2. The Stereotypes
The late writer Vine Deloria, Jr. is a slightly controversial figure in Western literature, but I suspect he prefers it that way. Citing all sorts of problems with Western civilization from the perspective of his ethnicity and world view, Mr. Deloria rightfully mocks the errors that European settlers and their colonist masters made while they attempted to describe their new home in the “New World” accurately. He borrows from many perspectives, while subscribing to few, including that of various astronomers, literary iconoclast Anatoly Fomenko and characters we at CluesForum would find refreshingly “off beat”. Yet, Vine Deloria is just whom we might look at superciliously if offered “partnership” with, since he fits the profile of so many attention-seeking artists we've encountered on our travels through the “unrequested public service” industry. I'd prefer if we did not question whether our definition of “profiles” has lesser merit than we'd like, but suffice to say there is a kind of huckster anxiousness to the man.
Now, I am going to do something a bit annoying to readers who prefer distance from an author's personal curiosity and — for the sake of argument only — go ahead and endorse Vine Deloria in the following way: he is no purposeful
ally of the colonists that devastated the culture of his people. He is not a huckster I feel that I would dislike, though I've never met him. Instead, I feel that his questions and his persistence in them are evidence that he is a senser — not of the inane type. He is a bit tricky to “read” from more than his words.
In his oft-cited book God Is Red
, Deloria cheekily explains a key cultural difference between European settlers (and their descendents) who have even known about the American continents for a scant handful of millenia at best and the “First Nations” or “Indian” people that are said to have lived there for many tens of thousands of years prior (not including those Asians which only arrived on the “Western” continents ten thousand years ago, and whose genes Europeans may mistakenly attribute to the ancestry of the much older civilizations). The difference is somewhat summarized like this: “Near Eastern” peoples (Europeans) tend to use history as the main mode of their existence, whereas “Red” peoples tend to orient their cultures around a sense of place.
This hit home for me in a number of ways, but one of which was the realization that while the indigenous of my home region (“Minnesota”, for lack of a better term — the great Northern plains that glaciers recently retreated from, geologically speaking) tend to start their myths from vast experience, the colonialist culture of the imperial mindset tends to start their myths from a place of extremely mixed knowledge. Tens of thousands of years in a physical place, making observations from that place and drawing up theories and behaviors based on the constant awareness of where one is seems a bit less inane than a displaced, mobile experience of squabbling Europeans trying to justify their existence based on the various, spotty interpretations of history mixed with pure legend or lovely but silly fabrications fighting for dominance. You can try to compare the skirmishing tribes of North America to the warring constantly-displaced civilizations of Europe, but you will probably fail, because the comparison is not as apt as the stark difference. Europeans have been living under colonialism for as long as most of their (surviving) histories reach back in time. As such, they have had to wage war differently — systematically — and are more readily prone to genocidal tendencies. Colonialist phenomena of the North American continent were introduced mostly by Europeans in recent years (though various Native American tribes have been settling their own cultural differences as conceivably long as European tribes). Therefore, Native Americans or First Nations theories of the land and about themselves have developed more out of the senses — true experience — and are less inane than European theories and speculations.
In “Savage Anxieties: The Invention of Western Civilization”
, author Robert A. Williams Jr. traces a contour of our civilization in its most problematic form for indigenous people. As a Native American (or “Indian” — a word that the indigenous to the American continents surely find some humor in, and partially because of the enigmatic picture it paints of European intelligence) Mr. Williams uses his own perspective to approach the study of the clash of civilizations that befell the American continents about six centuries ago.
He starts from the very place where European (Near East) legend and history meet, based on the epic poems of Homer and Odysseus. The separation of history from legend during this period (from roughly 1500 to 1300 B.C.(E.) or over 3 millenia ago) is the very debate that scholars of many world views try to determine. And if they find agreement, it is more over beautiful guesses than over the sparse facts we can make out from our present day.
