Glamour and emptiness, organic culture and Nationalism Stephen LaTulippe has a fine essay at Lewrockwell.com that repays a read. It draws the battle lines between what he calls a Postmodern and an Organic society. Here are a few passages:- He begins with some reflections on the long-running HBO TV series, Sex in the City.
LaTulippe then moves on to explain Organic culture in all its traditional, familial and spiritual connectedness.
Well, perhaps LaTulippe is stretching for this a little, and writing what he thinks should be the case. As he says later on in the essay:-
One of the few advantages of having reached the age of rebelliousness just in time for the 60s revolution was that some vestigial sense of the Organic had entered into us, to be either swept away by the “pull” of the social tide or to hold, stubborn as a sharp rock concealed in the swept, golden sands of some fabulous bathing beach. Those of us who stubbed our toes repeatedly on our rock had no choice but, eventually, to respect its conservative reality. In some rather obvious ways we envied our frolicking peers. But in others we despised their excess and superfice. Our rebelliousness had switched sides. For myself, by the time I was eighteen I had already met the girl I would marry and disdained education to try to work my way into motor-racing. When, a couple of years later, I exchanged my taste in rock - the electric guitar kind - for serious music I was clearly a hopeless case, entirely lost to modernity (albeit, of course, by pure accident and through no virtue or understanding of my own). The organic, English working-class culture that had moulded my family’s background and survived generally into the 1950s is, to me, an unremarkable thing. I cannot really wax like Laurie Lee about it, illuminating its charmingly odd and recondite corners, its bakelite, Bisto and braces. Actually, I don’t know that lyricism and charm particularly attach to it. It just was, that’s all. Perhaps cultures are only really salient when viewed from distance and with the benefit of unfamiliarity. In any case, I recoil instinctively from overdoing the Organic thing. We can’t just re-create it. It’s gone, become Spenglerian theory:-
Too much. Too much. And here, I believe, LaTulippe committs the mistake of many social conservatives, especially religious conservatives whose faith-focus unbalances their mentation. He supposes that ... 1) The old Organic culture can be revivified to order, and 2) that it can be done on any kind of useful timescale. He writes:-
It will not even work for America. Anyway, LaTulippe’s difficulty here is that social conservatism produces results only on a generational timescale. We do not have several generations to cook the broth, and a five-minute chicken soup won’t do. LaTulippe does not mention the word “Nationalism” at any point in his essay. But that is the only vehicle we have in the short-term, and I say this as a political Conservative. It is not, of course, a vehicle licenced and ready for the road today. But it could be made so within a decade, and would be a serviceable stop-gap while the Organic nature of our society slowly grows anew. Comments:2
Posted by Steve Edwards on Sat, 04 Nov 2006 18:27 | # An excellent essay, Mr Guessedworker, and I couldn’t agree more. What the elites have forged runs utterly contrary to human AND animal nature. The edifice will crumble. 3
Posted by Al Ross on Sat, 04 Nov 2006 21:57 | # Superb piece, GW, with the scarcity value that comes with the mention of the peerless Spengler. In Israel, no doubt the spiritual home of the ‘Sex and the City’ writing and production team, women have an average of 2.7 children, the highest figure among modern democracies, with upper-middle class women giving birth to an impressive mean 4.3 future enemies of our race. 4
Posted by Bo Sears on Sun, 05 Nov 2006 04:06 | # Without opposing the overall thrust of this article, the fact is that we should be deeply suspicious of the realities fed to us by the flickering TV screen, and we should be deeply suspicious of political or social arguments based on TV shows. I don’t begrudge LeTulippe his right to say: “...Sex and the City tells the story of four thirty-something single women living in New York City. They live a life that, while all too common today, is perhaps unprecedented in human history (especially for women).” But I do think he has no basis for saying that the Sex/City lifestyle is a life that is “all too common today.” These are lives that live themselves out in the minds of Hollywood’s creative geniuses, not on the streets of New York City. The four chic stylers in Sex/City are just fictional caricatures posed as reality. Gesture as bedrock. LeTulippe underlines the essentially anti-intellectual and anti-reality basis for his analysis by insisting that “the beauty of art lies in its ability to harness archetypes for the purpose of making social and political commentary.” That is perhaps the most pure definition of post-post-modern rhetoric about art that I have ever heard. He is actually saying art harnesses archetypes to allow writers to comment on social and political matters, and on top of that balderdash, this ability or capability rendered in behalf of writers is the “beauty of art.” Art is beautiful when it provides archetypes to writers for commentary! So much for the old post-modern position that “art is for art’s sake.” Let’s face it, one of the women in Sex/City is so downright unattractive that it is impossible that she would capture the attention of the men she seems to attract. She and her TV success are entirely based on nepotism and tribalism, and nothing else. 5
Posted by Frisco on Sun, 05 Nov 2006 08:58 | # I think that link should be: Post a comment:
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Posted by Guessedworker on Sat, 04 Nov 2006 13:09 | #
I should add that the altogether wonderful John Betjeman did colour the cultural landscape of post-war Britain with poetry of an honest, gentle, wistful Englishness.