexplicable’ – which, for Jaspers, accompanies any decisive hermeneutic bid for a transcendental cognitive unity at the limit of knowledge. As Thornhill observes in Karl Jaspers, whilst Heidegger argued that language (as Thornhill puts it) ‘defines and constitutes the practically disclosed horizon of the world’, and thus ‘expressly excludes all ideal components from experience’, Jaspers by contrast maintained that language ‘always positions human consciousness in a relation (albeit existentially uncertain) to its primary ideal unity (its transcendence), and it thus permits an ideal/practical disclosure of this unity’. Thornhill, moreover, describes Jaspers' implicit fusion of Hamannian hermeneutics and Kantian epistemology by referring to Jaspers’ view of revelation or transcendence as mere ‘appearance’ – a term which seems to parallel Walser’s ‘whole picture’ or ‘dream’:

‘The hermeneutic of revelation […] has its profound validity in its ability to signal that the ideal limits of cognition do not reflect the absolute limits of being itself. Nonetheless, with Kant, Jaspers also argues that transcendence can only be knowable as a mere appearance of the possible unity of knowledge: true transcendence, thus, is inevitably beyond the limits of human thought.’

Walser’s lines in ‘The Aunt’, therefore, seem to me to exemplify what Jaspers would call an aesthetic cipher. Ciphers, though also decisive ‘moments of experience, embedded and disclosed in human historical life’, are for Jaspers (as Thornhill writes) ‘only the fleeting appearance of guiding ideas – akin to Kant’s transcendental ideas – which give shape to, but do not encompass, the ultimate underlying unity of human life and knowledge’. For Jaspers a truthful hermeneutic of ciphers ‘always also requires a critical-epistemological approach’ – Thornhill emphasizes – which with Kant and against Hamann, posits God as ‘an “idea”, which illuminates the limits of human consciousness, but which is never the realized experience of human transcendence’. (Walser: ‘It seemed strange to me, yet also familiar and familial.’) Thornhill sees that for Jaspers, it is indeed ‘only because the idea of God is not the experience [but the] appearance of transcendence that it is interpretable as transcendence’. As I have argued elsewhere, you could say that mere appearance lends the quality of definition (or decision) to Jaspers’ visionary hermeneutics – in Thornhill’s words, ‘it is the (epistemological) recognition of the limits of human knowledge which makes the (hermeneutical) disclosure of transcendence, in ciphers, so radical and truthful’.

Behind the Mountains, part 2

Gass returns to the characteristically depersonalized and depersonalizing quality of Walser’s writing when he notes the ‘detached, desperate “inhumanity” of his work’. The narrator’s depersonalizing self-negation is foregrounded explicitly in ‘The Alphabet’: ‘I. I skip over, for this is I myself.’ Depersonalizing narratorial strategies are most evident in ‘Tobold (II)’ however, in numerous instances of self-negating narration such as this sentence:

‘Concerning a keg of the finest rye whiskey that, to the delight of the steward and that of a certain additional person – namely, to my very own, grinning, hand-rubbing delight – showed up only to be closely inspected and quite thoroughly investigated and examined by the two abovementioned important or insignificant personages, I shall take care not to waste another word.’

In ‘Tobold (II)’, the ‘certain additional person’ that is the modern self is brushed aside and reduced to the point where his very moods and their attendant whims are directed by an invisible heteronomy. The narrator’s investigation of his workplace is less a focussed product of individual agency, than a dissipated effect of being seduced by that which is more powerful: ‘The castle itself was an imposing edifice, and the many beautiful rooms and chambers I was permitted to glance into as the mood struck me naturally captured my attention and interest with their aristocratic appearance.’ Narration once more becomes a vehicle for expressing the narrator’s self-alienation and loss of personal agency, in the following presentation of vigilant attention directed by the formless authority which it tends:   

‘One of the choicest duties I had to perform was caring for the numerous lamps, an occupation that gave me great pleasure, for I developed quite a fondness for it. Each evening at nightfall I brought light, so to speak, into the dubious twilight that reigned on all sides, or if you prefer, into the darkness. As the count was a fancier of beautiful lamps and lampshades, these always had to be tended and treated with the greatest care. On beautiful evenings, as I crept about the rooms, all quiet as a mouse, a delicate mood in the air, the entire castle seemed bewitched. All the rooms were as if enchanted, the park an enchanted park, and with my soft, discreet, cautious lamplight, I seemed like Aladdin leaping one evening with his magic or miraculous lamp up the high, broad palace steps spread with splendid oriental rugs.’  

