The Prince and the Wolf

Today I read The Prince and the Wolf, the short book from Zer0 that transcribes a discussion between Graham Harman and Bruno Latour, held at the London School of Economics in 2008, and organized and introduced by Peter Erdelyi. I found the book very helpful in further pursuing the questions about Harman’s object-oriented ontology that I have been mulling over for several years. This is largely because of the context we have Latour responding to Harman’s reading of him, which suggests different directions for debate than any I have thought of myself, or come upon elsewhere. I haven’t the time to think through all of the stuff I read — so this posting will just mention briefly a few of the key points that emerge from the book, before I forget them.

Basically, Latour objects to Harman’s characterization of him as a relationist, by saying that he doesn’t understand (or doesn’t accept) Harman’s entire opposition between objects/substances and relations. Where the question of whether objects can be defined by their relations, or on the contrary have hidden nonrelational cores, is crucial for Harman, Latour suggests rather that this is a both/and, not an either/or. It is precisely because things are singular, that they need mediators, relations via translation and transportation, in order to have an effect, or assert their presence in the world. So it’s not a question of whether objects are defined by intrinsic substantial natures or by merely relational qualities, but rather that it is precisely to the extent that objects are singular and irreducible to external common measures that they need to establish modes of relationality.

Latour accepts Harman’s definition of him as an occasionalist, and as the first secular occasionalist. This is because, for Latour, all alliances among things are contingent, and can always be broken or articulated differently. However, it still doesn’t seem to me that causation, or contact among entities, is as problematic for Latour as it is for Harman. Harman affirms occasionalism because, given his notion of sel-subsistent objects, sealed off from one another, the fact that objects do affect one another cannot be taken for granted, but needs a special explanation. I don’t see that this is a problem for Latour — he sees objects making alliances and networks, entering into confederations or fights and oppositions, as being the usual course of things; it isn’t in need of special explanation.

This also is an issue in Harman’s reading of Whitehead, which comes up briefly in the book because of Latour’s overt Whiteheadianism. Harman says that Whitehead is also an occasionalist, and not a secular one, because Whitehead requires eternal objects mediated by God in order for things to affect one another. This seems to me to be wrong. In his doctrine of causal efficacy, Whitehead presents entities as affecting one another directly, without mediation, all the time.

This is the whole point of Whitehead’s critique of Hume. Whitehead says that, if Hume were correct in claiming that no connections among events or entities can be detected in the world, then it would be impossible for such connections to be detected in the mind either — there could be no habit or stability of mental associations. Hume in fact assumes, in the case of the mind, the very causal links that he denies to the world outside the mind. But this is unacceptable, once we reject the Cartesian dualistic notion that the mind is somehow separate from the world. Whitehead says in effect that it is impossible to actually disavow causal efficacy. I accept Harman’s brilliant observation that Hume’s scepticism is really just the flip side of Malebranche’s occasionalism — but my conclusion from this is that, if we accept Whitehead’s argument against Humean scepticism, then this is an argument against occasionalism as well. For Whitehead, an entity cannot ever exist apart from its connections, even though the entity itself is not reducible to these connections.

As for eternal objects and God in Whitehead’s cosmology, it seems to me that they are not deployed in order to answer the question of how things can influence other things. Rather, they are there in order to answer a quite different question: that of how novelty is possible, of how creativity takes place, of how things can be something other than just repetitions of previous things. Harman observes that, “for Aristotle… causation itself isn’t really a problem; there are no gaps between things.” I would claim, contra Harman, that the same is true of Whitehead. The problem for Whitehead is not the occasionalist one of how to bring unconnected things together, but rather the one of how to produce gaps, discontinuities, and changes in a world in which everything (every actual entity) has a reason, which reason is always another actual entity (or a number of them).

In other words: Harman rejects Aristotle’s belief that “there are no gaps between things,” while he seeks to revive an Aristotelian notion of substance. Whitehead, as is well known, utterly rejects Aristotelian substance, but like Aristotle he doesn’t have a problem with things touching and affecting one another. Actually, it is a bit more complicated: for Whitehead – contra Bergson – “there is a becoming of continuity, but no continuity of becoming.” Both the continuity and the gaps in continuity have to be produced, and have to be accounted for. Reality, for Whitehead, is atomistic — but this does not mean nonrelational. I think that Whitehead would probably reject Harman’s basic duality between objects and relations in much the same way that Latour does.

