Quotulatiousness

September 26, 2019

Titania McGrath reviews The Madness of Crowds by Douglas Murray

Filed under: Books, Humour, Politics — Tags: , , , — Nicholas @ 05:00

It’s a corker:

I’ve never reviewed a book before, and I fully intend to follow my editor’s advice and be as impartial as possible. But just to make it clear from the outset, Douglas Murray’s The Madness of Crowds is an abomination. It’s a sustained invective against woke culture, an attempt to reverse all the hard work of passionate civil rights activists such as Rosa Parks, Mahatma Gandhi and Lily Allen.

It’s essentially an Alt-right handbook, and I don’t think it’s too much to suggest that every copy ought to be incinerated. Preferably in a public square or something so that we can all see what happens when fascists try to spread their wicked ideology.

For the best part of 300 pages Murray spews his hateful bile – on white paper, no less – denouncing social justice, identity politics and intersectionality. Even the font has a certain heteronormative quality about it. He rails against “millennial snowflakes” who all “identify as attack helicopters” and how “you can’t say anything anymore” and that “you can go to prison for singing the national anthem these days”. I mean, he doesn’t actually write any of these words, but we all know that’s what he’s thinking.

The book is divided into four sections: “Gay”, “Women”, “Race” and “Trans”. These are all wonderful subjects – coincidentally, they also happen to be the names of my tropical fish – and so it is heart-breaking to see such noble ideas befouled in Murray’s grubby paws.

Needless to say, the last thing the world needs right now is yet another book by a straight white cis male. I’m told that Murray claims to be gay, but as journalist Jim Downs said of gay entrepreneur Peter Thiel after he appeared at the Republican National Convention, he “is an example of a man who has sex with other men, but not a gay man”. The idea that you can be gay and have conservative opinions is absurd. It was the same with Kanye West, who gave up being black once he’d put on that MAGA hat.

Murray seems to believe that, as a society, we have gone “through the crash barrier” (a typically male Top Gear-style analogy) and messed everything up through our supposedly divisive obsessions with race, gender and sexuality. “It is a curiosity of the age,” Murray writes, “that after the situation appears at the very least to be better than it ever was, it is presented as though it has never been worse”. What the hell would he know? As an ecosexual vegan intersectional feminist, I am surely better qualified than anyone to understand that ours is the most oppressive society on earth.

QotD: Preventing “price gouging” is counter-productive in an emergency

During an emergency like a hurricane, many different categories of goods and services experience supply-demand shocks. The shock may be because of a fall in supply (e.g. oil companies can’t get gasoline into the area) or a spike in demand (e.g. for generators or plywood) or a combination of both. In a free market, prices will rise to help match supply and demand. Higher prices cause people with less valuable or more frivolous uses of the scarce goods to defer purchase, and can cause suppliers to expend extra effort to get product into the area, even diverting supplies from other areas.

When the government institutes price gouging laws in an emergency, the supply-demand mismatch that leads to the rising prices isn’t magically eliminated. First, without higher price incentives, all the incentives to get more supply into the area are lost. Supply and demand under these regulations can only be matched by rationing demand, and typically this is through queuing and increasing search costs (e.g. driving around all over the place looking for a station that is open and has gas). People who gain the limited supplies in this regime are thus those with a lot of time on their hands, where the marginal cost of queuing and driving around does not impose a lot of cost. Think about a roofer scrambling to repair roofs after the a storm — do they have time to have their trucks and crews sitting dormant in gas lines? Thus, price gouging laws tend to ensure that scarce goods in an emergency flow to those with the least use for them.

Warren Meyer, “Price Gouging Laws: Allocating Goods in An Emergency To People Who Have Nothing Much Valuable to Do”, Coyote Blog, 2017-08-26.

September 22, 2019

QotD: “Light reading” aka trash novels

Filed under: Books, Humour, Quotations — Tags: , , — Nicholas @ 01:00

As a pretentious young viper, I would sometimes pick fights with my mother over what she was reading. I would examine some paperback she had set down, and pronounce it to be trash. She would agree, with the qualification that “light reading” was the more genteel expression. I cannot now remember what many of the books were, but the genre of detective fiction was well represented, and then-recent novels which could be located on bestseller lists. Sometimes it would be a pop “major author” — say, D. H. Lawrence in one of his repetitive attempts to write sentimental pornography on the virgin-and-gypsy theme. Once I congratulated her on attempting something translated from German. “Oh, it’s your father reading that. I don’t read books by foreigners.”