Yet, when focusing more on those generally agreed facts, Mr. Williams points out that a kind of Greek myth emerges from the time period when the epic poems are said to have been written. In the poems, it is possible to read the subtext and the assumptions of the mythmakers of the time. In its most basic form, the stereotypes are:
- The noble savage, a naked being without agriculture or war, living without complex society, without complex relationships to other noble savages, being “chosen” by deities or by the world to exist in peace and tranquil simplicity in a golden age that is ended by an advanced contemporary force that is flawed but undeniable
- The epic hero, who shares some better qualities of the noble savage, but who is endlessly thankful for the imperial contemporary, flawed but undeniable, force; and who actively engages in the “untamed” wilderness to bring the noble savage the irrepressible civilization it is lacking
There are many ways in which this deadly dichotomy manifests in European culture. And Mr. Williams traces a history of the evolution from the savage as “dragon” or “wild cyclops” through its ostensible enjoyment as a rare but obsolete “native” nobility to its modern manifestations as an excuse for any empire to invade the “backwards” territories it wishes to claim for its own.
One such example that came to mind as I read Williams' work was the quintessentially American example of The Wizard of Oz
series, which I'd had the privilege to read from (and be vaguely dissatisfied with) just before investigating the real world more deeply. The author of the books, Lyman Frank Baum, was a Scotch-German born into a faithful New York Christian household (“Methodist” if you are a collector of denominations) and actively praised the traditions of his time and his culture before expiring, appropriately enough, in Hollywood. He was known to regularly celebrate the State holidays with rigor and to show little compassion for those suffering under the genocidal expansion of the empire after the Civil War, which he experienced some part of at a young age. (At the time, the displacement had been tempered by President Ulysses Grant's less horrendous and overt program, using treaties and purchases, but the failure of that program is for another writing.) As a growing celebrity, Baum did not use his art to draw people's attentions to the calamity of war, but encouraged it by (rather bluntly) calling for the genocide to be completed once and for all. Even if we could attempt
to suggest that Baum was riding on some particular awareness that his writings ineffectually rally colonists to commit genocide, it would be a truly disgusting “YouTube comment-section” worthy comment of his day:
The proud spirit of the original owners of these vast prairies inherited through centuries of fierce and bloody wars for their possession, lingered last in the bosom of Sitting Bull. With his fall the nobility of the Redskin is extinguished, and what few are left are a pack of whining curs who lick the hand that smites them. The Whites, by law of conquest, by justice of civilization, are masters of the American continent, and the best safety of the frontier settlements will be secured by the total annihilation of the few remaining Indians. Why not annihilation? Their glory has fled, their spirit broken, their manhood effaced; better that they die than live the miserable wretches that they are. History would forget these latter despicable beings, and speak, in latter ages of the glory of these grand Kings of forest and plain that Cooper loved to heroize.
In the movie of his first 'Oz' book The Wonderful Wizard of Oz
, we are treated to a fantastic dreamlike rendering of imperial expansion, as it might be experienced by the completely inane. The sense of home itself (“innocent Dorothy, country girl”) walks the plains (“yellow brick road”) encountering overpowered and mystical beings (“savages”, both nobly innocent like Munchkins and wickedly obtuse and monstrous like Flying Monkeys) finding in her innate goodness and fortune the power (“courage, wisdom and compassion”) to destroy the evil in the West (“wicked witch”) with help from a con artist (“wizard”) who understandably wishes the evil destroyed, because the con artist is actually good natured and shares much of her world view.
Compare this artwork to the more overt myth of Greek civilization, which felt compelled to excuse its colonialist expansion into other civilizations:
[from Savage Anxieties, Introduction, pp. 3-4]
Long before we possess the cognitive ability to decide whether this way of talking and thinking about others is rational or personally acceptable, a good number of ethnic and racial stereotypes [strongly 'engraved' mental images] and caricatured, clichéd images still prevalent in our society have become nearly ineradicable features of the way we see the world. Through this absorptive, insidious process, these identifying markers of strangeness and divergence from what we are used to seeing and experiencing become embedded as essential truths deep within the recesses of our developing cognitive worldview as we grow older and mature. Told and retold, repackaged and rebooted in innumerable stories, books, movies, video games, and other modes of expression, they become a kind of habitual response to certain events and chance encounters we have every day with those we regard as being different or strange.
[In] her groundbreaking research published in 1976, more than two decades after Brown v. Board of Education [... Phyllis] Katz tells the story of observing a three-year-old white child who, seeing a black infant for the first time, says to her mother, "Look, Mom, a baby maid."
