Nietzsche declared God dead. Conrad exposed civilization’s conscience as a fraud. Spengler diagnosed Western civilization as terminally ill. Our dreams of endless progress—the cornerstone of our Faustian worldview—were doomed to fail.
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Nietzsche believed we would create new gods to replace the dead one. Kurtz achieves the might of a deity. The myths paint him alternately as inspired and brilliant or mad and terrifying, and each contains some measure of truth.
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Today, many angry atheists treat “God is dead” as a cry of celebration. For Nietzsche, it was a shriek of horror. The masters and supermen imagined by later generations were not his ideal. They were the shadows cast by a civilization without God.
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@HunterBiden I have been sober for 31 years as of October 28. It took me 15 years of trying to get off the sauce. If I had been in the public eye like you are, I'm not sure I would have been able to make it. Congratulations on your success. You earned it.
We may come to terms with 9/11 only after we face down a new catastrophe, or after it fades from living memory like Pearl Harbor. Collective grief is part of our cultural birthright as much as collective joy. It never goes away; it simply changes shape.
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You watch Patricia Highsmith’s Thomas Ripley with a horrified fascination and root for him despite your revulsion. Yet at the end of the story you know no more about Thomas Ripley unmasked than you did when you began.
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What restrains power when all authority is suspect? What grounds morality in a godless world? What happens when we realize that commandments are merely social constructs? And what happens to a transgressive philosophy when it runs out of boundaries?
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James M. Cain's fiction is not about murder, fraud, or adultery. It is about the human tendency to mistake desire for reality. The crimes are not the tragedy. They are the moment when the tragedy can no longer be ignored.
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Richard Nixon's resignation threw America into a swamp of cynicism and distrust -- and created the environment in which grimdark could take root.
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"[Woolrich's characters'] enemies are not flesh & blood but loneliness, grief, obsession, and lives they have built around fragile, doomed illusions. In the hands of lesser writers this approach often becomes bleak and nihilistic;Woolrich’s stubborn compassion makes it mournful."
@CornellWoolrich@StephenKing I like Rear Window, but I was more impressed by "It had to be Murder." Hitchcock caught the thrill of voyeurism; Woolrich nailed the loneliness.
Nearly a century after he first sprang like a panther from Robert E. Howard’s pen, Conan still reminds the world that barbarism is mankind’s natural state.
https://t.co/ABfsW1ZXqe
Unless you’re a fan of 1940s and 1950s hardboiled fiction, you’ve probably never heard of Cornell Woolrich. Learn more about a Noir writer who owes more to Sophocles than Raymond Chandler.
https://t.co/RumL0Gofhf
Nearly a century after he first sprang from Robert E. Howard’s pen, Conan still reminds us that barbarism is mankind’s natural state.
https://t.co/ABfsW1ZXqe