She had the habit of reading, formed early, and could often be found lost in a book. To her mind literature was meant for an escape: from nursing, housework, and raising difficult children. So if the book was arduous, it was also useless. “You can’t be serious all the time,” she would say, “you have to take a break from it sometimes.” To which I would reply, “But surely you can be serious some of the time.” For I wasn’t only a viper. I was also a little jackass.

David Warren, “Summer reading”, Essays in Idleness, 2017-08-08.

September 19, 2019

“[T]he Indian Act is a benign form of apartheid”

Filed under: Books, Cancon, History, Law, Liberty — Tags: , , — Nicholas @ 03:00

In the National Post, Barbara Kay discusses a recent book on the key legislation that regulates relations between the Canadian federal government and the various First Nations groups:

Few and far between are disinterested scholars of Canada’s Aboriginal history who have the tough hide and principled will to publicly depart from the approved Indigenous “nation-to-nation” narrative that keeps the guilt and money flowing, but perpetuates a dysfunctional status quo on many reserves. Most of the dissenters are university academics. But Best is simply an intelligent man with a passion for his subject, a deep impatience with political correctness, and unremitting determination to weather whatever storms afflict him as he shepherds his views to a public market.

I’ve written before in the National Post and elsewhere about Best’s lonely battles with our society’s forces of repression. There Is No Difference began its public life as a post on a dedicated online site in 2014, copied to his legal firm’s. Shortly afterward, complaints were filed against him with the Law Society of Upper Canada (now the Law Society of Ontario), asking that Best be “disbarred or suspended” and that he be forced to apologize for using his law practice “to disseminate racist materials.”

After two years of stressful limbo, the Law Society graciously allowed that the excerpts submitted by the (unnamed) complainant were “not enough to merit a finding of any form of professional misconduct on their face.” (The last three words telegraph the ardent wish that they had been; apart from a dissenting group of new benchers, the Law Society’s board has increasingly demonstrated worrying Thought Police tendencies.)

Best believes the Indian Act is a benign form of apartheid, and advocates for the integration model of equal citizenship for all, a model promoted, for example, by Pierre Elliott Trudeau (who called the system “apartheid”), and the late Aboriginal lawyer William Wuttunee, author of Ruffled Feathers, who was marginalized and discredited as an “apple,” red on the outside, white on the inside.

Best believes the federal government must be the ultimate master in its own house for Canada to function as a healthy nation. He is fiercely critical of the Supreme Court’s 2004 emphasis on the “honour of the Crown” concept in its Haida Nation vs. British Columbia ruling, with key words “to consult and where appropriate, accommodate the Aboriginal interest” virtually decreeing a devolution of Crown sovereignty to Aboriginals, and effectively turning Indigenous bands into a third order of government with the power arbitrarily to advance or restrict Canada’s economic fortunes.

It’s easy for Indigenous activists to bash a white historian, or even an Aboriginal dissident without special standing like Wuttunee. But it will be more difficult to dismiss the opinion of a former Supreme Court justice. Best just came in for an unexpected stroke of luck. Former Supreme Court justice Jack Major (1992-2005) has given the book his endorsement in a letter discussed in an article by the Frontier Centre for Public Policy (FCPP).

September 16, 2019

History-Makers: Herodotus

Overly Sarcastic Productions
Published on 13 Sep 2019

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There is much to do, and many unknowns on our horizon! — One of those unknowns is “How did Herodotus become the Father of History” and why is his book so confusingly organized? All that and more on this installment of History-Makers!

Let me know which History writer you’d like me to discuss next in the comments below!