In this passage the radical modesty of the narrator – as he creeps about the rooms, ‘all quiet as a mouse’ – renders him indistinguishable from the narrated environment: the succeeding clause, ‘a delicate mood in the air’, could refer to him just as easily as to the castle. Then this submersion of the narrator’s identity within the described environment blends into a self-alienation in the form of a self-fictionalization: ‘I seemed like Aladdin’. The sense of narratorial self-alienation has already been generated by the recurrently self-qualifying, self-negating prose: ‘I brought light, so to speak, […] or if you prefer […]’. Here we are reminded of Walser’s foregrounding of the depersonalized quality of his writing in ‘The Green Spider’, where the narrator refers to ‘my mouth and its modest tool, my inherited language’, so divorcing a potential description enabled by such language from his human physicality ‘incapable of […] stammering it out’. By self-consciously stressing that this is writing removed from its writer, Walser emphasizes his own radical alienation from the reader. This is the effect of the final lines of ‘A Flaubert Prose Piece’ too, which once more draw attention to Walser’s writerly self-abnegation and the depersonalized quality of his prose. ‘Her report contained nothing that might have surprised him. They glided and passed among the people gliding and passing by, like a dream vision within the vision of a dream.’  

I want to draw out the radical implications of Walser’s articulation of modern self-abnegation; of the radical modesty of being, as Gass puts it, ‘Lightly attached to people, to the formalities of society, to any work which lies beneath another’s will like a leg beneath a log’. To take a first example, Walser’s position of self-abnegation enables his writing to develop a powerful critique of self-interest. In her translator’s ‘Preface’ to the collection, Susan Bernofsky quotes Elias Canetti on Walser, in the former’s The Human Province : ‘His deep and instinctive distaste for everything “lofty”, for everything that has rank and privilege, makes him an essential writer of our time, which is choking on power.’ Walser’s fascination with power struggles – his typical focus on human relations in terms of conflict or war – is communicated, for instance, in the following passage in ‘Tobold (II)’. Here the narrator discerns two distinct forms of human conflict, low battles concerning self-interest and ‘noble’ battles concerning natural morality:

‘Intrigues show up in castles, the same as in all other major establishments and institutions. Now the cook wanted to incite me against the steward, now the steward against the cook, but all this factional bickering and class conflict left me cold, for I had no interest in it. Anywhere a noble, splendid, sensible struggle can be found, I’ll be glad, perhaps, to take part in it – why not? – for instance in the struggle of the good versus the wicked, the benevolent versus the malevolent, the open and flexible versus the hardened and insensitive, the quick-witted versus the unenlightened, the diligent and industrious versus those who do nothing yet always stay on top, the struggle of the guileless versus the crafty and sly. This could be a battle I might like to lend a hand in, it can rain blows and punches for all I care, the more the merrier.’     

Walser’s critique of modern, institutional self-interest relates to the way in which his writing – as I want to suggest – projects a similar opposition of modern purposive rationality to natural human life, to that proposed within Georg Simmel’s contemporaneous The Philosophy of Money. (Simmel’s text was published in 1907, whilst Walser’s ‘Aschinger’ and ‘The Battle of Sempach’ – to which we will refer soon – date from 1907 and 1908 respectively). In his German Political Philosophy, Chris Thornhill outlines how Simmel’s political and sociological theory involved ‘the first major step on the path towards a reconstruction of vitalist philosophy, especially that of Nietzsche’.

‘Like Nietzsche, […] Simmel saw the capitalist economy as marking the final triumph of the human being as a formally purposive agent, and he also saw the purposive rationality of capitalism as weakening or neutralizing the relation between people and the purposes or objects of their possession, and even between people and their own actions. Under the generalized rationality of capitalism, therefore, the purposes of economically constructed persons assume a heteronomous primacy over human life itself.’

