Showing posts with label criticism. Show all posts
Showing posts with label criticism. Show all posts

Sunday, August 15, 2010

Derrick Jensen's Endgame

Not sure this work is worth a takedown, since I am aware that Jensen is not selling himself as a scientist or anthropologist, but he is certainly selling himself as some kind of cultural soothsayer, and I think his narrative is fairly poisonous. Full disclosure: I picked this book up because I thought I’d agree with it. Sure, the title seemed a little overdramatic, and the subtitle – “The Problem of Civilization” – seemed somewhat simplistic, but overall, I’m someone who normally has plenty to say in criticism of civilization. After reading this book, I will be wary of ever 1) using the word “civilization” when what I really mean is something else, something actually evil, and 2) idealizing “uncivilized” cultures (which I’m not sure actually existed?).

When I was first introduced to Derrick Jensen's works, I was unsettled and angry, navigating my sense of the world by the unshakable feeling that something was horribly wrong with it. I had no evidence or specifics regarding this wrongness, only feeling, which is precisely the mental environment that Jensen's works do well in. Through books, mainly, the wrongness gained shape and texture, and the loneliness from being the only one to see the wrongness was relieved. This is, for the narcissistic truth-seeker, all the relief there is the world: the discovery of brethren, others who are as perceptive as you are. This is exactly the narrative that Jensen plays into with Endgame, and it's the one he seems to be trapped in. It's an adolescent narrative that might jump-start the passion needed to reform civilization, but is not at all complex or nuanced enough to come anywhere close to actually designing that reform.

This narrative wore itself out for me after a couple of years (which I spent mostly nursing that chip on my shoulder, which I'd become so attached to). Returning to Jensen's works, I gagged on the memory of all the self-righteousness, and self-loathing, in which I once wallowed. I agree with Jensen's premise that our current civilization is unsustainable, which you'd think would be all that matters, but while I agreed with this, everything else in the book left me frustrated. Which led me, as a reader, to be bizarrely caught in a position of almost trying to defend civilization, because I was so unwilling to get on board with the kind of broad, heavy-handed smears that Jensen employs in arguing against it.

Going back to the subtitle. "The Problem of Civilization." Problem, singular. Civilization is one big problem, not a series of adaptations, interactions, reactions, families, tribes, and resources. Civilization is, for Jensen, one big thing. Furthermore, all civilizations are the same. Premise 1 of Jensen's vitriolic and highly subjective series of Premises reads: "Civilization is not and can never be sustainable." He does qualify this statement with, "This is especially true for industrial civilization." It seems clear, however, that for Jensen, civilization is industrial civilization. Many of his complaints throughout the book are targeted toward the exploitation of resources characteristic of industrializing: building dams, leveling forests, using sonar to conduct military exercises, raising livestock in factories. On and on. All of which, to be clear, I am absolutely against and agree are entirely unsustainable activities. But not all civilizations, obviously, engage in this kind of exploitation.

Jensen does spend a couple of pages attempting to define what civilization is. According to himself, civilization is “a culture...that both leads to and emerges from the growth of cities, which cities being defined...as people living more or less permanently in one place in densities high enough to require the routine importation of food and other necessities of life” (17). Though the distinction is interesting, I cannot accept this as a useful definition of civilization. The importation of food seems to be, rather, a beginning criteria for industrialization. As Jensen himself points out, civilization also includes political, artistic and social activity, as well as economic activity; many “non-civilized” nations had basic bartering or gift economies (which, again, Jensen isn’t ignorant of since he points it out himself). He fails to heed his own distinctions here, however, and instead lumps all human dynamics into the paradigm of civilization. For example: power, which according to Jensen is “civilization’s other face” – tell me, what human society, civilized or no, does not function on some kind of power dynamic? Or division of labor, which Jensen brings up a sentence or so later. Again, same point: what hunter-gatherer or other “non-civilized” society did or does not function through division of labor? These dynamics are necessary to the behavior that has evolved with our species, and that we need to survive. Sadly, Jensen doesn’t like science, so evolutionary biology is totally ignored, not even given lip service, but I’ll get into that later.