To get back to Latour — he says in The Prince and the Wolf that he is not as much of an actualist as Harman makes him out to be, precisely because he does not conceive things in “punctual” terms. Where Harman seeks to revive a notion of substance in order to get away from the contemporary overvaluation of relations, Latour poses the issue quite differently. Several times in the book he says that, precisely because we can no longer accept the notion of substance, the question that exercises him the most is one of subsistence. “Once substance has been excluded, subsistence comes to the fore.” For Harman, things are substances, in their basic being, regardless of whether they subsist or not. For Latour, things cannot be substances at all, and this is why the question of their subsistence is such an important one. Indeed, Latour hints that his still-unpublished exploration of different modes of being (under the influence of Souriau) is really about different ways of subsisting. There are multiple modes of being, because there are multiple ways in which entities, without being substances, nonetheless subsist over time (and also, I would suspect, through space).

Latour adds that what he now sees as the defect of his early treatise “Irreductions” (part of the Pasteur book) is that it is in fact too “punctual” — it presents as points what are really vectors. Now, “vectors” is very much a Whiteheadian term as well — Whitehead insists on the vector quality of existence — and for Latour, vectors are important because they involve both movements of translation and transportation, and processes of subsistence. Harman objects that vectors are only spatial, not temporal, a movement outward but not a movement forward in time — Whitehead’s and Latour’s vector picture has little to do with Bergsonian duration. Harman is right regarding Bergson specifically, but I don’t accept Harman’s further inference that therefore there is no real temporality in Latour: I think it is just that Latour is following Whitehead’s physics-inflected sense of spacetime, rather than Bergson’s radical duality between time and space. The movement of the vector is as irreducible to the kind of temporality of present instants that Harman describes as it is to Bergsonian continuity of becoming. For Latour (as for Whitehead, and in contrast to Harman) everything has “descendants and ascendants” [I suspect that what Latour meant by the latter word was “antecedents”].

And this, coming near the end of the volume (page 108), is perhaps the crux: Latour claims that “every single entity is expectant of a next step.” Harman responds: “Not expectant, but it becomes a possible mediator of other two entities.” Latour responds that he does intend the stronger meaning that Harman rejects: “No, but for itself, we are talking about the thing itself. It is expectant, is it not?” Harman says no, where Latour says yes. As for me, this is precisely where I side with Latour (and Whitehead) against Harman. Things are indeed “expectant,” because they feel what they prehend, and in turn set down conditions for what will prehend them, i.e. ways in which they will (expect to) be felt. Such is the vector character of experience for both Whitehead and Latour; it is also the “physical intentionality” at the heart of George Molnar’s conception of “powers.”

The Kingdom of Shadows

The Kingdom of Shadows (just published, as an e-publication for Kindle and Nook) is K. W. Jeter‘s first new full-length novel since Noir (1998). It’s an extraordinary book, though difficult to describe without spoilers. I will do my best.

The Kingdom of Shadows is set just before and during World War II, in Nazi Germany and Hollywood. It could easily be thought of as a historical novel, except for one crucial plot element (which I will avoid giving away here) that pushes it over the line and into the realm of speculative fiction. The “kingdom of shadows” (or Schattenreich, in German) to which the title refers is both the insubstantial world of light and dark (or black and white) that appears on cinema screens, and the world of the Third Reich, in which life has been drained of its colorful variety in the service of a fanatical Idea. Our bodies project shadows, and the ancient philosophers believed that images were emanations from our skin and from the surfaces of other bodies (Deleuze writes of the “particularly subtle, fluid, and tenuous elements” that, according to Epicurus and Lucretius, “detach themselves from the surfaces of things — skins, tunics, or wrappings, envelopes or barks — what Lucretius calls simulacra and Epicurus calls idols”). In the twentieth century, such subtle, almost impalpable emanations were captured by analog photgraphic devices, and then projected as movies.  

It’s well known how the Nazis made use of cinematic mise-en-scene in order to take and consolidate their power. A film like Triumph of the Will exalts the Nazi Party and the German State in terms of an overwhelming, monumentalist aesthetic. Joseph Goebbels, Hitler’s propaganda minister, both ran the German film industry in competition with Hollywood, and helped to organize the society of the Reich as if it were some sort of immense film set. Jeter builds on this to portray all of Nazi Germany as a kind of cinematic epic; the Gotterdamerung of its nihilistic collapse when it loses the war is as much a part of this as was its initial grandiloquent construction. Hollywood is evidently less malign than Nazi Germany — but the technologies of both realms are the same: the cinema-machine as a way of destroying souls by extracting images from bodies, and giving them a monstrous new magnified life on the screen. In this way, the cinema is both a destroyer and a preserver: the kingdom of shadows is both the spectacle of a mutilated life, and the storehouse of our memories, which are the only things we have to counter this mutilation and destruction. 