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September 12, 2019

Book Review: The Ross Rifle Story

Filed under: Books, Cancon, History, Military, Weapons, WW1 — Tags: , , , , — Nicholas @ 04:00

Forgotten Weapons
Published on 8 Sep 2019

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The Ross Rifle Story is the Bible of Ross rifle collecting — it is the only substantial reference work on the subject and it has a tremendous amount of information about the development of the Ross. However, it is also one of the worst-edited firearms reference books I am aware of. It has a second Table of Contents on page 85 — need I say more than that?

Well, I will. The photographs are black and white and often too dark or too light. Beyond it really being two separate manuscripts printed back to back, the organization is really lacking. Finding information in the book is sometimes very difficult, as the subject matter jumps around a lot. The story of the Ross — especially separating the civilian and military development — is a pretty complicated one, and even a well-edited book on the subject might be a bit difficult to parse. This book is really bad at times.

But for all that, it does have the information (with only a few errors), and it’s the only book that does. If you are interested in the Ross, this is a must-have book despite its problems.

A second printing was run in 2002, and not much effort was put into marketing it. Despite the online prices all being $300+, the seller still has a couple dozen copies remaining as of this writing. To order one (for $100 plus shipping, via PayPal) email him at ross.rifle.story@sympatico.ca .

Contact:
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6281 N. Oracle #36270
Tucson, AZ 85704

Maclean’s invades The Onion‘s pitch

Filed under: Cancon, History, Media — Tags: , , — Nicholas @ 03:00

Barbara Kay on a recent Maclean’s article that may indicate a change of editorial direction for the venerable Canadian magazine:

I never thought of Maclean’s as a satirical magazine, but perhaps they are testing the waters on a rebranding. I cannot otherwise account for the bizarre article just published under their aegis by Scott Gilmore, “Thank God I could Enjoy the Age of Mediocre White Men While It Lasted.” This self-flagellatory apologia for being a successful white male reads like a parody of our cultural moment.

I laughed when I read it, and checked the URL to make sure I hadn’t stumbled on a piece from The Onion by mistake, but no, it was indeed a Maclean’s piece. Sadly, I am all too aware that in these fanatically anti-white male times, a lot of identity-politics activists — including white men who pee sitting down to prove their wokeness — will not only take it seriously, they will applaud him.

Gilmore’s thesis is this in a nutshell: simply being white and male gives you such an advantage in life that for all of human history, other people, so dazzled by male whiteness that they are rendered oblivious both to white-male mediocrity and their own inherent superiority, willingly hand things over to you, things like their bodies, their possessions and their national sovereignty, and of course all the good careers. Your skin colour and sex are your ticket to ride. That state of affairs is now ending, Gilmore says, and this piece is effectively Gilmore’s thank-you note to history for allowing him to have benefited from this remarkable deal, and as well an expression of gratitude that white males are now headed to the dustbin of history, where they belong.

The first problem with the article is that Gilmore never defines “mediocre.” One dictionary definition is “of only moderate quality; not very good.” Let’s go with that. Let’s assume he means white men are dumber, lazier and of lesser character than all women and all non-white men. And yet, “being a white male has been the bee’s knees for about 2,000 years. We have been giving all the orders, taking all the credit, and pocketing all the money since Caesar told Cleopatra to pipe down. We wrote the history books and we built the empires (well, other people did the actual building, but we oversaw a lot of it from our sedan chairs). We drafted all the laws, and made sure to always stack the cards in our favour. And, for a truly impressive long time, we were able to keep all the fun to ourselves.”

September 4, 2019

QotD: Goth problems

Filed under: Humour, Quotations — Tags: , , , — Nicholas @ 01:00

I’ve never actually seen an extremely beautiful goth girl myself — most of them seem to have weight problems, which has always struck me as strangely contradictory. From the neck up, the look cultivated by goth girls seems to say, “O, we despair of this world and long for the sweet embrace of death!” From the neck down, their look seems to say, “I’ll take the bacon cheeseburger, two orders of fries, and a Diet Coke, please.”

Dan Savage, The Onion A/V Club, 2004-08-04.