Without a useful set of criteria with which to define civilization, and without fully acknowledging the complexity involved in creating and identifying one, Jensen ploughs angrily ahead. Dude is pissed, and I think that anyone with an environmentalist streak at one point feels the sheer frustration of knowing that all the processes which have kept us alive are so incredibly destructive. However, how much you are willing to identify yourself as one of the destroyers is key to the creation of your own narrative. Jensen more than once acknowledges that he is a human, and thus uses cars and airplanes to get around, shops at a supermarket, etc etc. But there is a total disconnect between this acknowledgment, which is easy enough to make without being totally serious, and the strategies he briefly sketches to get everyone off civilization, the most prominent of which is his idea of taking down cellphone towers. Cellphone towers, which kill thousands of birds every year, seem like a pretty obvious thing to want to destroy: they’re ugly, they seem sort of decadent, meaning something that we could probably live without. Also, they’re often disguised as palm trees, so you’ve got that factor of deceit and denial that is so specially infuriating. So take down the cellphone tower, Jensen, and maybe Ed Norton will play you in a flick. But if you keep going in this direction, what are you going to take down next? The gas station, which is key to your ability to get around? The grocery store, which supplies most of your food?

I’m pretty sure that Jensen would respond that he’d adapt, that he’d be fine not writing books and taking book tours, and would learn to farm. But people just aren’t ready to do this, and expecting to “take down” civilization, I’ve become convinced after reading this book, is incredibly impractical and naïve. Narratives only go forward, not backward, and the same with evolution. We have evolved to live in civilization, for better or for worse, and unfortunately, even if we were to “go back” to a time when we understood our impact on the environment, that process would involve an evolution of what already exists. Which is why I am personally in favor of sustainable development, of which Jensen is certainly not a fan.

But going deeper, this does indeed point to some key psychological issues. Though Jensen’s points about living in civilization being like living through an abusive relationship, where civilization is the abuser, are pretty much incoherent (I appreciate this as a creative idea, but certainly not anything to base policy or large-scale action on), he is right to probe the psychology of the current human living in civilization. All the problems that Jensen is battling in this book are a result of an unclear definition of the human species. What is a human? Are we moral creatures, and if so, what is our morality based on? Jensen’s implicit argument is that we consider ourselves morally responsible only to our own species, which is mostly true, I’d have to say. And the question of how we shift our morality to include other species (as indigenous, “pre-civilized” cultures did) is, I believe, the most interesting question of our time. For some reason, it’s obvious to some that exploiting animals is wrong, and yet for others, it’s obvious that we should dominate animals in every way because we’re “smarter” than them.

Again, Jensen acknowledges the intellectual rationale for this—that morality in this world is relative—but doesn’t really heed this sensible acknowledgment, and doesn’t let its implications reverberate over his entire book. If morality is relative, it’s moldable, changeable. This seems like a really hopeful thing to me, but how does one change morality? How does one make the case that exploiting non-humans is morally wrong? Answering this question requires stepping back and looking at this idea in the first place: why should we want to convince people that exploiting non-humans is morally wrong? Because if they die, we die. Jensen expresses this as the idea of the “landbase,” whose health has to be the focus of all human activity in order for the society to survive. This is absolutely the case, but Jensen fails to make this connection explicit: we need to view non-humans and the landbase not as moral ends in themselves, but because they represent our survival. It’s a shame that Jensen’s book is so incredibly disorganized, because I’m sure this is what his thinking is, but it just isn’t clear. Instead, the moral reasoning that comes through is that civilized humans don’t value their landbase because they are evil, and that is why we should take down civilization.

The other question, about what a human actually is, is obviously one that should be an ongoing discussion. On page 235, Jensen responds to critics (imaginary? I don’t know) who argue that “humans are natural, therefore everything they create is natural.” This gets into a sort of semantic game, as Jensen calls bullshit on this and says that polluted streams and asphalts are “unnatural,” which, okay, in a certain limited sense they may be, but I believe this semantic problem gets at the heart of the issue here. If we are essentially “unnatural,” because we are surrounded by unnatural things that we created ourselves, the narrative is that we have become evil. This has a lot to do with the more everyday self-loathing that comes with thinking that civilization is wrong: on some level, you know it’s you, and the only appropriate response is to get angry.