Indeed, as Thornhill summarizes, because the formal purposiveness of modern monetary subjects involves an alienation of those subjects from their own true purposes, it generates – Simmel maintained in The Philosophy of Money – an experience of depersonalization, such as we have seen reflected throughout Walser’s prose pieces:

‘As an agent seeking purposes, he [Simmel] argued, the modern subject alienates itself from the experiential sources of genuine subjectivity, and it constructs itself as a thinly neutralized set of contents and objectives. The monetary alienation of the human subject from its purposes and actions, then, also leads to a weakening or dissipation of the relation between people and other people, and ultimately, to a weakening or dissipation of the person itself – to a lack of “definite substance in the centre of the soul” or to a diffuse experience of depersonalization.’

We can find Walser detailedly projecting an opposition of formal purposiveness to natural human life within the following extraordinary description of war in ‘The Battle of Sempach’.

‘The rushing crowd, apparently full of passion, drew closer. And the knights stood their ground; suddenly they seemed fused together. Iron men held out their lances; you could have gone for a buggy ride across this bridge of lances, the knights were squeezed in so tightly, lance upon lance stuck out so mindlessly, firm and unyielding – just the thing, you might think, for such an impetuous, raging human breast to impale itself on. Here, an idiotic wall of spikes; there, people half-covered with shirts. Here, the art of war, the most prejudiced there is; there, people seized with helpless rage. Just to put an end to this loathsome horror, one man after the other recklessly charged into a lance tip, maddened, insane, flung by fury and rage. Flung to the ground, that is, without even having struck the helmeted, plumed iron scoundrel with his hand weapon, bleeding pitiably from his breast, tumbling head over heels, face down into the dusty excrement left behind by the noble steeds. This was the fate of all these almost naked men, while the lances, already red with blood, seemed to smile in scorn.’     

Walser’s tableau foregrounds two aspects of human experience. The ‘people half-covered with shirts’ represent passionate humanity. Their behaviour, their purposes, are self-directed: these are people simply ‘impetuous’ or ‘seized with helpless rage’, who are representatives of uncontrolled nature – ‘maddened, insane, flung by fury and rage’. On the other hand, there are the knights reified into their weapons: ‘an idiotic wall of spikes’, ‘the art of war, the most prejudiced there is’. On this side it is impossible to separate reified humans (‘Iron men’, ‘the helmeted, plumed iron scoundrel’), from humanized lances which ‘seemed to smile in scorn’. These knights emblematize an alienated condition of formal purposiveness. Their behaviour is rigidly purposeful, to the point where they are themselves indistinguishable – ‘squeezed in so tightly, lance upon lance stuck out so mindlessly, firm and unyielding’ – from the object-world of instrumentality and neutralization that they project. Walser obsessively delineates what he intuits to be the structuring conflict underlying modern life, and his forecast of the outcome is not utopian: as he writes in the preceding sentence, ‘Nature is always annihilated in a battle’. 

Thornhill shows how Simmel’s opposition of formal purposiveness to natural human life was grounded in Nietzsche’s thinking about law, reason and nature. Nietzsche, Thornhill summarizes, thought that fear of nature stimulates the legislation of ‘rational or moral purposes for humans to pursue, so that they are distracted from their naturalness’. Laws are formed in order to differentiate human life from ‘the cyclical temporal processes of mere nature or from the chaotic temporal events of historical contingency’. ‘Laws and values produced in this manner serve to humanize the world’, Thornhill notes; ‘they allow human beings to live, at least, in an illusion of human justification and moral purpose’. But they also reflect ‘a fearful will to obtain power, a power that can only be secured through the extirpation of whatever is residually natural – including the residues of nature in reason itself’:

‘Whilst possessing the obvious psychological utility that they protect people from knowledge of their own naturalness, however, Nietzsche argued that the laws created by reason form highly coercive and dominatory intellectual structures, which, in seeking to suppress fear, fixate human reason on the acquisition of power.’ 

For Nietzsche, as Thornhill writes, this is ‘invariably the will to power of weak people’; it is ‘power resentfully desired by those who cannot contentedly tolerate the naturalness and spontaneous futility of life’. Those who cannot accept contingency, and remain trapped in nihilistic horror vacui, ‘produce sense for their lives only through the pursuit of obligatory, yet ultimately illusory laws and purposes’.  

We can argue that Walser’s writing articulates the perspective of those whom competitive capitalist society labels ‘weak’ or ‘vulnerable’ – of the radically modest – in order to discern, with Nietzsche and Simmel, the true weakness of those who pursue ‘obligatory, yet ultimately illusory laws and purposes’. In Walser’s ‘Aschinger’, their rushed, non-accepting satisfaction of appetitive processes of mere nature is not enough for the competitive and power-seeking, who must then flee into ‘the commercial air’.

