By Michael André Bernstein
"You humans positioned significance in your lives. good, my lifestyles hasn't ever been vital to an individual. i don't have any guilt approximately anything," bragged the mass-murderer Charles Manson. "These kids that come at you with knives, they're your kids. You taught them. i did not train them. . . . they're operating within the streets--and they're coming correct at you!" whilst a true assassin accuses the society he has brutalized, we're stunned, yet we're extremely joyful through a similar accusations after they are mouthed by way of a fictional insurgent, outlaw, or monster. In sour Carnival, Michael Andr Bernstein explores this contradiction and defines a brand new determine: the Abject Hero. status on the junction of contestation and conformity, the Abject Hero occupies the logically very unlikely house created by way of the intersection of the satanic and the servile. Bernstein exhibits that we heroicize the Abject Hero simply because he represents a practice that has develop into a staple of our universal mythology, as seductive in mass tradition because it is in excessive paintings. relocating from an exam of classical Latin satire; via notably new analyses of Diderot, Dostoevsky, and Cline; and culminating within the court docket testimony of Charles Manson, sour Carnival deals a revisionist rereading of the complete culture of the "Saturnalian discussion" among masters and slaves, monarchs and fools, philosophers and madmen, electorate and malcontents. It contests the supposedly regenerative energy of the carnivalesque and demanding situations the pieties of utopian radicalism stylish in modern educational considering. The readability of its argument and literary variety compel us to confront a strong difficulty that engages the most principal concerns in literary reports, ethics, cultural historical past, and important thought this present day.
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Extra resources for Bitter Carnival
The Abject Hero whose destiny I will be tracing in this volume evolves directly out of the wise fool of satiric literature and the holy fool of religious parables. Moreover, this evolution is deliberately assumed, consciously thematized at its most challenging moments, by both the author and the fictional character himself, as different historical models and roles are ransacked by the Abject Hero in an attempt to legitimize his sense of impotent superiority. What the Abject Hero seeks to exploit is a double authority deriving from a double ancestry.
Foremost among these was, inevitably, the right of slaves to criticize their masters. As a literary setting, the Saturnalia lends itself particularly well to satiric attacks both on specific individuals and on the larger customs of the age, because criticism can be introduced into the work with a minimum of prefatory explanation to justify its audacity. By placing these attacks in the mouth of someone without any social standing, like a slave, the satirist can permit himself a degree of acerbity in his observations that might be unseemly, or even dangerous, if uttered in his own voice.
22 And indeed, considering how text after text shows us the disastrous consequences of mocking such an inspired visionary, who would still be ready to disregard him without considerable hesitation? But the Abject Hero is also aware of how potentially ludicrous his invocation of such archetypes must appear, and he himself is far from convinced of their pertinence to his condition. The Abject Hero is ready to wear motley, but only in order someday to replace the well-dressed courtiers; and he is willing to thunder against the court’s degeneracy, but only in the hope of being invited to share in its delights.