The plot of The Kingdom of Shadows concerns a small religious minority group, the Lazarenes (invented by Jeter; as far as I know, they had no actual historical existence), who are targeted by the Nazis for extermination on the grounds that they (like the Jews and the Roma) are an “inferior” race. The main character Marte, a young woman of “mixed” Lazarene and “German” blood, ironically comes to embody the myth of “Aryan” supremacy and “purity,” when Goebbels becomes obsessed with her, takes her as his “mistress” (which in this case, really means as his sex slave), and puts her on screen as the Reich’s greatest and most radiant star. As the novel proceeds, she is increasingly separated from herself: turned into a radiant image despite (or secretly because of) the inner suffering and melancholy that almost shines through. Jeter is unsparing in the way that he links the misogyny of Nazi ideology to that of the cinematic machine’s reliance upon women’s “to-be-looked-atness.”

The Lazarenes are visible in Germany as a separate ethnic group because of a genetic quirk: their eyes are always of two different colors. Culturally, they distinguish themselves by a certain secret knowledge transmitted by the elders, and by the tattoos, representing Christ’s stigmata, that all members of the group receive upon initiation into adulthood. The Nazis are obsessed with the Lazerenes’ secret wisdom, which concerns the skin and its images or emanations, and which thereby is related to the cinema as a machinery both of self-perpetuation, and of propaganda and control. The shadow-images that emanate from our skins and get projected on movie screens are flimsy and insubstantial, and yet they are a source of nearly (or potentially) unlimited power. Jeter’s novel moves between the grandiose monstrosity of the Third Reich (and to a lesser extent, of Hollywood) and the inward pain and vulnerability of individual bodies, which is to say of human beings who are entirely exposed to the world through the openness of their skin.

I think that The Kingdom of Shadows is a profound work of media philosophy, due to the way that it draws links between the substantiality and suffering of the flesh, the shadowy impalpability (which is yet not non-existence) of images, and the functioning (both technical and social) of twentieth-century media technologies. The book rethinks the meaning of the horrors of the Nazi era, and their relation to the larger movements of the whole twentieth century (as opposed to the way that all too many contemporary works just invoke Naziism as an easy signifier of ultimate evil). But of course, it is first of all a novel, not a treatise. What really makes the book work is its affective dimension, as conveyed through K. W. Jeter’s dark and melancholy prose. The Kingdom of Shadows is rooted in German Romanticism and (going further back) in the disturbing world of early-Germanic fairy tales, while it also reaches forward to contemporary “dark vitalism” and the poetry of extinction. It’s a devastating book, a descent into the dark night of the twentieth century, from which there can be no easy redemption.

The Alchemists of Kush

I haven’t finished reading Minister Faust‘s new novel, The Alchemists of Kush. So I am not going to discuss it in the same detail as I did with his previous novel, From the Notebooks of Dr. Brain. Let me just say, based on what I have read so far (I am about 50% of the way through), that The Alchemists of Kush is another brilliant work of speculative fiction (though it is closer to Minister Faust’s first book, The Coyote Kings of the Space-Age Bachelor Pad, than it is to Dr. Brain).

The Alchemists of Kush is a work of triangulation: ancient African myth is juxtaposed with the lives of young (teen-aged) African immigrants (from Sudan, Somalia, and elsewhere) in present-day Edmonton, Alberta, Canada. I can best describe the novel in terms of a musical analogue: it’s as if you were to make a kind of mutant crossing between, on the one hand, the cosmic jazz of Sun Ra, with its invocation of ancient Egyptian deities, and on the other hand, the gritty urban hiphop of the Wu-Tang Clan, with its doubling of naturalistic detail into the modern mythologies of martial arts films and comic books.

The Alchemists of Kush is about poverty, violence, and racism; but it’s also about hope, inspiration, and transformation. It doesn’t separate the personal from the political and social, but grasps life from a point at which these dimensions both inhere, even though they also remain separate. Neither is reducible to the other, but at the same time neither is independent of the other. The novel might be described as both Afrofuturist and Afrocentric; but precisely thanks to this stubborn particularity, its aspirations and attainments are universalist.

The Alchemists of Kush goes on sale as an ebook (both Kindle and Nook formats) tomorrow — June 15, 2011 — for $2.99.

And also — If the book hits the Kindle Top 100 on launch day–June 15, 2011 — Minister Faust will donate the first $500 of sales to the South Sudan Development Foundation’s efforts to ship thousands of books (including the 300 he donated) to the Dr. John Garang Memorial University in South Sudan, which currently has no library. Good works for a good book.