August 27, 2019

QotD: Salvador Dali and the “benefit of clergy”

Filed under: Books, Europe, History, Quotations — Tags: , , , , — Nicholas @ 01:00

Orwell’s press card portrait, 1943

Now, if you showed this book, with its illustrations, to Lord Elton, to Mr. Alfred Noyes, to The Times leader writers who exult over the “eclipse of the highbrow” — in fact, to any “sensible” art-hating English person — it is easy to imagine what kind of response you would get. They would flatly refuse to see any merit in Dali whatever. Such people are not only unable to admit that what is morally degraded can be aesthetically right, but their real demand of every artist is that he shall pat them on the back and tell them that thought is unnecessary. And they can be especially dangerous at a time like the present, when the Ministry of Information and the British Council put power into their hands. For their impulse is not only to crush every new talent as it appears, but to castrate the past as well. Witness the renewed highbrow-baiting that is now going on in this country and America, with its outcry not only against Joyce, Proust and Lawrence, but even against T. S. Eliot.

But if you talk to the kind of person who can see Dali’s merits, the response that you get is not as a rule very much better. If you say that Dali, though a brilliant draughtsman, is a dirty little scoundrel, you are looked upon as a savage. If you say that you don’t like rotting corpses, and that people who do like rotting corpses are mentally diseased, it is assumed that you lack the aesthetic sense. Since Mannequin rotting in a taxicab is a good composition. And between these two fallacies there is no middle position, but we seldom hear much about it. On the one side Kulturbolschevismus: on the other (though the phrase itself is out of fashion) “Art for Art’s sake.” Obscenity is a very difficult question to discuss honestly. People are too frightened either of seeming to be shocked or of seeming not to be shocked, to be able to define the relationship between art and morals.

It will be seen that what the defenders of Dali are claiming is a kind of benefit of clergy. The artist is to be exempt from the moral laws that are binding on ordinary people. Just pronounce the magic word “Art”, and everything is O.K.: kicking little girls in the head is O.K.; even a film like L’Age d’Or* is O.K. It is also O.K. that Dali should batten on France for years and then scuttle off like rat as soon as France is in danger. So long as you can paint well enough to pass the test, all shall be forgiven you.

One can see how false this is if one extends it to cover ordinary crime. In an age like our own, when the artist is an altogether exceptional person, he must be allowed a certain amount of irresponsibility, just as a pregnant woman is. Still, no one would say that a pregnant woman should be allowed to commit murder, nor would anyone make such a claim for the artist, however gifted. If Shakespeare returned to the earth to-morrow, and if it were found that his favourite recreation was raping little girls in railway carriages, we should not tell him to go ahead with it on the ground that he might write another King Lear. And, after all, the worst crimes are not always the punishable ones. By encouraging necrophilic reveries one probably does quite as much harm as by, say, picking pockets at the races. One ought to be able to hold in one’s head simultaneously the two facts that Dali is a good draughtsman and a disgusting human being. The one does not invalidate or, in a sense, affect the other. The first thing that we demand of a wall is that it shall stand up. If it stands up, it is a good wall, and the question of what purpose it serves is separable from that. And yet even the best wall in the world deserves to be pulled down if it surrounds a concentration camp. In the same way it should be possible to say, “This is a good book or a good picture, and it ought to be burned by the public hangman.” Unless one can say that, at least in imagination, one is shirking the implications of the fact that an artist is also a citizen and a human being.

* Dali mentions L’Age d’Or and adds that its first public showing was broken up by hooligans, but he does not say in detail what it was about. According to Henry Miller’s account of it, it showed among other things some fairly detailed shots of a woman defecating.

George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.

August 23, 2019

QotD: The ego of Salvador Dali

Filed under: Books, Europe, History, Quotations — Tags: , , , , , — Nicholas @ 01:00

Orwell’s press card portrait, 1943

[Dali’s] aberrations are partly explicable. Perhaps they are a way of assuring himself that he is not commonplace. The two qualities that Dali unquestionably possesses are a gift for drawing and an atrocious egoism. “At seven”, he says in the first paragraph of his book, “I wanted to be Napoleon. And my ambition has been growing steadily ever since.” This is worded in a deliberately startling way, but no doubt it is substantially true. Such feelings are common enough. “I knew I was a genius”, somebody once said to me, “long before I knew what I was going to be a genius about.” And suppose that you have nothing in you except your egoism and a dexterity that goes no higher than the elbow; suppose that your real gift is for a detailed, academic, representational style of drawing, your real métier to be an illustrator of scientific textbooks. How then do you become Napoleon?

