Plato is hard, so let’s shitpost about art.
SSC writes a response to The Good Guy/Bad Guy Myth by Catherine Nichols. Nichols’ piece claims that good vs. evil stories are distinctly modern, older tales were more ambiguous, this was a causal factor for modern nationalism and subsequent atrocities.
On one hand, I don’t want to look a gift-horse in the mouth. I’m in favor of Old Books, they are indeed complex, thanks for the backup. Nichols’ underlying premise is worthwhile: a) Myths and epics and fairy-tales have a moral complexity and ambiguity we casually ignore; b) There has been a genuine shift in values, and while Christianity was part of it, the after-effects of the industrial revolution are much more relevant for our current society.
On the other, I agree with Scott’s criticisms. The historical argument presented is wild. The Spanish conquered most of the Americas between the 16th and 17th centuries under the pretense of moral ineptitude and evil among the natives. They had to be forced into enlightenment, which meant murder, torture, and slavery. Bartoleme de las Casas is considered more rhetorical than accurate, but he says some true things. Here’s his book A Short Account of the Destruction of the Indies: there’s a lot about feeding people to dogs and slaughtering children for fun, sometimes both at once.
And so, having completed these preparations, he did not wish to wait any longer to put his thought into effect, impelled by the great need in the world that he believed was caused by his delay, for there were evils to undo, wrongs to right, injustices to correct, abuses to ameliorate, and offenses to rectify. And one morning before dawn on a hot day in July, without informing a single person of his intentions, and without anyone seeing him, he armed himself with all his armor and mounted Rocinante, wearing his poorly constructed helmet, and he grasped his shield and took up his lance and through the side door of a corral he rode out into the countryside with great joy and delight at seeing how easily he had given a beginning to his virtuous desire.
The Aeon piece is factually incorrect, its timing is screwy, fine. That’s not my problem. The essay set off a very particular panic point for me.
In making the case that we have a simplistic good/evil binary, it set up its own – nationalist/liberal, politically bad/politically good, whatever you want to call it. Nazi references rule everything, it was not subtle. It argues against art as a tool for training moral values – which I happen to agree with – but makes it, instead, a political tool. Not that she wants that, because she doesn’t, but that it can do that, and thus that art which does such a thing is bad art.
In other words: it uses a political reason to brand certain types of art as “bad.” Continue reading “In which there are ghosts”