THE NIHILISTS (CONTINUED):

Lee Harris--whose book you can win by guessing correctly in the contest above--also speaks to the point below in his essay, Al Qaeda’s Fantasy Ideology (Lee Harris, August 2002, Policy Review)

In what follows, I would like to pursue a line suggested by a remark by the composer Karlheinz Stockhausen in reference to 9-11: his much-quoted comment that it was “the greatest work of art of all time.”

Despite the repellent nihilism that is at the base of Stockhausen’s ghoulish aesthetic judgment, it contains an important insight and comes closer to a genuine assessment of 9-11 than the competing interpretation of it in terms of Clausewitzian war. For Stockhausen did grasp one big truth: 9-11 was the enactment of a fantasy — not an artistic fantasy, to be sure, but a fantasy nonetheless.

My first encounter with this particular kind of fantasy occurred when I was in college in the late sixties. A friend of mine and I got into a heated argument. Although we were both opposed to the Vietnam War, we discovered that we differed considerably on what counted as permissible forms of anti-war protest. To me the point of such protest was simple — to turn people against the war. Hence anything that was counterproductive to this purpose was politically irresponsible and should be severely censured. My friend thought otherwise; in fact, he was planning to join what by all accounts was to be a massively disruptive demonstration in Washington, and which in fact became one.

My friend did not disagree with me as to the likely counterproductive effects of such a demonstration. Instead, he argued that this simply did not matter. His answer was that even if it was counterproductive, even if it turned people against war protesters, indeed even if it made them more likely to support the continuation of the war, he would still participate in the demonstration and he would do so for one simple reason — because it was, in his words, good for his soul.

What I saw as a political act was not, for my friend, any such thing. It was not aimed at altering the minds of other people or persuading them to act differently. Its whole point was what it did for him.

And what it did for him was to provide him with a fantasy — a fantasy, namely, of taking part in the revolutionary struggle of the oppressed against their oppressors. By participating in a violent anti-war demonstration, he was in no sense aiming at coercing conformity with his view — for that would still have been a political objective. Instead, he took his part in order to confirm his ideological fantasy of marching on the right side of history, of feeling himself among the elect few who stood with the angels of historical inevitability. Thus, when he lay down in front of hapless commuters on the bridges over the Potomac, he had no interest in changing the minds of these commuters, no concern over whether they became angry at the protesters or not. They were there merely as props, as so many supernumeraries in his private psychodrama. The protest for him was not politics, but theater; and the significance of his role lay not in the political ends his actions might achieve, but rather in their symbolic value as ritual. In short, he was acting out a fantasy.

It was not your garden-variety fantasy of life as a sexual athlete or a racecar driver, but in it, he nonetheless made himself out as a hero — a hero of the revolutionary struggle. The components of his fantasy — and that of many young intellectuals at that time — were compounded purely of ideological ingredients, smatterings of Marx and Mao, a little Fanon and perhaps a dash of Herbert Marcuse.

For want of a better term, call the phenomenon in question a fantasy ideology — by which I mean, political and ideological symbols and tropes used not for political purposes, but entirely for the benefit of furthering a specific personal or collective fantasy. It is, to be frank, something like “Dungeons and Dragons” carried out not with the trappings of medieval romances — old castles and maidens in distress — but entirely in terms of ideological symbols and emblems. The difference between them is that one is an innocent pastime while the other has proven to be one of the most terrible scourges to afflict the human race.

The visions of eliminating the social safety net that dance through the heads of the disgruntled "conservatives" and the dreams of dismantling our rather minimal legal apparatus for fighting terror which addle the minds of libertarians are likewise the product of fantasy ideologies which take no account of the desires of the vast bulk of their fellow citizens.

Posted by Orrin Judd at January 25, 2004 4:09 PM