‘The dissatisfied quickly find satisfaction at the beer spring and the warm sausage tower, and the satiated dash out again into the commercial air, generally with a briefcase beneath their arm, a letter in their pocket, an assignment in their brain, firm plans in their skull, and in their open palm a watch that says the time has come.’   

Walser suggests that, slotted into their new, artificial time (of money, not of nature), the supposedly ‘firm’ purposes of economically constructed persons do not derive from their own natural brains – or from any ‘definite substance in the centre of the soul’ – but are instead plucked out, as if at random, from the empty, depersonalized skulls within which they float. A critique of the modern differentiation of ‘plans’ from naturalness or contingency may also be said to lie behind Walser’s ironization of the self-with-attainments in ‘Tobold (II)’: ‘Incidentally, it should also be mentioned that the secretary was an excellent pianist. Why shouldn’t we have a fondness for people who bring us pleasure with their skills, gifts, sciences, or knowledge?’ Walser proposes, in ‘Marie’, that the illusory plans and instrumentalized attainments which animate the capitalist city merely sustain a society in which both ‘work’ and ‘sophisticated pleasure’ are paratactically, and barbarically, inseparable from ‘privation’:

            ‘“Where are you going?” Frau Bandi asked.

            “I’m not quite sure yet. Well, to one of the centres of contemporary civilization, culture, work, privation, sophisticated pleasure, modern elegance and education, to one of the big, noisy cities where I’ll learn how to go about winning some respect and repute for myself among my fellow men.”’

Tbc.

A Return to Postwar Humanism?

I am interested by the statement made by the leftist London cultural historian Ken Worpole, in his response early last year to new editions of novels by Alexander Baron [here], that ‘we sorely need’ a ‘return’ to the ‘vital postwar humanist “moment” in European cinema, fiction and intellectual life’. I can certainly identify the category of postwar humanism in terms of (what I have called elsewhere on this blog) ‘English existentialism’: Murdoch, Wilson, and quite probably Gascoyne, Read and Baron himself. Karl Jaspers is presented by Chris Thornhill as an – perhaps the – exemplary German humanist thinker of the immediate postwar period. But as I read more deeply in Thornhill’s books, I am realizing that the postwar German moment of reconstruction was far from straightforwardly humanist: there is also the functionalist strand of social thought, or social philosophy, which culminates in Luhmann’s antihumanism. I wonder too whether, within the British context, Worpole’s category of postwar humanism is not rendered similarly paradoxical by the development of welfare state ideology: the British functionalism?  

I found Worpole’s article via Susie Thomas’s worthwhile piece for the Literary London Journal, ‘Alexander Baron’s The Lowlife (1963): Remembering the Holocaust in Hackney’ [here]. I have written about Baron's wonderful novel myself elsewhere, though I have not been able to approach its treatment of the war. Thomas notes of Baron’s protagonist Harryboy Boas:     

‘Harryboy's longing for oblivion, and his repeated failure to retain any material possessions, is also connected to the fate of the Jews in postwar Europe: in particular to the need to be exonerated of the guilt of surviving. At one point Harryboy considers becoming a slum landlord in the East End: “I could get a whole tribe of immigrants in here, straight off the boat, paying me a pound a week each to kip on mattresses on the floor. My golden future”. But he loses the houses in a crap [sic] game: “Empty, the burden of possession lifted from me, I walked away”. Only by having nothing can he remain innocent.’

This resonates, I feel, with my own strangely innocent and contactless life, as a London-born, guilt-born son of an East German refugee, and in particular with the idea of a 'vocation of obscurity', which I propounded in my book Iain Sinclair and then, on this blog, in relation to Hamann's early form of Christian existentialism. It is as if already with Hamann, humanism is contiguous with a more Eastern-style, Zen or Daoist detachment from the subject, an abdication of agency; in the same way, perhaps, as a dialectic of humanism (manifesting for example as post-Kierkegaardian decisionism) and antihumanism (Heideggerian indifferentism/fatalism; Schmitt?) later emerged to vividly characterize interwar German thinking.

Martian Time-Slip

‘Helio, lowering his book, said, “This child has a speech impediment which I am overcoming.”’