There is always one escape: into wickedness. Always do the thing that will shock and wound people. At five, throw a little boy off a bridge, strike an old doctor across the face with a whip and break his spectacles — or, at any rate, dream about doing such things. Twenty years later, gouge the eyes out of dead donkeys with a pair of scissors. Along those lines you can always feel yourself original. And after all, it pays! It is much less dangerous than crime. Making all allowance for the probable suppressions in Dali’s autobiography, it is clear that he had not had to suffer for his eccentricities as he would have done in an earlier age. He grew up into the corrupt world of the nineteen-twenties, when sophistication was immensely widespread and every European capital swarmed with aristocrats and rentiers who had given up sport and politics and taken to patronising the arts. If you threw dead donkeys at people, they threw money back. A phobia for grasshoppers — which a few decades back would merely have provoked a snigger — was now an interesting “complex” which could be profitably exploited. And when that particular world collapsed before the German Army, America was waiting. You could even top it all up with religious conversion, moving at one hop and without a shadow of repentance from the fashionable salons of Paris to Abraham’s bosom.

That, perhaps is the essential outline of Dali’s history. But why his aberrations should be the particular ones they were, and why it should be so easy to “sell” such horrors as rotting corpses to a sophisticated public — those are questions for the psychologist and the sociological critic. Marxist criticism has a short way with such phenomena as Surrealism. They are “bourgeois decadence” (much play is made with the phrases “corpse poisons” and “decaying rentiers class”), and that is that. But though this probably states a fact, it does not establish a connection. One would still like to know why Dali’s leaning was towards necrophilia (and not, say, homosexuality), and why the rentiers and the aristocrats would buy his pictures instead of hunting and making love like their grandfathers. Mere moral disapproval does not get one any further. But neither ought one to pretend, in the name of “detachment”, that such pictures as Mannequin rotting in a taxicab are morally neutral. They are diseased and disgusting, and any investigation ought to start out from that fact.

George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.

August 21, 2019

Summer Stupidity: GLADIATOR (Media Review!)

Filed under: Europe, History, Humour, Media — Tags: , , , — Nicholas @ 04:00

Overly Sarcastic Productions
Published on 20 Aug 2019

The first time I saw Gladiator (2000) was in Latin class, and I have maintained since that first viewing that this movie rules.

Just pretend it’s historical fiction and the emperors are named literally anything else, and you’re set.

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August 20, 2019

QotD: Autobiography

Filed under: Books, Europe, History, Quotations — Tags: , , , — Nicholas @ 01:00

Orwell’s press card portrait, 1943

Autobiography is only to be trusted when it reveals something disgraceful. A man who gives a good account of himself is probably lying, since any life when viewed from the inside is simply a series of defeats. However, even the most flagrantly dishonest book (Frank Harris‘s autobiographical writings are an example) can without intending it give a true picture of its author. Dali’s recently published [The Secret Life of Salvador Dali] comes under this heading. Some of the incidents in it are flatly incredible, others have been rearranged and romanticised, and not merely the humiliation but the persistent ordinariness of everyday life has been cut out. Dali is even by his own diagnosis narcissistic, and his autobiography is simply a strip-tease act conducted in pink limelight. But as a record of fantasy, of the perversion of instinct that has been made possible by the machine age, it has great value.

George Orwell, “Benefit of Clergy: Some Notes on Salvador Dali”, Saturday Book for 1944, 1944.

August 14, 2019

Summer Stupidity: Hercules 2014 (Media Review!)

Filed under: Europe, Greece, History, Humour, Media — Tags: , , , — Nicholas @ 04:00

Overly Sarcastic Productions
Published on 13 Aug 2019

“I’ve seen The Rock act before and he’s really fun and charismatic! Surely this movie starring him will be a Good Time!” I thought, foolishly.

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August 7, 2019

QotD: “Great” “Art”

Filed under: Books, History, Media, Quotations — Tags: , , — Nicholas @ 01:00

If you still don’t think the myth of the unappreciated writer, who labors in extreme poverty but creates True Art™, is nonsense, let me explain.

