Deciphering American Empire: #3


Nemesis, statue dedicated by Ptollanubis. Marble, found in Egypt, 2nd century AD. (Credit: Marie-Lan Nguyen / Wikimedia Commons)

“Nemesis, the goddess of retribution and vengeance, the punisher of pride and hubris, waits impatiently for her meeting with us.” So ends Chalmers Johnson’s prophetic appraisal of imperial America, The Sorrows of Empire: Militarism, Secrecy, and the End of the Republic (New York: Metropolitan Books, 2004), p. 312.

Rome is the archetype of America’s imperial hubris, a recycled mythos pursued at the cost of the republic and unending military engagements around the globe.

Language obfuscates America’s imperial project. As Johnson observes, the new Rome represents itself, if at all, as a good, liberal or informal empire instead of “a military juggernaut intent on world domination” (p. 4). The “euphemisms required to justify imperialism” include “lone superpower,” “indispensable nation,” “reluctant sheriff,” “humanitarian intervention,” and “globalization” (pp. 13, 284).

Of course, even a liberal empire is not necessarily a good one, if there is such a thing. (more…)


"Spartacus' Death" by Hermann Vogel, 1882.

“Spartacus’ Death” by Hermann Vogel, 1882.

In 1960, just before a new administration under John F. Kennedy was taking office, heralding the vision of a “New Frontier,” Stanley Kubrick’s Spartacus premiered in Hollywood. The film’s screenplay was written by Dalton Trumbo, based on Howard Fast’s novel of the same name, written in 1951. Both writers had been blacklisted in Hollywood during the national persecution of writers and artists with past communist associations (Trumbo was one of the original group of the Hollywood 10). Both had been imprisoned during the Cold War era. (more…)