George Molnar, Powers

I just finished reading George Molnar’s extraordinary book Powers. Reading an analytic philosophy book like this one reminds me, once again, that I am not a philosopher, even though I frequently write about philosophical texts. Good analytic philosophy tries to provide basic logical grounds or arguments for all of its assertions — something that I am incapable of doing. And it almost totally ignores what is interesting about classical philosophical texts: which is the implications of the metaphysical assertions. The point is that I am sure that any good analytic philosopher could point to the logical errors or ungrounded assertions in great speculative metaphysicians such as Plato, Aristotle, Descartes, Leibniz, Kant, and William James. But such errors do not negate what is genuinely challenging and thought-provoking about these thinkers. (I am crudely echoing, here, some of the remarks that Graham Harman has made many times on his blog. But then, Harman really is a philosopher, albeit of the continental rather than analytic kind — which means that he is doing the kind of thing the aforementioned great speculative philosophers do, rather than what the analytics do. I, in contrast, am doing something that is closer to speculative fiction than to speculative metaphysics. I respind to philosophy texts in the same way that I do to science fiction novels). 

Nonetheless, although his book is mostly concerned with the usually analytic statement of the particular arguments needed to establish his assertions, Molnar’s metaphysical assertions are themselves fascinating and suggestive, and contribute a lot to current debates in “speculative realism.” (Indeed, I came upon Molnar in the first place because he was mentioned in the context of SR by Ben Woodard). (Molnar is also footnoted in the introduction of The Speculative Turn, in connection with Iain Hamilton Grant’s attempt to produce a “powers” metaphysics; but Grant himself doesn’t seem to mention Molnar, either in his essays in that volume or in his own book Philosophies of Nature After Schelling).

Molnar’s basic argument is that things (or OOO’s objects) possess causal powers that are ontologically real, and not just confined to the instances in which they are manifested. Salt contains the power of being soluble (dissolveable) in water; this power is a veritable property of the salt, even if it never encounters water and never actually gets dissolved. In insisting that powers are actual independently of their manifestation (even if they can only be described in terms of their manifestation), Molnar rejects the skeptical (empiricist, and especially Humean) hypothesis that talk of powers has no meaning apart from the conditional statement that, e.g., if the salt is put into water, then it will dissolve. The classic Early Modern reproach to medieval philosophy was to ridicule the latter for allegedly saying, for instance, that opium puts people to sleep because it has a dormative power — and to claim that this sort of explanation is utterly meaningless. Molnar is arguing, in effect, that opium really does have something like a “dormative power.” This is not to deny that such a power can be analyzed, e.g., in terms of particular neurochemical events that take place in the brain of somebody who has smoked opium. But such an analysis of the “dormative power” does not get away from the attribution of powers, since it simply replaces the power of opium per se with a more detailed account of the powers possessed by particular molecules in the composition of opium. 

In this way, Molnar asserts a realist ontology, one that is directed against the skeptical empiricism of the whole tradition derived from Hume (and one still adhered to by a large number of analytic philosophers today). The parallels with speculative realism go further; Molnar insists, as much as Graham Harman does, that a thing, or an object, is not just a bundle of properties or characteristics, but exists in its own right apart from and in addition to these. (Although Molnar, unlike Harman, endorses the basic scientistic move of reducing objects to their ultimate subatomic constituents, he doesn’t make the claim that this somehow renders objects of the sort that we can see and touch illusory). 

In this way, Molnar offers something like the actualism, and the “flat ontology,” insisted upon by Delanda, by Latour, and by OOO (in contrast to the eliminativist impulses, both of many analytical philosophers, and of Ray Brassier or other more scientistically-inclined speculative realists). But there’s a difference. Molnar writes: “While ontologically there is nothing over and above individuals and their properties (actions), causally there is.” (George Molnar). The insistence on actual causality, and on actual relations (causality being one form of relation), makes for a significant difference between Molnar and Harman. Contra Harman, Molnar rejects any sort of “occasionalism”; he insists that causality is direct — and not merely “vicarious.” Like Harman and against Deleuze, Molnar claims that powers, even when they are not being exercised, are entirely actual qualities of things — they cannot be regarded as “virtual” or “potential.” They fully exist even when they are not manifested in particular events, as a result of particular relational encounters. But against Harman, Molnar insists that relations are as primary an ontological category as things or objects are. 

To put this another way: Harman, in his critique of Latour, opposes the Deleuzian notion of the virtual (together with related notions of the potential) to what he sees as Latour’s “Megarian” actualism. Although he applauds this actualism, he rejects what he claims is Latour’s relationalism, or denial that his discrete entities have any nonrelational substance. But Molnar adds another option to this picture. For Molnar, things do have a substantial reality that is outside of, and anterior to, relations — but this substantial actuality is largely composed of “powers,” or of causal abilities to do things (and thereby to interact relationally with other substances). There is nothing besides individuals and their properties; but since many of these properties of individual things are powers, they make direct causality possible, i.e. when they do contingently encounter other things or substances, they produce real effects.