How do we know it’s true art? And before you start making gestures and sputtering, to finally come back with “knowledgeable people know that,” let me cut through the fog. The answer is, we don’t. No, not even experts. If everyone knew what great art was, investment in art wouldn’t be such a risky business. Great art, great literature, any form of “greatness” in creative expression is ultimately “What future generations think is great.” And, like all speculation about the future, it’s difficult, if not impossible. In visual art, what is often the acclaimed taste of an era is the laughable, ridiculous pastiche of a later era. In literature … Do me a favor, let your fingers do the walking through Gutenberg, then look up the biographies of some of those authors. Many of the people who make you say “who?” and who in fact would make anyone but an expert in the literature of their time go “who?” were literary lions in their times, acclaimed by all and pronounced “the next Shakespeare.” (Who, like “the next Heinlein,” used to rise every generation until people got tired of it.)

If the art is so great, how come no one is buying it? Besides the artist who is spending way too much time with absinthe and way too little time with quill and paper, or brushes and canvas, that is?

Oh. I see. Because the general public is too stupid to appreciate the greatness of the artist. Because the artist is “ahead” of the public.

Yeah, if you believe that you probably also think that history comes with an arrow since obviously art does. That is, art moves from “primitive” to “exquisite and advanced.” If you truly believe this, I invite you to go through any local art museum and move through it from, say, Roman times till now. And then I invite you to think. The Denver Museum of Art has an installation that consists of a bunch of twisted-together kitchen implements, something that often happens in my house due to the habit of overfilling drawers and my tendency – pre-coffee – to think there is no problem brute force can’t solve.

This is an “installation” worth 2 million and if you believe it is superior to Leonardo da Vinci’s Virgin of the Rocks, you should stop hitting the absinthe. No, wait. Have another cup. I have this installation …

Sarah Hoyt, “What Happens When the Artist Chides His Audience?”, PJ Media, 2017-07-13.

August 5, 2019

QotD: Depictions of Heaven

Filed under: Books, Quotations, Religion — Tags: , , , , — Nicholas @ 01:00

Orwell’s press card portrait, 1943

Attempts at describing a definitely other-worldly happiness have been no more successful. Heaven is as great a flop as Utopia though Hell occupies a respectable place in literature, and has often been described most minutely and convincingly.

It is a commonplace that the Christian Heaven, as usually portrayed, would attract nobody. Almost all Christian writers dealing with Heaven either say frankly that it is indescribable or conjure up a vague picture of gold, precious stones, and the endless singing of hymns. This has, it is true, inspired some of the best poems in the world:

    Thy walls are of chalcedony,
    Thy bulwarks diamonds square,
    Thy gates are of right orient pearl
    Exceeding rich and rare!

But what it could not do was to describe a condition in which the ordinary human being actively wanted to be. Many a revivalist minister, many a Jesuit priest (see, for instance, the terrific sermon in James Joyce’s Portrait of the Artist) has frightened his congregation almost out of their skins with his word-pictures of Hell. But as soon as it comes to Heaven, there is a prompt falling-back on words like ‘ecstasy’ and ‘bliss’, with little attempt to say what they consist in. Perhaps the most vital bit of writing on this subject is the famous passage in which Tertullian explains that one of the chief joys of Heaven is watching the tortures of the damned.

The pagan versions of Paradise are little better, if at all. One has the feeling it is always twilight in the Elysian fields. Olympus, where the gods lived, with their nectar and ambrosia, and their nymphs and Hebes, the ‘immortal tarts’ as D.H. Lawrence called them, might be a bit more homelike than the Christian Heaven, but you would not want to spend a long time there. As for the Muslim Paradise, with its 77 houris per man, all presumably clamouring for attention at the same moment, it is just a nightmare. Nor are the spiritualists, though constantly assuring us that ‘all is bright and beautiful’, able to describe any next-world activity which a thinking person would find endurable, let alone attractive.

George Orwell (writing as “John Freeman”), “Can Socialists Be Happy?”, Tribune, 1943-12-20.

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