If Jensen weren’t so dead set against science (which he seems to view only as an institution, not as an activity), he would recognize that evolution hasn’t suddenly transformed us into evil beings, because in nature, there is no evil. There is no natural or unnatural. The word “unnatural” should be taken completely out of the discussion. It creates an unnecessary split, between the supposedly perfect, earth-loving cultures that existed hundreds of years ago, and the ones that exist today. Think about it: birds evolved body parts and brains to be able to pick bugs out of trees and the ground; cats evolved to spot and chase small rodents; whales developed brains that can detect and communicate with undersea vibrations; and humans have likewise evolved to cogitate, to reflect, to have ideas, to use tools and build things. There is nothing we are doing that nature didn't equip us to do. The question that evolution cares about isn't whether a species is evil; it's whether they are successful. Plenty of species have failed; we might be the next one, and evolution would go right on. If there is a case to be made (which of course, there is), it isn’t that we need to take down civilization because it, and we, are evil; it’s that we need to harness those powers that evolution has given us to make our civilization sustainable.

Sunday, April 19, 2009

MASTER PLOT #233: YOU DRINK TREE MILK AND A PLANT SHOOTS OUT OF YOUR CHEST

really good: Jungfrukällan (Virgin Spring) by Ingmar Bergman

really puzzlingly shitty: The Fountain by Darren Aronofsky


so, I was in ye olde corporate bookstore the other day and checking out one of those "master plots" books - actually, it was called 20 Master Plots. I have been passing these books by with a scoff for years, but on this occasion I was willing to humor the whole idea for a bit. I actually ended up reading about it after I'd gotten home, in summary form, on some forum page I found through google, which turned out to be part of this ayn rand worship website, which was a hilarious way to read about it. apparently, a lot of these plots support objectivist ways of living.

I discovered that the guy writing the book was not coming from a standpoint of "write a story like this and it will make you money," although obviously he profited from the book. but after poking around in it, it was clear to me why a book like this should exist: it should exist so that shit movies like The Fountain do not get made.

okay, but let's look at the good example first. Virgin Spring, which came out in 1960 but looks like it was made in the middle ages, was based on a 13th century Swedish ballad. it can be seen as a pretty conventional "revenge story" (which is one of the chapters in "20 master plots"), as its central plot revolves around a young girl getting raped and killed, and the family's subsequent reactions. the screenwriter, ulla isaakson, added some innovations that make it quite a bit more complex. there's a "dark" sister, who's already been raped (great parallelisms there), who sees her sister die and thinks it was her fault for praying to a pagan rather than a christian god (really interesting questions raised about religion in this film as well, especially since bergman doesn't try to make either side seem better). then there's a little boy who lives with the thieves who rape the girl, who watches all the shit go down and doesn't interfere. these two characters alone make for enough conflict and drama for an entire film, because of their shifting positions between good and evil. is the little boy an accomplice, or is he innocent? can you really blame the "dark" sister for wanting her good sister to fall into bad hands, after she herself was raped?

and somehow, even though the virgin character is completely one-sided and we know nothing good will come of her in the forest, her death is completely horrifying. I'm not quite sure how bergman managed to do that. it probably has to do with the quality of the acting, but it's also because, I think, this event is placed strategically in the plot, where it should be, after our expectations are already set up and we've seen the family dynamic and we definitely don't want her to die. the character gradually comes to represent everything that's good and desirable in the world. for me, this moment came when she was going up the hill on the horse and sang in a very clear, melodic voice and the shot was just of the countryside and it looks like the fucking garden of eden.

the horror over her death leads wordlessly to the classic question, why do bad things happen? which is taken up in a stirring sequence with max von sydow near the end.

then take The Fountain. both of these films are trying pretty openly to engage with a mode of storytelling that is highly mythic, but only one of them, I think, truly knows why or how to do this. Virgin Spring achieved this kind of mythic quality first of all by being set in the pretty distant past, rather than in a setting where we'd be able to judge whether this story was likely to happen or not. The Fountain is set in three times, and basically the only plot complexity it has comes from interweaving the threads. if you laid it out, the plot for this one would be extremely simple: the Quest Plot. and which quest? only the most obvious one, the Search for Immortality. some dude named Tommy is trying to find the cure for his wife's cancer (this was the plotline that most audiences, I think, latched onto).