Molnar asserts that “laws of nature” are supervenient upon the powers of actually-existing things. Against post-Humean skepticism, “laws of nature” are objective features of the world, not mental impositions. This thesis is therefore, once again, realist and anti-correlationist; it affirms that reality is mind-independent and human-independent.  But, in opposing Hume, Molnar also implicitly opposes Quentin Meillassoux’s return to, and alleged solution of, “Hume’s problem.” Something like Leibniz’s law of sufficient reason, or Whitehead’s ontological principle, is preserved against Meillassoux’s all-too-Humean insistence that anything can happen with no reason whatsoever. This is because, for Molnar, it is not that things obey pre-existing laws of nature (which is the thesis that Meillassoux rejects), but rather that “laws of nature” are themselves the consequence of the actual powers actually possessed by individual entities. We might say therefore, that Molnar’s powers are like Spinozian/Deleuzian abilities to affect, and to be affected by, other things. (The Spinozian part of Deleuze, unlike the Bergsonian part, does not involve virtuality). 

In addition to all this, Molnar claims that powers need not be grounded, and indeed that the ultimate powers of things are ungrounded. He argues this on an empirical, rather than a priori basis: the subatomic particles of which, according to contemporary physics, the universe is composed, do not seem to possess any grounding. An electron or a photon is nothing over and above its powers. If the powers of “composite” or everyday objects are themselves grounded (e.g. in physical, non-dispositional properties of these objects), the grounding does not continue downwards infinitely, but ultimately meets the ungroundedness of the powers of elementary particles.

Now, this might well be the place where OOO thinkers would argue that Molnar reveals himself to be a scientistic reductionist after all, but I think that such a criticism would not be entirely fair. This can best be understood, perhaps, by looking at the role that ungrounded powers play in Iain Hamilton Grant’s metaphysics (see Grant’s response to Harman in The Speculative Turn; this is also the place where Ben Woodard, as cited above, associates Molnar with Schelling and Grant). The crucial point we can take from Molnar is that powers need not be grounded in order to be real; and this makes for a crucial step in Grant’s argument, against Harman, that one can trace the anteriority of forces that generate objects, without thereby “undermining” objects and reducing everything to some sort of undifferentiated blob. From another direction, Molnar’s sense of ungrounded powers might also be used to defend Latour’s ontology against Harman’s criticisms. When objects are understood as possessing intrinsic powers, they can be separate and actual without being “withdrawn” in Harman’s sense. Objects possess real forces, which they exert against other, equally real forces being deployed by other objects. Without going so far as to make the difficult claim that Latour and Grant can be reconciled with one another, I think that they both can be defended against Harman’s various criticisms of them on the basis of an appeal to something like Molnar’s insistence upon the actuality, and not-needing-to-be-groundedness, of causal powers.

There’s also another, weirder direction in which one could take all this. For Molnar, subatomic entities like electrons and photons have intrinsic powers, but they don’t have any intrinsic qualities other than their powers. Indeed, this is precisely what he means when he asserts that their powers are ungrounded. If the powers of salt and opium and human beings and (to use Harman’s examples) tar and hailstones are grounded, this is because such entities have intrinsic qualities that are not powers, in addition to their intrinsic powers. I think, however, we can reduce the difference between subatomic entities and the sorts of entites that we can apprehend directly by adopting some form of panpsychism (as I have argued before — of course, Molnar would have hated this). That is to say, I want to argue for a thesis that Molnar explicitly rejects, but which is not incompatible with his main points. The thesis is what Molnar calls “dual-sided theory”: “all properties [of objects] have something about them that is irreducibly and ineliminably dispositional [i.e. is a power], and something (else) about them that is irreducibly and ineliminably non-dispositional or ‘qualitative’… A power is only a face/facet/side of a property that also has a qualitative face/facet/side.” Molnar rejects this thesis primarily because he doesn’t think that subatomic particles (or “field-densities”) have a qualitative side: they are only dispositional (they only have powers without any “grounding” or innerness). But a major argument of 20th century panpsychists, from Russell on to Strawson, is precisely that all entities must have an inner as well as an outer side, even if physics only gives us the latter. For panpsychism, there is a qualitative or experiential dimension to everything, including electrons and photons; just as there is a “dispositional” dimension, or the intrinsic possession of powers, to everything. Such a dual-aspect theory would grant interiority to subatomic particles, while also suggesting that the interiority of mesocosmic and macrocosmic entities need not be thought of as the “ground” of these entities’ powers, but as coextensive with them. Such an account both rescues Molnar’s overall argument from the vestiges of “smallism,” while at the same time preserving the intrinsicality and independence of objects without asserting that they are “withdrawn,” and without asserting that their causal relations are merely “occasional” or “vicarious.” For me, this is a way of taking Harman’s questions seriously, while at the same time giving more credence to the assertions of Latour (on the one hand) and Grant (on the other hand) than he is willing to; and of taking Meillassoux’s critique of correlationism seriously, without accepting his claims that mathematics = the absolute, and that things can and do happen for no reason. The occasionalism of both Harman and Meillassoux is rejected in favor of a Whiteheadian duality of determination and decision.

