In which our hero discusses religion, enlightenment, and anal rape.
actually, discusses is not quite the right word: it presupposes you can argue back. you can of course, that’s what the comments are for. but, you know.
at the start of this module i’m doing, we were asked to write a definition of ‘enlightenment’, or rather, to summarise three definitions chosen from wherever we wanted. i picked one literary/cultural definition, one historical, and one, just to mix things up a bit, from ‘a dictionary of buddhism’. anyway, we were discussing the fact that in Robinson Crusoe, what is generally referred to as ‘the first novel’, Crusoe is a man driven entirely by economic motives – profit, in other words. the novel is a perfect encapsulation of ‘enlightenment thought’, and how the individual became seen as the basic unit of society, rather than the family or the village community. how, in essence, capitalism started. if man is no longer defined by his status as part of a community, but by his status as an individual, then there are no allegiances, it’s every man for himself. anyone can become president of the united states.
as you might be able to tell by the last sentence, i’m thinking in a rather tongue-in-cheek way about the motives of the Enlightenment and its thinkers. to summarise, for those who haven’t had this drilled into them by a selection of history teachers: Enlightenment thought = man is able to achieve near perfection, through the reform of society to exclude tradition, superstition and ‘imature thought’. they kept a place for God, because they’d have been censored otherwise, but the tenets of Enlightenment are secular in all but name
the trouble with the ostensibly noble ideas of Enlightenment is that it was largely a European phenomenon. Crusoe’s island was supposed to represent man (Crusoe is designed as a universal representative) stripped of ignorance and superstition, free to achieve the absolutes of intellectual, social and economic freedom – a blank canvas. But Crusoe doesn’t see a beautiful tropical island, rich in colour and lush with life. instead, and this is one of the things that troubles me, what he sees is something to profit from. he doesn’t see a beautiful hillside, he sees a stretch of land to be terraced, ploughed, and sown with seed to grow wheat.
What the book suggests is that this representative of the new society – and it’s a society that we still live in today – is stripped of all the trappings of the previous 1700 years of cultural development, and as a result becomes a creature unable to live in the company of other humans, and who sees everything in terms of exploitation and profit. and what’s worse, he is not a greedy man, he’s just trying to survive. if we are to survive as a race, the book suggests, we must abandon all thoughts of community and sociality, and be driven by economic gain.
now, this has set me thinking. as far as i am concerned, organised religion hasn’t been relevant to our society since the Reformation. people realised that to commune with God and to have faith didn’t require a Church to pray in. before the Reformation, the Catholic Church was so integral to the founding and continuation of society that any attempts to remove it would require – well, did require - a war that ravaged Europe for near a century. when people were presented with the notion that to have faith in God, and to live an everyday life did not require the incense, priests, icons, damnation and hellfire of the Catholic Church, then organised religion began an irreversible decline in relevance. why do you need a church when you can pray at your bedside at night, or on your knees facing Mecca, or on the way to catch the bus in the morning.
well, there’s a simple answer there – you need the church because you’re not Robinson Crusoe, and neither is anyone else. we can’t live on profit alone. man is a social animal and we need to be with other people. particularly, since we spend so much time putting up a front and shielding our emotions, it is a huge and neccesary catharsis to do something as personal as praying, performing the actions of your faith, in a group of other people all doing the same. the vicar, or the priest, or the mullah, might as well not be there, if their only job is to represent the Anglican Church, or the Catholic Church, or the Prophet, and to tell those present that their (and only their) church is what allows one to truly communicate with God.
but it’s not of course. going to church is a community action. you go to see people and chat to people and gossip about them behind their backs, and eat the stale biscuits and drink the tea, and chat to the Vicar about his trip to Mali to visit deprived children. you don’t go there to pray, or at least, you don’t need to.