I'll say right here that I loved Pi, and even admire Requiem for a Dream, though I'd rather eat a cactus than go through the wrenching experience of watching it again. but these interviews with Aronofsky about The Fountain are just astoundingly dumb. this quote comes from here:

In some ways, we saw science as being like a religion, and how you can become dogmatic with it, and you can forget its relationship to the larger world. And for me, that’s reflected in a critique of how in the West, with the power of modern science, we’ve become detached from a major part of our spiritual existence. Because the reality is, no matter how much we fight death and put it in the corner and make believe it doesn’t exist, we all die. And the thing that makes us human is our mortality. But I think we’ve become disconnected from our mortality by hiding the fact that it’s part of our spiritual journey. In that way, science has its blinders on for trying to create immortality. There is nothing wrong with extending life. It’s incredible that you can be 75 and active and alive. But I had a 95-year-old grandmother who they tried to resuscitate three times, breaking her ribs. And there is something wrong with that. It’s a hard line to know where to draw. But there’s this fighting to keep people alive, even people who don’t want to be alive anymore.


I mean, all of it is like this, with this like ninth-grade-level philosophical background. what is with my favorite directors trying to make films about death and falling on their faces into philosophical schlock? really, the thing that makes us human is our mortality? where did you hear that, oprah's book club?

but honestly, I think a lot of artists would fail with these kinds of gargantuan ideas. there's a reason that myths take years upon years to develop; they don't just spring up when you sit down with a pen. in this film, aronofsky's got the germ of the myth, the quest for immortality, but he's got nothing else. he seems to think that just using that idea itself is going to make a good story - that, and about a dozen plot elements that every story falls back on when it can't give us something original. e.g., the guy's wedding ring gets lost early on. this is so cliche it makes me want to smack myself, but on top of this, throughout the rest of the film the character is constantly staring intensely (that's one of the three things this character does, along with sob and push things off of flat surfaces) at his finger w/absence of ring. also, there's a story within a story because the woman character is writing a book (NEVER HAVE I SEEN THIS BEFORE IN ANY MOVIE WOW). in longhand, with a fountain pen, of course.

aronofsky has no idea how to set up a story so that we care, so the only time I really felt like I might actually give a shit was two-thirds into the story. after that it promptly descended into kooky adolescent sequences involving meditating inside bubbles that shoot into outer space.

adding insult to injury, there's this maddening attitude that if you don't like this movie, you "didn't get it." aronofsky has actually made obnoxious comments about how, to watch it, you need to "suspend your disbelief" or else you, like, fail as a viewer. also, he says this film is like a rubik's cube - either you can sit there and puzzle it out, or you can throw it against the wall in frustration. both of which are incredibly condescending ways to treat your reader/viewer. who the fuck compares their art to a rubik's cube, except arrogant teenagers? convince me I should be suspending my disbelief, and I will.

my point is that you can't just achieve the level of myth that Virgin Spring had by reaching out and grabbing these mythic elements. I mean, it makes little to no sense to associate all the women with the tree/life imagery and motifs (which is done all the time in legends) if you aren't going to have her in some kind of setting where she actually gives life. (even worse if she happens to be the embodiment of death.) it only shows that aronofsky pretty much ignored most of the nuance of older legends, and just took the symbols and archetypes he thought were "deep," while adding absolutely nothing to them.

this is the sad thing about american film, for me - it seems to have no awareness of what has come before it, in terms of story. with the bergman film, you get the strong sense that he's in touch with the most basic legends of the human race, has thought about them, and is honoring them by redoing them in his own way. with aronofsky, it was just some kind of misled, self-aggrandizing thing that totally ignores all the other stories that have been created with the same ideas, thinking it's the first to try all this.

Thursday, August 14, 2008

I watched roger & me, which came out when I was still a kid, and was so moved, until I read that a lot of it, including the fact that moore never got to meet with the CEO of GM, is rearranged to moore's liking (must be satisfying kicking aspiring documentarians out of your functions after it's been done to you by roger smith!). this supposedly from an oscar-winning maker of "documentaries" who went up on stage and called bush's war a "fiction."

then, later, I watched an episode of the west wing about capital punishment which was supposedly "fiction" but left me feeling far more enlightened on the issue, which is dealt with through the perspective of a leader who must choose whether or not to let another human die, than I did after watching moore's film.

I guess this means pure fiction is more powerful than corrupt nonfiction. either that or aaron sorkin is just smarter than michael moore.