Primer for the Trump Apocalypse (Epilogue): A Wedding in the Countryside (Part 2 of 2)

Santeria Centro Habana, 3 November 2014. (Credit: Bernardo Capellini)

Soul of the Drum

On September 29, 1947, Dizzy Gillespie and legendary Cuban drummer Chano Pozo unveiled Afro-Cuban jazz at Carnegie Hall by premiering George Russell’s Cubana Be, Cubana Bop. On that date, Chano’s conga drums and Abakuá chants were first combined with Gillespie’s griot trumpet and his band’s bebop sounds. The integration of jazz and Afro-Cuban music demanded virtuoso accommodations from all performers. But in a shining corner of the universe, the ancient sounds of Africa—heretofore fragmented in diaspora—were reunited again. Chano and Dizzy had bridged two separate and distinct ontologies.[1]

Fire and Fury: The Pitfall of Self-Righteous Absolutes

“Atomic War!” #2, Page 1, December, 1952. (Credit: Wikimedia Commons)

“Let every person be subject to the governing authorities . . . . for the authority does not bear the sword in vain! It is the servant of God to execute wrath on the wrongdoer.” (Romans 13:1, 4. NRSV)

Mr. Trump’s bellicose “fire and fury” rhetoric of August 8, 2017 (which he escalated two days later) promised to visit upon North Korea a “power the likes of which this world has never seen before” if Kim Jong Un should make “any more threats to the United States.” Trump’s “apocalyptic” imagery rendered the prospect of nuclear conflagration in familiar, biblical terms—Revelation’s depiction of the complete and final destruction of the world. He framed the crisis publicly, in language he had uttered privately to aides, as the ultimate confrontation of good and evil.

It is possible, of course, that Mr. Trump at some point will abandon his apocalyptic language. It wouldn’t be the first time he distanced himself from previous threats and promises. But a pledge of fire and fury is an especially dangerous ploy, if ploy it is. It exacerbates an already fraught situation and undermines our ability to imagine a plausible alternative to confrontation.

Primer for the Trump Apocalypse (Epilogue): A Wedding in the Countryside (Part 1 of 2)

“The Capitulation of Granada” by Francisco Pradilla Ortiz, oil on canvas, 1882. (Credit: Wikimedia Commons)

For 800 years, the Spanish fought the Moors in the legendary Reconquista (8^th to 15^th cent.). Sacred relics from that holy war survive today in the region of Andalucía in Spain: in the cities of Sevilla and Córdoba, and most gloriously, in the magnificent Alhambra of Granada.

That centuries-old conflict was won as such wars against foreign empires are usually won: people inspired by religious beliefs and fighting for their homeland—as Ernest Hemingway reminds us—can be destroyed, but never defeated.[1] The invader faces an endless struggle, reflected in the simple statement of the Confederate soldier who explained to Union soldiers why he fought in the US Civil War: “I fight because you’re here.”

In the countryside of New Jersey, I have seen the end of the Trump Apocalypse and a vision of the future of America after it gives up its imperial aspirations.

The Monster That Goes Thump in the Night

Painting Pesadilla (nightmare) by Mauricio García Vega. (Credit: Wikimedia Commons)

Mark Hertsgaard, writing in The Nation, directly confronts in the light of day the monster that many, probably most of us encounter in nightmares. We would rather ignore and repress than acknowledge and face the real possibility of nuclear extermination. It is a possibility that has haunted us since 1945, one we wanted to think was put to rest with the demise of the Soviet Union and the end of the Cold War. But the menace remained. Nuclear weapons proliferated. The war on terrorism metastasized. The infamous Doomsday Clock moved up to two and a half minutes to midnight.

Hertsgaard renders the abstraction of nuclear annihilation tangible in the person of Donald Trump. President Trump is the monster that goes thump in the night. He is as frightening as our childhood fear of the dark. Yet, personifying the threat of nuclear annihilation with the palpable image of Trump’s impulsive finger on the nuclear button focuses attention on the immediate danger at the risk of distracting attention from the systemic militarism of US imperialism.

Primer for the Trump Apocalypse: Eugene O’Neill and the Robber Barons

Portrait of Eugene O’Neill by Carl Van Vechten, 5 Sept. 1933. (Credit: U.S. Library of Congress)

After the success of Mourning Becomes Electra on Broadway, Eugene O’Neill labored in silence during twelve years (1934-1946) at the writing of a cycle of eleven plays (“A Tale of Possessors Self-Dispossessed”) which told the story of an American family from before the founding of the republic to the 1930s. One of O’Neill’s sources for his ambitious project was Matthew Josephson’s The Robber Barons: The Great American Capitalists 1861-1901. A reading of Josephson’s book today provides illumination on the contemporary plutocracy that controls the nation today behind the façade of the Trump presidency.