everyone believes in something. that is as close as i will ever come to laying down a certifiable fact. everyone believes in something, because to not believe in something higher, lower or other than the everyday world would mean one had ripped aside the shroud, stared into the abyss and seen one’s place in the universe – one molecular speck in the vastness of infinity – and that is not something humans are capable of doing. Richard Dawkins doesn’t believe in God, but he believes in Darwin with more fervour than a cathedralful of ordinary people believe in God. everyone believes in something. you may not believe in God, but you ascribe what you cannot understand to quantum mechanics, or a butterfly in the Amazon flapping its wings, or to ‘these things just happen’
so organised religion may be irrelevant – turn the vatican into an art gallery, get some use out of it – but the community that it engenders is more important than ever, especially since we live in a society founded upon the principle that man can perfect himself by believing in profit alone. there’s no Universal Church, where anyone can come, and sit, and pray, or read New Scientist, or salaam to Mecca, or rant and rave about Genesis and Darwin, or drink a really good cup of tea and find the last chocolate biscuit in the tin – but maybe there ought to be. the Quakers are about as close as it gets. i hear they do a good line in biscuits.
oh yes, i mentioned anal rape. we watched a film for Aesthetics today, a french film called Irreversible, starring Vincent Cassell and Monica Belluci. you’ve probably seen or heard about an American film called Memento, where the scenes of the movie are shown backwards? well, this is the same, but considerably harder to watch. for one thing, the camera swoops and spins and flies around, but never cuts – every scene is a long take. for another, the second scene – the penultimate one, chronologically – is twenty five minutes long, set in the claustrophobic, red-lit interior of a gay fetish club, and features one man’s arm being snapped at the elbow by someone kneeling on it and pulling the hand, and then that same man, the one who did the arm snapping, has his head smashed to a pulp by a man with the bottom of a fire extinguisher. the camera never cuts away. you see the whole thing. for the whole 25 minutes, by the way, the music in the club is a low-frequency undulating hum calculated to make the audience feel nauseous.
several scenes later – or earlier – Monica Belluci leaves a party, in a skin-tight, skin-coloured dress and not much else, takes the underpass to cross a busy Paris street. a man and a woman come into the other end of the underpass. they argue, and the man starts viciously beating the woman. Monica Belluci intervenes, the woman – a prostitute – runs away, and the man proceeds to threaten Alex – Monica Belluci – with a knife. he rips her dress off, forces her to the floor, and with his hand over her mouth, anally rapes her. when he’s finished, he rolls off her. she gasps and coughs, because she’s been screaming herself hoarse behind his hand. he waits for her to get to her knees, then kicks her in the face – a long, rugby-conversion kick, with a small run up. when she gets up again, he does it again. then he sits on her back and slams her face repeatedly into the concrete floor of the underpass. the camera never cuts, you see everything. probably the very worst part is that in one corner of the screen, as she’s being raped and screaming, an indistinct figure walks into the underpass, pauses, looks at them, looks back, and leaves.
it’s a charming little film. actually, a few scenes later, there is a long section where Cassell and Belluci roll and roam about their apartment, naked, and discuss everything in the world, in a perfect, perfectly French Cinema dialogue – covering every topic that comes up. they were husband and wife when the film was shot, and it shows – they’re absolutely comfortable with each other.
anyway, the reason i mention this film, apart from its effect on my general mood today, was that it raises interesting thoughts about the nature of revenge. because the scenes are played derriere-votre-face, pardon my french, you see the consequences (Cassell leaving the club on a stretcher, his friend in the hands of the police), then you see what caused those consequences, the horrifying bit with the fire extinguisher (the sound of metal hitting wet meat and bone is not a pleasant one), and later what caused Cassell and his friend to go into that gay fetish club, all madness and rage. all i’ll say about the implications the film puts forward about revenge is that after wildly questioning everyone in the club, the man that Cassell tries to fight and Pierre bludgeons to death is a stranger, and the real rapist is standing behind them while they do it, with a slight grin on his face.