 

 

The Universe of Things

Gwyneth Jones’ short story collection, The Universe of Things, has just been published by Aqueduct Press, and is available for purchase here (at a reduced price until Jan 25). (Amazon lists the volume here).

I’m proud that I was asked to write the Introduction to the volume. Jones is one of the greatest and most important science fiction authors writing today, and she still hasn’t gotten quite the level of recognition that she deserves. 

The volume is named after one of the stories therein. The phrase “the universe of things” comes originally from Shelley’s poem “Mont Blanc.” In addition to writing the Introduction to Jones’ volume, I have also myself written an essay called “The Universe of Things”; the essay cites both Jones’ story and Shelley’s poem in the course of arguing for a Whiteheadian understanding, or revision, of the claims of object-oriented ontology. I now seem to have written several essays more or less on this theme; I am working, hopefully, towards a short book that will address the question of “Whitehead in the light of speculative realism”; and that book, if I manage to finish it, will probably also bear the title, The Universe of Things, thus continuing the semantic chain.

The Speculative Turn

The Speculative Turn, edited by Levi Bryant, Nick Srnicek, and Graham Harman, has now been published. This volume gives the fullest account to date of (so-called) “speculative realism” in all its varieties. There are articles by the four initial speculative realists (Graham Harman, Iain Hamilton Grant, Quentin Meillassoux, and Ray Brassier), together with work by other thinkers who have influenced them (Laruelle, Latour, Stengers, Delanda, etc) essays by later contributors to speculative realist trends (Bryant, Srnicek, Reza Negarestani), brief interviews with Badiou and Zizek, and more. The volume contains my own article/critique of Harman, “The Actual Volcano: Whitehead, Harman, and the Problem of Relations,” together with Harman’s response.

The Speculative Turn can be purchased in hardcopy, or downloaded as a free pdf, here. It doesn’t seem to have made it to Amazon.com yet, but I am told it will be there shortly.

Affective Mapping

It’s come to my attention that, in my already-published article, and soon-to-be-published book, Post-Cinematic Affect, I appropriated my colleague Jonathan Flatley’s notion of “affective mapping” (which is indeed even the title of his fine book) without citing him. Now, my entire method of writing is based upon appropriating and hijacking textual material as widely as possible. But I always try to acknowledge my sources and points of indebtedness. And in this instance, I egregiously failed to do so. So let me offer my profound apologies to Jonathan, and alert my own readers to the deep extent to which my own work has been informed and affected by his.

Whitehead and Levinas

An essay of mine, “Self-enjoyment and Concern: On Whitehead and Levinas,” has just been published in the new volume Beyond Metaphysics?: Explorations in Alfred North Whitehead s Late Thought, edited by Roland Faber, Brian G. Henning, and Clinton Combs. Since the price of the volume is beyond ridiculous (US$101 list and at Amazon, or marked down to US$67.68 at Barnes and Noble), I am making my own essay available here (pdf).

There’s lots of good stuff in the volume aside from my essay, I wish it were all available at a more reasonable price.

I feel that my own essay is a bit underdeveloped; there is much more to be said about Levinas than the brief and cursory discussion I offer here; but, for what it’s worth, I stand by my basic argument.

“I never liked anyone and I’m afraid of people”

Bret Easton Ellis’ latest novel, Imperial Bedrooms, is his first book since Lunar Park in 2005; and it is a sequel of sorts to Ellis’ very first novel, Less Than Zero, which made him famous or notorious upon its publication in 1985, when he was just 21. The new novel is retrospective; it looks at the characters from Less Than Zero twenty-five years later, when they have gone from being spoiled, bored, and passive college-age kids to middle-aged people of power and influence in Hollywood. Imperial Bedrooms is also an exercise in what can only be called Hollywood Noir; it’s rooted in this genre, and reflects back upon it, in the same way that Lunar Park was rooted in and reflected back upon the John Cheever-style suburban anomie novel and the Stephen King-style horror novel.