Much as today's social science literature teaches, [...] stereotyping behavior toward foreigners was not something the Greeks thought much about. They called all foreigners "barbarians," without distinction. "Barbarian" was an onomatopoeic term that basically translated as "babblers." It was used generically to refer to people who could not speak the Greek language or who could not speak it very well.
[from Savage Anxieties, 'Homer and the Idea of the Savage', pp. 28-29]
Note how the Odyssey's warrior-hero-meets-and-defeats-the-drunken-savage tale is similar in form and tone to the drunken-savage story of the Centauromachy. [...] According to the Homeric scheme of moral values reflected in the epics, the warrior-hero earns his immortal fame and honor by justly punishing the savage's violation of a superior civilization's higher law by getting him drunk and then disabling him for life, setting an example for the West in its treatment of indigenous tribal peoples for the next three thousand years.
That only great mythic warrior-heroes like Odysseus, Theseus, or Herakles had the arête to take on such monstrous beings could not help but make this dark-sided version of the savage all the more threatening and anxiety-producing for the Greeks as they carried their Homer with them on their colonizing voyages to distant lands inhabited by strange and alien, primitive tribal peoples.
[from Savage Anxieties, 'The Legend of the Golden Age ...', pp. 32-35]
The Greeks of the Renaissance centuries were in fact developing into what Professor Perry Anderson has called the Western world's first "inherently colonial" form of civilization. Focused on acquiring new territories and lands for settlement of excess populations and expanding their trading networks, the Greeks set up scores of new colonies throughout the Mediterranean world.
At the time of the appearance in writing of Homer's poems, the ruling elites who claimed these ancient rights of hereditary succession still largely controlled the petty kingdoms and baronies that dotted the mainland and Peleponnese. These dynastic family groups [My bolds -hp] were typically the primary sponsors and advocates for overseas colonization, seeing it as a convenient device for ridding the kingdom of excess population and troublemakers.
In this dynamic and highly unstable system of independent, expansion-minded Greek trading settlements, successful colonizing ventures begat the need and desire for new colonizing endeavors. As people were drawn to the most prosperous towns and trading centers, new pressures were imposed on the limited agricultural land base outside the city walls. When the Greeks could no longer feed themselves in their city-states, they went out and founded new ones, in foreign, distant lands.
The wealthy noble families were able to preserve their country estates outside the city walls by arranged marriages and favorable laws designed for the privileged classes. Such laws carefully regulated inheritance, heiresses, and dowry, and helped maintain the wealth and influence of the family dynasties. But the poorer families with too many sons or undowried daughters were forced to subdivide their plots into smaller and smaller units, inadequate for efficient farming. Eventually, the land-hungry elites would gobble up and reconsolidate these unsustainable family plots through mounting debt, foreclosures and abandonment. The poor peasants would be evicted from the land, and they would migrate into the city or be told to sail off to some distant overseas colony.
This noble class of robber barons and marauding warlords picked up plunder, tribute, and slaves along the way as integral parts of the colonizing enterprise. As many as fifteen hundred Greek settlements were established during this second great age of the Greek civilization.
It was a highly successful model for the ruling families and elites who received the great bulk of the economic and social benefits of Greek colonial expansion during the Renaissance. For this group, Homer's tales of aristrocratic warrior-heroes advancing civilization's higher law along with the benefits of trade and commerce to distant, savage lands was a lived reality. Or so they liked to imagine.
The third The Wizard of Oz
movie (in fact, the most famous one with Judy Garland was the third time Hollywood was captivated by Baum's vision of America) brings us from the boring world of grayscale 'reality' to a fantastic and visually stunning world of colorful fantasy, further emphasizing the beauty of the lie. Directed by the stunningly pro-Nazi anti-British Victor Lonzo Fleming but produced by the Jewish Mervyn LeRoy, it might just be a classic example of troubled world ethnicities getting along over a generic lie (the superiority of Near East civilizations) while dodging more uncomfortable truths.
