Is it Faustian to wish joy and happiness? Are Utopians Faustian? What about those of us who wish alleviation of suffering through escape from capitalism? Or through religion, education, spirituality, cultivation of land and consciousness — all of which are at least Promethean, if not Faustian, in their defiant aims and ambitions. Projects waged against fate. The Faust character is distinct from the others, though, as he practices magic. Faust visits a crossroads. He makes a deal, sells his soul. The Devil features as a character in the Faust narrative, as does a demon named Mephistopheles. The latter name appears in the late-16th-century Faust chapbooks, stories concerning the life of the historical figure on which the Faust character is based, an ambitious scholar named Johann Georg Faust. The author of these chapbooks remains anonymous. The proper response to Faust, I suppose, is the one offered by Fatima Bhutto: “nothing on earth can be gifted to compensate for injustice.”
The white American settler-state has failed in its stewardship of the planet. Let us return power to the Red Nation. Build and strengthen “caretaking economies” to oppose what Nick Estes calls “the caretakers of violence such as the police and military.” Support the Sanders campaign and demand a Red Deal. Honor relations and kin.
Unqualified delight. Process-oriented pleasure. Figures like Willis Harman, Gerald Heard, Al Hubbard, Myron Stolaroff. Places like Trabuco College. Events like the Sequoia Seminars. My thoughts as I sit in a park mid-afternoon condense around these and other found bits of language. Abraham Maslow, I learn, was close friends with fellow Brandeis professor Frank E. Manuel, coauthor with wife Fritzie P. Manuel of the important study, Utopian Thought in the Western World. I quickly realize, however, that beneath these thoughts lies their absent cause: an ever-darkening political reality. Simon Sadler investigates an earlier conjuncture’s encounter with this Scylla and Charybdis in his essay “Mandalas or Raised Fists?: Hippie Holism, Panther Totality, and Another Modernism.” As my metaphor’s competition with Sadler’s title suggests, he prefers revolutionary agonism, a universe that demands sacrifice, a universe spoken into being by the antagonism of an either-or, whereas I prefer the universe that allows the safe passage of an oceanic both-and. I can aim my ire at the clearly-felt capitalist core, the Death Star at the center of our current Primum Mobile, even as I simultaneously slough off this ire and unburden myself of ego-oriented wants and desires, refusing to identify, in other words, with the positioning asked of me, and entering instead into a kind of “flow-state,” the ecstatic waking dream, as consciousness reunites with being.
Prayer will take us there. We might as well call it that, this act of turning inward, even if there aren’t any mantras involved or words addressed to a higher power. Much of my learning occurs these days through concentration on letting the mind go where it may. I hang back a bit and wait to see what stirs. Hands meet with fingers and thumbs arranged to form a triangle. I hold up to my eyes an inverted, upward-pointed Merkel-Raute or Triangle of Power, tolerating it the right to expand slowly across my field of vision, the gesture crossing outward beyond my peripherals. No more aristocracy of moneyed corporations, I declare to potential comrades. But few heed the call. They look at me askance, shake their heads reprovingly, and return to their sullen pursuit of property, most of them declaring themselves for business, without ever having been taught how else one can be. The Real is that which one feels deeply in one’s mind. Let’s do it, sings the chorus. Now is the time for love. The world has never felt itself so much a totality as it does today — so let us raise glasses instead to the visions in our minds. Let us imagine for one another how else the world may be. We have become more or less completely, more or less obviously, more or less miserably, the dependents of capital — so let us change that. Wildlife, like wildfires, rise up and appropriate thy appropriators! Humanity’s running down the clock, one way of being having come to dominate all the rest. And there’s no longer any imagined purpose to any of it. One is tempted to wish for some chance intervention, some upwelling of otherness. Cast over the soul a luminous spell, craft for it a key that opens doors onto possible worlds. Passion destines its victim, writes de Rougemont, “to contest with every breath everything that officially regulates social life” (73). Weed grants me such a passion; it fills me with words and metaphors, interlacing symbols through which to enunciate a mind in its refusal to adhere to the as-is.
Am I thinking about whether or not my life allows for good news? Am I picturing wolves gnawing on my puppet body? I imagine ascending, a voice declaring my passage into a new level. Blind narrative alleyways lead me to the works of playwright David Mercer and to Nadah El Shazly’s forthcoming album Ahwar.
Attention steals a look, Mod-Podges two points previously bound together only by string. Take a crack at myth-hacking, I tell myself. I tried to consult my body yesterday, and while doing so, I detected with some alarm multiple signs of exhaustion, and a sharp pain in my side. “What now?” I wondered. “Diverticulitis?” I coasted along, ate and held down dinner, waved goodbye to another workday. “I was not long in the factory,” testifies Richard Pilling, “until I saw the evil workings of the accursed system — it is a system, which, above all systems, will bring this country to ruin if it is not altered.” The final line of Pilling’s Defence is quite moving: “the masters conspired to kill me,” he proclaimed, “and I combined to keep myself alive.” Lacking that option, however, I slide inexorably toward what Engels described as “utter physical exhaustion.” Nothing will ever again curb the employer-class’s frenzy for exploitation. Objects like red wheelbarrows launch grand openings to great fanfare. It is my reality, yet others are working on me, for better or worse. One must listen for selves who exist in parallel universes. Julie Andrews whistles away the dark, clearing the way for Charles Gross’s Blue Sunshine. The wish remains, however, that a whole new world be born.