Edward, Spitalfields 1989
by Marketa Luskacova

It is, surely, Dick’s unflinching presentation of the interface between mental illness and impaired communication in his 1964 novel Martian Time-Slip, which brought Patricia Warrick – as Umberto Rossi notes in The Twisted Worlds of Philip K. Dick – to comment on the ‘terrible sincerity’ of the text. For Fredric Jameson, in his ‘History and Salvation in Philip K. Dick’, the settlements on Mars in Martian Time-Slip represent ‘the most depressing of all his novelistic “realities”’ – though I would add that the settlements presented in A Maze of Death are none too cheering either. The sincerity which Dick achieves in Martian Time-Slip is particularly sobering, I would argue, because it posits the misery involved with mental illness to be an increasingly generalized condition within contemporary life. When Rossi writes that ‘the title of the 1963 novella “All We Marsmen” – that Dick expanded into the novel – might also suggest that it is a story about “All We Madmen (and Women)”’, I would go further and emphasize Dick’s intention in the novel to suggest that, increasingly, We Are All Madmen and Madwomen now. Martian Time-Slip has Jack Bohlen remark that schizophrenia poses ‘“one of the most pressing problems human civilization has ever faced”’; later the text describes schizophrenia as ‘the most pervasive, ominous psychic process known to man’.   

Mental illness is repeatedly presented by Dick in terms of a breakdown of communication and relationality. He has the psychiatrist, Dr Glaub, observe that ‘“In autism, especially, the faculty of interpersonal communication is drastically impaired.”’ As Rossi comments, in connection with the novel’s autistic protagonist Manfred Steiner and his disturbance in time-sense, ‘the time-slip that allows Manfred to see what will happen also prevents him from communicating with others in the present’. Dr Glaub describes ‘“disturbed persons”’ as ‘“encapsulated individuals cut off from ordinary means of communication”’. Bohlen articulates Dick’s understanding of such noncommunicative isolation:

‘Now I can see what psychosis is: the utter alienation of perception from the objects of the outside world, especially the objects which matter: the warmhearted people there. And what takes their place? A dreadful preoccupation with – the endless ebb and flow of one’s own self. The changes emanating from within which affect only the inside world. It is a splitting apart of the two worlds, inner and outer, so that neither registers on the other. Both still exist, but each goes its own way.’

Dick’s understanding of mental disturbance as a confinement within interiority, relates to his sense that contemporary mental illness derives from the influence of the exercise of modern rationality. Manfred Steiner’s father traces his son’s autistic alienation back to the influence of Manfred’s mother’s academic personality, with its detachment from lived sensuous experience, its coldness and lack of love. Her dominative, instrumental rationality has reified her. By contrast, Silvia Bohlen is ‘a genuine mother and woman, vital, physically attractive, alive’:

‘In his own mind, Steiner blamed it all on his wife; when Manfred was a baby, she had never talked to him or shown him any affection. Having been trained as a chemist, she had an intellectual, matter-of-fact attitude, inappropriate in a mother. She had bathed and fed the baby as if he were a laboratory animal like a white rat. She kept him clean and healthy but she had never sung to him, laughed with him, had not really used language to or with him. So naturally he had become autistic; what else could he do?’

Dick consolidates an imputed critique of today’s academic culture and academic reason, when he has Dr Glaub refer to disturbed ‘“minds so fatigued by the impossible task of communicating in a world where everything happens with such rapidity that -”’. Here it is difficult not to think of the purposelessly accelerated, bureaucratized conditions of contemporary academic production – or this society’s ‘publish-or-perish’ privileging of the quantity of academic research produced over its quality – and the damage that these conditions do to our mental health. Martian Time-Slip in fact offers a potent Weberian or Frankfurt School-like prophecy of our existing culture of enforced higher education, intensified social differentiation and career specialization:

‘The ad listed all the skills in demand on Mars, and it was a long list, excluding only canary raiser and proctologist, if that. It pointed out how hard it was now for a person with only a master’s degree to get a job on Earth, and how on Mars there were good-paying jobs for people with only B.A.’s [sic].’

Jack Bohlen further illuminates this vision of a fast-paced, specialized polis, the complexity of which entails an ultimately changeless, reified and reifying, density of experience which threatens our sense of the freedom of the self.

