Donald Trump

Primer for the Trump Apocalypse: Practical Business Men

Schottische Scharfschützen auf Lauer (April 1918).

Scottish snipers in World War I, April 1918. (Credit: Wikimedia Commons)

Heartbreak House is not merely the name of a play,” wrote George Barnard Shaw in the preface to his masterpiece. “It is cultured, leisured Europe before the war.” The play was neither published nor performed until after the cessation of hostilities in World War I. Shaw’s given reasons are clear:

War cannot bear the terrible castigation of comedy, the ruthless light of laughter that glares on the stage. When men are heroically dying for their country, it is not the time to shew [sic] their lovers and wives and fathers and mothers how they are being sacrificed to the blunders of boobies, the cupidity of capitalists, the ambition of conquerors, the electioneering of demagogues, the Pharisaism of patriots, the lusts and lies and rancors and bloodthirsts that love war because it opens their prison doors, and sets them in the thrones of power and popularity. [1]

Soon after WWI, while “the earth [was] still bursting with the dead bodies of the victors,” Shaw recounted the history of the war “not in the field, but at home,” in one of his most scornful sallies against war: “Thus were the firstborn of Heartbreak House smitten; and the young, the innocent, the hopeful expiated the folly and worthlessness of their elders.”

Re-reading the preface to Heartbreak House today (“Heartbreak House and Horseback Hall”) one is besieged by the eerie sensation produced by prophecy, by the startling notion that history may repeat itself once again, but in reverse order. (more…)

Escape

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The Pentagon, 12 January 2008. (Credit: David B. Gleason)

George W. Bush, Dick Cheney, and now Donald Trump—all of whom grew up on Hollywood’s spectacle of America winning wars ad infinitum and none of whom fought in an actual war—“managed to remain quite deeply embedded in centuries of triumphalist frontier mythology.”

We’re still stuck in the fantasy of “an American world of forever war.”

Tom Engelhardt, “Rebecca Gordon, War Without End,” March 7, 2017

 

I was struck, while reading one of Peter Zhang’s exploratory essays and thinking about US war culture, by the metaphor of escape.[i] Escape is just one figure in Zhang’s extended comparison of Deleuze to Zen. The spirit of the essay’s multiple analogies is heuristic, especially for escaping debilitating conventions of political culture. (more…)

Primer for the Trump Apocalypse: God Save Ireland! (Part Two)

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Bundoran Strand Co. Donegal, with surfers, on the Atlantic west coast of Ireland, June 2010. (Credit: Osioni / Wikimedia Commons)

(Bundoran, January 2017) George Bernard Shaw first led us to the National Gallery of Ireland, where a statue of the Irish sage (the very semblance of the ghost that haunted me) welcomes visitors. In his last will, Shaw donated a third of the royalties from his plays to the Gallery, “to which I owe much of the only real education I ever got as a boy In Eire.” I had always expected that if one were to meet the ghost of Shaw it would be in London, where he spent so many years, rather than in Dublin, which he left behind in his twenties and about which he would write:

To this day my sentimental regard for Ireland does not include the capital. I am not enamored of failure, of poverty, of obscurity, and of the ostracism and contempt which these imply; and these were all that Dublin offered to the enormity of my unconscious ambition.[1]

When we boarded a bus to the seafront town of Bundoran in the eastern coast of Ireland, I thought we had left the ghost of Shaw behind. (more…)

Primer for the Trump Apocalypse: God Save Ireland!

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General Post Office, Dublin, Ireland. (Credit: Kaihsu Tai)

(Dublin, January 2017) Weathering under the foul winds of the Trump Apocalypse, I have been improving my soul by a visit to the Land of the Saints. One never comes to Ireland for the first time; one merely returns to a place as familiar as the fading memories of your grandfather’s or grandmother’s house.

At the airport the cabdriver greets you with a welcome and a broad smile. You have been told to mistrust the joviality of the Irish; it is a caricature—you have been told—used to control foreigners. But you cannot help to respond agreeably: when was the last time you were greeted by a cabdriver in the States with anything but a surly expression?

After pleasantries the talk inevitably turns to the recent US election. In gentle terms, the cabdriver expresses his unbelief at the fact that we spurned a candidate as intelligent and prepared as Hillary Clinton and elected a “crazy man” as president. I heard the underlying tenor of his words: it was the same one yelled indignantly by W.B. Yeats at the rioting crowds in the Abbey Theatre upon the premiere of Sean O’Casey’s The Plough and the Stars: “You have disgraced yourselves—again!”

I couldn’t agree more, and therefore hung my head in shame. (more…)

The Distraction of Trump

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“The Conjurer,” oil on canvas, by Hieronymus Bosch, circa 1496-1520. (Credit: Wikimedia Commons)

There is a lot not to like about the new president. His boorish persona and proclivity to wreak havoc are a major source of stress, unless you are one of his joyful supporters. Trump the President is a polarizing figure, but his political clownery is also a distraction from the deeper challenges facing the nation and the world at large.