Imperial Bedrooms begins with the narrator Clay (who was also the narrator of Less Than Zero) complaining about the way “the author” of Less Than Zero played with his feelings and violated his privacy. While conceding that the earlier book “for the most part was an accurate portrayal… there was nothing in it that hadn’t happened” (3), Clay nonetheless portrays “the writer” of the earlier book as very nearly a stalker, and certainly an exploiter: “he was simply someone who floated through our lives and didn’t seem to care how flatly he perceived everyone or that he’d shared our secret failures with the world” (4-5). From this, Clay goes on to dissect the film that was made from Less Than Zero, and which notoriously turned the novel into a feel-good tale of Hollywood redemption. Clay makes much of the way the movie transformed him from a passive, continually high, and bored observer into “the movie’s moral compass, spouting AA jargon, castigating everyone’s drug use” (7). In the movie, Clay tries desperately to rescue his former best friend Julian, who is falling into an abyss. In actuality, though (i.e. in the original book), Clay had just watched passively, without lifting a finger, as Julian drifted into prostitution, heroin addiction, and general self-abasement. Julian dies in the movie “while a choir soared over the sound track” (9), because being “punished for all of his sins” is “what the movie demanded,” indeed “what all movies demanded” (8). But this, of course, does not happen in the novel Less Than Zero, or in the actuality that Clay is describing for us in Imperial Bedrooms. Rather, “the real Julian Wells was murdered over twenty years later” — in the course of Imperial Bedrooms, as we will eventually learn — “his body dumped behind an abandoned apartment building in Los Feliz after he had been tortured to death at another location” (9).

In these opening pages, we get the same sorts of impossible displacements, and metafictional arabesques, that were major elements of American Psycho and Glamorama, and that also fueled the opening chapter of Lunar Park, with its scathing and hilarious dissection of the life and literary career of “Bret Easton Ellis.” However, after these opening pages, the novel at least seems to play things pretty much straight. Once he’s established his point in the opening pages, Ellis no longer calls attention to the metafictional games and multiple media references — not because he has returned to some prior or more solid sense of “reality,” but precisely because the ubiquity of the mediasphere, the remediation and premediation of everything, and the indistinguishability of so-called “real life” from the movies (at the very same time that movies are ideological lies about the actualities they depict) are now so banally self-evident that they no longer need to be highlighted or called attention to; they are simply part of the book’s (and of our lives’) taken-for-granted background.

Or to put this same point a bit differently: the movies are always already being referenced at every point in Imperial Bedrooms, because all the characters are either directly involved in the movie business, or circle in its wider orbit. Clay, the narrator, is a successful screenwriter; at the start of the book he returns to L.A. in order to be involved in the casting of his latest film, and his social life seems to revolve entirely around industry parties and meetings at swank restaurants. Clay is also a person who seems determined to script his entire life as if it were a movie; though this becomes something of a joke in the course of the book — he isn’t really powerful, since he is just a screenwriter, not a director or a producer (e.g., 156). At the very beginning of the novel, Clay describes Julian’s actual (as opposed to cinematic) fate as follows: “I had put Julian there, and I’d seen what had happened to him in another — and very different — movie” (10); and then, on the very last page of the novel, he refers to “the fades, the dissolves, the rewritten scenes” of his own life (169).

I could go on analyzing the novel’s phrases closely, as I have done so far, because Ellis writes in a minimalist style in which every line seems to be a throwaway — and yet these seemingly casual and commonplace phrases are dense with portent and meaning. But I need to step back and (in the book’s own metaphoric style) view the book from a greater distance, with a long shot. Ellis’ books always have unreliable narrators of one sort or another; but in Imperial Bedrooms, it seems to me, Clay is unreliable in a new way. He isn’t factually unreliable, but emotionally unreliable. He doesn’t really tell us, or let us infer, how he feels about things. It’s not that he is being deliberately deceptive, so much as that he himself doesn’t know. He’s opaque to himself, and the movies are the screen through and upon which this opacity is played out. You might say, in psychoanalytic terms, that Clay fails to apprehend himself not because something is repressed, but because he seems not to have an “unconscious” at all. There are no depths; there is nothing there for the reader (viewer?) to work out, no way for us to understand Clay in a way that he doesn’t understand himself. Indeed, his motiveless behavior seems more or less clear to the other characters in the novel, who are always telling him, in exasperation at his latest irritating moves, that “you have a history of this, don’t you?” (87), or “what you really want to be doesn’t exist” (121), or “you’ve done this so many times before” (151). Nothing can be revealed, because nothing is hidden in the first place. Clay is almost a parody of the calculative rationality — which of course is anything but rational — that neoliberalism presumes to be paradigmatic of the individual.