Dipping into the history of Hollywood and its military connections is just about all the education you could ever need about how and why the industry exists in its present form today and/or why liberal values are allowed to flourish beneath and contrary to its unchallenged (until September Clues
) military uses. The movie company MGM had been founded by a Jewish-Lithuanian-American, Levi Shubert, who had overcome and resisted the more diverse “Theatrical Syndicate” that monopolized control of the entertainment industry for the better part of the turn of the 20th century. However, the Jewish control didn't stop at overturning the monopoly (which had been comprised of a mix of Jewish and non-Jewish barons in the first place). After the Syndicate saw Jewish competition in the Shuberts, Charles Frohman of the Syndicate is said to have died on the RMS Lusitania — another World War era PsyOp worthy of CluesForum investigations! Meanwhile “Samuel Frederic Nirdlinger (born Sam Nixon)” and “John Frederick Zimmerman” of the same Syndicate, at least one of which was of German-Jewish heritage, bear an uncanny resemblance to one another. Did one “real” member invent the other? This carnival of control may reveal why so many artists, actors and even directors working in Hollywood have resented (and still resent) Jewish influence in the media from the very foundation of its beginnings. The producers have typically been of vaguely Jewish, German and German-Jewish descent, even since the 1800's.
Jewish immigrant Marcus Loew saved both Shubert's company and the struggling picture company of Samuel Goldwyn (Szmuel Gelbfisz a.k.a. “Goldfish” — alluded to by the 9|11
propaganda movie's production company “Goldfish Pictures”) and brought them together to form the MGM company. Those that weren't Jewish or Germans, in this picture of turn-of-the-century filmmaking, were often high ranking Masons or served in U.S. military (sometimes specifically for military purposes) if not all of the above.
We can imagine what the “beautiful lie” that this odd mixture could agree on to cover the “ugly facts”. It would have to do with Jewish sanctity, U.S. military sanctity and superiority, Anglo superiority, and illicit at every available opportunity the inferiority (but nobility) of the savage — which henceforth would be all sorts of people with dark skin and/or indigenous systems that did not embrace the Jewish-U.S. military-U.K. Anglo task force of expanding its imperial claims of foreign cultures, foreign lands and foreign mindsets.
Meanwhile, the less collaborative in each group of inane players would develop its own goals. The Jewish groups would try to psychologically strongarm the U.S. and U.K. for use of their military (which it achieved with mutually beneficial actions taken during World War I, communist revolutions and World War II, the embodiment of Israel and so on), as well as attempting to deny alliance with U.S.-U.K. military actions against Ireland, China, Germany, Japan, Italy, various Spanish imperial ambitions, South American nations, various Middle Eastern nations and other groups stubbornly resistant to change or in competition with the Hollywood alliance of inanity.
The U.S. military force, though not Jewish, would employ Jews and use their style of propaganda in order to continually make them subservient and obedient to the arrangement. The U.S. would continue to use the idealistic morals of its founding fathers (in fact, taken from the Iriquois Confederacy that had been organized by Native Americans before the Near East invasion) to lure supporters for its own imperial way of life. It would continue expansion beyond the Western borders of the North American continent and begin claims on islands as far as Hawaii and Marshall and the South Pacific.
Meanwhile, the U.K. would casually support these efforts with the sense that its Anglo empire heritage was being preserved — militarily, psychologically, royally — while feigning disinterest, and without re-examining or reconciling its initial crimes in enacting the imperial expansion program on countries around the world. It would act as willful “intelligence” for the imperial apparatus, expanding and inflating spying on its own citizens to dramatic new “Big Brother” levels. The London Masons benefit from the right to practice their meetings and exert control from the position of “freedom” rather than owning up to its true nature as a despicably surreptitious colonialism. After all, if the U.S. and Jewish tribe, along with the U.K. and fraternal orders around the world can benefit from a myth, why not
explore it in enclosed rooms, free from the revelations of actual senses?
The question of whether or not they do actually believe what they tell is a bit moot. Not having connections to the creation of the myth does not make us safe from its dangers and the terrible risk that collaborators and believers take by adopting it. They might hurt their brothers and sisters and allies in this world by constantly believing the stereotypes of inane art, but as you will see, it is presently difficult for us to escape the “super myths” that make up the world drama we are encountering.