Josephson’s book chronicles the ascendancy to power of that group of capitalists which built railroads (Cornelius Vanderbilt), controlled the oil and steel industries (John D. Rockefeller and Andrew Carnegie), and revolutionized the country’s banking and financial sectors (J.P. Morgan and Jay Gould) after the Civil War.

Trump’s Imperial Angst

Portrait of Romulus Augustus on extremely rare currency, a golden tremissis (1.5g) struck in Rome between October 475 and September 476. (Credit: Wikimedia Commons)

Donald Trump’s July 6^th speech in Warsaw’s Krasiński Square is a rhetorical hodgepodge of imperial angst. I won’t summarize the speech. I suggest instead either reading or watching it in full. It gets mixed reviews, largely split in the US along partisan lines.

The speech expresses an anxious mindset. It is a flailing gesture of resentment. Whether or not the gesture represents Trump’s mindset is hard to know. He has his own agenda. He may or may not believe all or part of what he says, but what he says now is consistent with what he said on the campaign trail, and what he said on the campaign trail channeled the anxieties of enough voters to get him elected.

Abraham and the Three Angels

“Abraham Serving the Three Angels” by Rembrandt, oil on canvas, 1646. (Credit: Wikimedia Commons)

Abram went forth with his wife Sarai and his nephew Lot, following his Lord’s command, into the land of Canaan. He was 75 years old. Abram’s wife was barren, therefore Lot was to Abraham as if he were the son of the old chieftain. There was a famine on the land, and for a time Abram dwelt in Egypt and became rich. Returning from Egypt, Abram and Lot separated: Abram raised his tent in the plain of Mamre in Hebron; Lot went to dwell on the plain of Jordan, next to the city of Sodom.

When Abram was 99 years old the Lord appeared to him and ratified their covenant, changing Abram’s name to Abraham, and that of his wife to Sarah.

In the desert, during the worst time of the day, heat seeps through your pores, dries up the organs of the body and distempers the rational mind creating a blur of vision, which gives way to mirages.

June Break with Coyote

(Credit: Christopher Bruno)

Hunt the Devil is taking a June break.  We will return on Wednesday, July 5, the day after Independence Day, with a post about our better angels.

We’re not letting the month pass without continuing to work on the project of mythic intervention.  The pause in posts is allowing us to collect our thoughts about “After Empire,” our next book project.

The book is an exercise in mythic anagnorisis.  The spirit of Old Man Coyote inspires us to think about slipping the war trap.  How, we ask, might the country’s better angels help the citizenry to envision life beyond forever war?  An exodus from war culture and its incantations of empire, as we see it, moves beyond lamentations of militarism into a deliberative space of democracy by dissent.

Future posts here at Hunt the Devil will continue to explore democratic resources for escaping the mindset of war.

RLI

Primer for the Trump Apocalypse: Wisdom from Two Masters

How’s the Apocalypse working for you? My only surprise is the celerity with which it has unfolded; with such speed, the waters must have risen around Noah’s Ark during the Deluge. But I am taken aback by the surprised alarums of our clown dynasty and eminent members of the media who are shocked—shocked!—at the avalanche of lies emanating from the White House.

What did we expect? Anyone who has dealt with a used car salesman or with a drummer selling swamp land in Florida knows Trump. Any woman who has had to fend off unwanted advances from a leering “gentleman crook” who mutters “Now don’t get scared, lady, I ain’t gonna crack you on the bean!” recognizes the type.[1]

To admirers of Dashiell Hammett, the Trump Apocalypse is not a surprise. As an operative for Pinkerton’s detective agency, Hammett came in contact with the Underworld of North American society. His novels portray crooks, thieves, murderers, pick-pockets, swindlers, forgers and assorted criminals with all the precision of a chronicler who has experienced what he writes about.

Trump’s Prophetic Trope

Four Horsemen of the Apocalypse – Death, Famine, War, and Conquest, an 1887 painting by Viktor Vasnetsov. (Credit: Wikimedia Commons)

We have used the symbol of apocalypse at Hunt the Devil to frame the political ascendency of Donald Trump in mythic terms. It is a rich and resonant symbol, a metaphor with multiple entailments, both religious and secular, each entangled with the others. Its mythos is relevant to interpreting the crisis of US empire that is reflected in Trump’s rise to the presidency.

The imperial presidency itself is a metaphorical precursor of the Trump phenomenon, a term for excessive executive power, which gained popularity in the 1960s and found voice in Arthur Schlesinger, Jr.’s 1973 book by that title. The power of the presidency exceeded its constitutional limits consistent with the transformation of the republic into an empire. With empire came war culture and the normalization of continuous warfare.