Trump’s circus act gets all the attention. Rome built the colosseum to distract plebeians from the empire’s economic and political problems by entertaining them with bloody displays of gladiator combat. The famous Tivoli amusement park was built in mid-19th century Copenhagen to divert the people’s attention from politics. Billion dollar football stadiums in the US are venues for mixing blood sport with patriotic display. Entertainment, often fused with military ritual (Roger Stahl calls it “militainment”), sidetracks the deliberation of public policy. (more…)

Primer for the Trump Apocalypse: Liar’s Poker

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White House lawn, 30 May 2008. (Credit: Daniel Schwen / Wikimedia Commons)

Three impressive political lies came out of the White House during the first weeks of the Trump administration: 1) there was the summary affirmation, against all photographic and professional evidence to the contrary, that Trump’s inauguration was visited by “the largest audience ever to witness an inauguration, period, both in person and around the globe”; 2) there was the illusory claim that 3-5 million illegal votes were cast for Hillary Clinton in the past election, making Trump a loser in the popular vote, even though he won the presidency; 3) there was an Executive Order imposing a Muslim ban (which the White House denied was a Muslim ban), accompanied by an affirmation that we were in peril of terrorist attacks from seven Muslim countries, the citizens of which have never committed acts of terrorism against the United States.

To this we must add the coining of a new political concept by presidential advisor Kellyanne Conway (one missed by George Orwell in 1984): “alternative facts.” If this avalanche of fabrications continues unabated, Donald Trump will make Richard Nixon look like a paragon of virtue. One is tempted to shout, along with Big Daddy at the end of Act Two in Tennessee Williams’ Cat on a Hot Tin Roof, “CHRIST—DAMN—ALL—LYING SONS OF—LYING BITCHES!”[1] (more…)

Warmongering

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Caricature of Steve Bannon. (Credit: DonkeyHotey / Wikimedia Commons)

“Our big belief, one of our central organizing principles [at Breitbart] is that we are at war.”

November 17, 2015

“We’re in a war. We’re clearly going into, I think, a major shooting war in the Middle East, again.”

November 27, 2015

“It’s war. It’s war. Every day, we put up America’s at war. America’s at War. We’re at war.”

December 14, 2015

Steve Bannon

A warmonger, by definition, is someone who promotes war—urges it, stirs it up. Warmongering is especially foreboding when it comes from a person who is the Commander-in-Chief’s political advisor, chief strategist, senior counsel, and foreign policy guru. Philip Rucker, the Washington Post’s White House Bureau Chief, observes that, “Trump considers Bannon a savant and is allowing him to shape his presidency and especially his foreign policy.”[i] (more…)

Primer for the Trump Apocalypse: The Death of Fidel Castro and the Scarface People

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Circus poster showing battle between Buffalo Bill’s congress of rough riders and Cuban insurgents. (Library of Congress)

Sic semper tyrannis! I will not celebrate the death of Fidel Castro. Dictators abound in the world; their deaths should be met with a silent shrug. What joy is there in the tragedy of a people still shattered, a country lost in childhood, and another failure in the centuries-old struggle of Cubans for liberty and equality? Let those who will dance on graves wave flags, honk horns and jump in the streets as a rite of passage.

Rather than spit on a corpse, I choose to recall memories of another Old Man—what he did, and what he meant to us. (more…)

Failed Empire

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(Credit: Veterans for Peace)

Is the election of Donald Trump to the US presidency the sign of a failed empire?

“Make America Great Again” is a campaign slogan that seems to acknowledge the country’s fall from grace. Tom Engelhardt certainly thinks that’s the case, as we noted in a previous Hunt the Devil post. In Engelhardt’s words, Trump is “our first declinist candidate for president.”

Trump’s victory is a convoluted concession that world dominion has been a ruinous pursuit. Of course, he promises to recover the country’s greatness by reinvesting in its military might, as if the US military is not already rich and mighty. But, for now, the premise stands: The US is no longer great.

What happened to bring down the empire, or at least the country’s collective faith in it? (more…)

A Primer for the Trump Apocalypse: Ibsen’s Peer Gynt

for Manuel Giner

 

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The Four Horsemen of the Apocalypse, Revelation 6:1-8, by Matthias Gerung, circa 1530-32. (Credit: Wikimedia Commons)

The humiliation of the US democracy is now complete. The candidate who won the most votes in the recent presidential election lost to the candidate who will win the most votes in the Electoral College. The woman who dedicated her life to public service lost to the man who dedicated himself to becoming rich. The Secretary of State who mishandled her e-mails lost to the TV celebrity who stiffed his contractors and defrauded the students of his fake University. The candidate endorsed by Planned Parenthood lost to the candidate supported by the Ku Klux Klan.

The primary system produced two candidates for the two major parties (Democratic and Republican), neither of which was desirable to a majority of the American people. Two candidates from minor parties (Libertarian and Green) were never allowed a platform for their views in the national debates. 45% of eligible American voters did not vote.

The candidate who received most of the attention of the electronic media won; the candidate endorsed by an overwhelming majority of the print media lost. Truth was indistinguishable from lies during the presidential campaign, confirming the Orwellian dictum: “Political language is designed to make lies sound truthful and murder respectable, and to give an appearance of solidity to pure wind” (“Politics and the English Language,” 1946).  (more…)