‘“Frankly, Kindly Dad, I emigrated to Mars because of my schizophrenic episode when I was twenty-two and worked for Corona Corporation. I was cracking up. I had to move out of a complex urban environment and into a simpler one, a primitive frontier environment with more freedom. The pressure was too great for me; it was emigrate or go mad. […] I went mad standing in line at the bookstore. Everybody else, Kindly Dad, every single person in that bookstore and in that supermarket – all of them lived in the same building I did. It was a society, Kindly Dad, that one building.”’

The novel develops its critique of the modern use of instrumental reason in the course of a conversation in which Heliogabalus describes schizophrenia as ‘“the savage within the man”’, and Arnie Kott responds by calling it a ‘“reversion to primitive ways of thought”’. Helio identifies psychoanalysis, taken as an instance of the sort of modern instrumental reason which would reshape suffering selves, to be a ‘“vainglorious foolishness”’ which is mistaken in its therapeutic mission of restoring the subject to optimum functionality and sense of purpose.

‘“Question they never deal with is, what to remold sick person like. There is no what, Mister.”

“I don’t get you, Helio.”

“Purpose of life is unknown, and hence way to be is hidden from the eyes of living critters. Who can say if perhaps the schizophrenics are not correct? Mister, they take a brave journey. They turn away from mere things, which one may handle and turn to practical use; they turn inward to meaning . There, the black-night-without-bottom lies, the pit. Who can say if they will return? And if so, what will they be like, having glimpsed meaning? I admire them.”’ 

Dick here suggests that in a real sense mental illness is itself a valid response to the perennial philosophical question of human purpose. Modern instrumental rationality involves an objectivizing use of reason, which latches on to objects to ‘turn to practical use’; in contrast, (rational) irrationality can refuse objectivity and seek not practical purpose, but the impractical purpose of uncovering the absolute grounding humanity. It is in this context of the ‘turn inward to meaning’ that Dick’s conception of irrationality, converges with the conception of existential reason developed in Jaspers’ thinking: as Chris Thornhill notes in his Karl Jaspers, 'transcendence' is for Jaspers 'an inner attribute of truthfully self-interpreting humanity'. Dick’s defence of the schizophrenic turn inward to meaning is also supported by the novel’s depiction of the Martian environment; Mars is presented as ideal territory for asocial interior voyagers towards the sources of human value, in a way that recalls a phrase from Iain Sinclair’s Lud Heat : the ‘private moon voyage’. Early in the novel, Bohlen judges that his father will adjust to Mars precisely because he is ‘in touch with some level of knowledge which told him how to behave, not in the social sense, but in a deeper, more permanent way’. Then the ‘lonely’ children of Mars appear; frantic yet diffident, Kafka-solitary pursuers of the transcendental beneath the surface. Young hermeneuticians, slightly dazed by the austere immensity of their ‘black-night-without-bottom’, the landscape of their quest.

‘The children had a large-eyed, haunted look, as if they were starved for something as yet invisible. They tended to become reclusive, if given half a chance, wandering off to poke about in the wastelands. […] When he flew by ‘copter, Arnie always spotted some isolated children, one here and another there, toiling away out in the desert, scratching at the rock and sand as if trying vaguely to pry up the surface of Mars and get underneath…’

 

The novel’s foregrounding of the schizophrenic turn inward to meaning has a sociopolitical correlate in Dick’s characteristic vaunting of repairman Otto Zitte’s doomed bid for personal economic freedom.

‘He hated the big racketeers, too, same as he hated the big unions. He hated bigness per se; bigness had destroyed the American system of free enterprise, the small businessman had been ruined – in fact, he himself had been perhaps the last authentic small businessman in the solar system. That was his real crime; he had tried to live the American way of life, instead of just talking about it.’

Of course these statements are representative of Dick’s typical populist celebration of, in Jameson’s words (in his ‘Philip K. Dick, In Memoriam’), ‘small employees such as record salesmen, self-employed mechanics and petty bureaucrats […] caught in the convulsive struggles of monopoly corporations and now galactic and intergalactic multinationals’. Darko Suvin, Rossi records, has interpreted the AM-WEB building in Martian Time-Slip as a reference to the ‘American Web of big business, corrupt labour aristocracy and big state’. The novel’s defence of an individual’s freedom, in the face of both the right-wing and left-wing varieties of reified intersubjectivity which manifest in our contemporary convergence of monopoly capitalism and bureaucratic statism, is clear.     

To be continued.