As for what it is that Clay does over and over: well, basically, he is a serial sexual abuser and near- (or maybe even flat-out) rapist. What happens in the course of the novel — and what has happened, we are told, many times before — is that Clay, a man in his forties, gets twenty-something women (would-be actresses) to fuck him, in return for his (supposedly) getting them roles in his movies. There’s no naivete about this, on either side. The women are playing the game, in full awareness, as much as he is — albeit a game that is rigged in favor of middle-aged, sexually predatory men, and against the young women who enter into it. For in fact, Clay never delivers on his promises. As the women start sensing this, and seek to withdraw from him, he becomes more brutal and sexually abusive. The relationship is so crass and cynical, that it isn’t even disguised as something nicer. It happens something like half a dozen times in the course of Imperial Bedroom’s brief 167 pages: Rain Turner (the beautiful but incompetent actress who seems to be the object of desire, not just for Clay, but for all the heterosexual men in the novel) says she doesn’t want to have sex, or prepares to leave Clay’s apartment, and Clay gives her an ultimatum: do what I want, now, or I will call up and cancel your audition for the part you want so badly in my new movie. And in fact, “this is the way I always wanted the scene to play out and then it does and it has to because it doesn’t really work for me unless it happens like this” (119).

In addition, whenever the woman in question leaves him, Clay goes into a tailspin of depression and rage and anxiety, as if he had been betrayed by somebody whom he deeply loved — despite the fact that the whole situation, up to and including the woman’s departure, is something that Clay himself has pretty much all scripted in advance. So what we get, in the course of Imperial Bedrooms, is a lot of hysteria and emotional turmoil, all the more disturbing for the fact that it is depicted so coldly and flatly, and that there is nothing whatsoever behind it. Al of this builds up gradually, so it takes a while for the reader to figure out that there really isn’t anything to figure out, and that what we see is what we get. At the start of the book, we are inclined to think that Clay is just passive and vapid, the way he was in Less Than Zero; it takes us a while to realize just how complete a psychopath he is.

I said that, in genre terms, Imperial Bedrooms is Hollywood Noir; in interviews, Ellis has mentioned Raymond Chandler as a particular influence, and Chandler provides one of the novel’s epigraphs: “there is no trap so deadly as the trap you set for yourself.” Another one of the novel’s accomplishments is that it both honors the genre’s conventions, and turns them inside out. There are all the trappings of a violent and sordid Hollywood mystery: a femme fatale (Rain Turner), a menacing gangster  type (Rip Millar, the drug dealer from Less Than Zero), intimations of conspiracies, people spying on Clay and sending him disturbing anonymous messages, etc. But the logic of noir gets inverted, as we gradually realize that Clay is neither solving a mystery, nor finding himself lured into crime, vice, and ruin. Rather, he is one of the perpetrators, one of the people who makes the mystery. He doesn’t commit a murder for money or for a woman — both of these are things that he already has easy access to. The femme fatale is essentially his victim, rather than the reverse. Even the massive betrayal that Clay commits at the end of the book is not a surprise, since he has already confessed to it in the opening pages.

There’s an incredible coldness in Imperial Ballrooms; and this is something that has to do with the background of comfort and power and privilege that the novel depicts: a comfort and power and privilege that all the rich white men in this novel have, and take entirely for granted. In this sense, the novel is not about the fictions that Hollywood produces, so much as it is about the people who produce them. Beneath the flatness and coldness, there’s a savagery about Hollywood here that rivals the great portrayals by Nathanael West (Day of the Locust) and F. Scott Fitzgerald (The Last Tycoon). It’s as if Ellis has updated these portrayals for the postmodern age, so distant from the classic Hollywood of West and Scott, and yet in basic continuity with it; and combined it with James Ellroy’s take on Hollywood’s sleazy underside. What Ellis adds to all of these, perhaps, is a sense of the everydayness of what, from another angle, might be seen as depravity. This is both because of the privileged status of his narrator, and that narrator’s friends and milieu, and also because of the way, as I said before, a total media immersion is taken for granted as one of the story’s premises.

Where Lunar Park ended on a note of at least potential hopefulness (the closest Ellis has ever come to suggesting even the glimmer of something like redemption), and where even Glamorama (still Ellis’ craziest novel, and the one most engaged with a broader social reality even though, or because, its narrative is entirely delirious) had a slight metaphorical suggestion of improvement in its final words, Imperial Bedrooms leaves us with an unrelieved chill. It’s intentionally narrow focus has a strongly intensifying effect. Where American Psycho (1991) totally nailed the ethos of the Reagan 80s, and Glamorama (1999) presciently divined the social maladies (terrorism and reality television) of the decade following it, Imperial Bedrooms glancingly suggests the psychological malaise (can we even call it “narcissism” any longer?) of a society in which capitalist realism survives, and continues to dominate, despite its utter loss of all credibility.