A convincing and compelling drama can be comprised of just three roles: the victim (or persecuted), the rescuer (or hero) and the villain (or monster). This “drama triangle” is especially compelling because human behaviors tend to have predefined actions fitting with one's world view. A grand drama will have sub-versions of these three roles within
each major role, as well, which allows for some minor movement within while preserving the over-arching mythos. I believe we can notice at least three dramas being played out in the following “super drama” that has captured our imagination and limited our observations.The Noble SavageAS VICTIM :
It is a dramatic fact that indigenous people have been destroyed, displaced and damaged by the experimental, artificial culture of the State. It can be dangerous to constantly say they have been victimized when the truth may be more subtle; for example, they are often survivors under colonialist States, which stand strong in comparison to the displaced people who rely on artificial State-created forms of identity.AS HERO :
For empathic people, the Nobility of the “primitive” man traps us in a feeling that a Savage wild untamed people can “rise up”, overcome the “evils” of a “corrupt” civilization and restore our world to a technology-free Golden Age or some variation thereof.AS PERSECUTOR :
We should be very familiar with this one, since the world was unfortunately exposed to inane “Western” pictures of Indians nonsensically “circling the wagons”, whooping and firing arrows at the innocent allies of vast cultural genocides.The StateAS VICTIM :
Typically seen as persecuted by the Noble Savage, or others who refuse to benefit from State penitentiaries and laws. 9/11 was a major drama of the State, first taking on the role of “hapless victim” of attacks by the Savage.AS HERO :
On 9/11, of course, we saw the ways in which the State transmogrified from a Victim into a Hero, and CluesForum researchers are aware (sometimes painfully aware) just how that fake “hero” drama was explained. For many people, however, it is not a myth; it is a fact that America and its allies will “destroy corruption” and “save the world” from horrible brown people in the Middle East.AS PERSECUTOR :
In the mythology of this essay, I have a hard time escaping the idea that the State is playing a villain role. But, is it? There has been a tenuous peace created by forcing various ethnicities to cooperate. In any case, it is a position that many Statists happily take because it also implies their might and power.The Golden AgeAS VICTIM :
We should all be pretty familiar with this one. The Golden Age was an ideal time that existed before our stereotypes, where everything was wonderful and nothing bad ever happened. The Golden Age is a victim of either “time” (sometimes played by the contemporary State) or “humanity” (sometimes played by a universal corruption, as espoused by Catholics for example). It may also be a potential future or even present that is undergoing too much change.AS HERO :
Again, a very familiar archetype — sometimes, nature itself is the super hero, persecuted by all evil humans (Noble Savages or Citizens of a Police State alike) and other times it was a particular time and place where the ethnicity of the myth's author once saw the so-called peak of its civilization. Cults often worship a past and future version, in the form of “cycles” that will come around (always soon, of course) and supplant the present “Dark Age”.AS PERSECUTOR :
Not exactly well understood, but for many skeptical people among Libertarians, Anarchists, extreme conservatives or others, the “Golden Age” may also have a kind of dark side — be it “unevolved”, the source of evil itself (see: the Bible) or some other problematic quality that leads to the other dramas. It may also be a “future Golden Age” that comes at too high a price.
I personally find myself repulsed by the concept of a “Noble Savage” even though I grew up inundated with its myths and variations. I must be still subconsciously convinced by “the State” because of that myth's ability to convince men to take arms against those who disbelieve it. I don't think I am too terribly focused on a past “Golden Age” but the whole premise of my essay looks to a vision of a future that is free of Statist, technofascist wars, which may be an inevitability that I am unprepared to acknowledge. If you've noticed your own ways of seeing these types of myths play out, or you've noticed yourself change from one kind of sub-drama to another under the “super drama” described, is there a way to get away from these myths? I think it has to do with changing consciousness of various eras of human societies.
If we eliminated these stereotypes and replaced with less inane descriptions of reality: a strong, surviving indigenous population living as third-class citizens and freedom fighters under imperial rule in lieu of “the savage”; an out-of-control unofficial NGO corporate alliance between USA-UK-Israel interests, in some loose competition with German, Russian, Chinese and some other versions in lieu of “the unstoppable mega State”; all collaborating for a global money system that naively attempts to unite every value system under a single charter connected to the way in which we define, create and use money; an optimism balanced with pragmatism in lieu of “The Golden Age” — might we really be better off? If it is less inane and more accurate, then I think we might.