Utilitarian Review 8/10/13

News

We’re going to take a week off to recharge here at HU. So we’ll be back around the 17th or thereabouts with new content. I may highlight featured archives posts throughout the week depending on how peppy I’m feeling.
 
On HU,

Featured Archive Post: Derik Badman on comics and poetry.

I argue that The Spy Who Came In From the Cole is not very good.

Walidah Imarisha with an excerpt from a short story that is going to be included in the sci-fi and social justice anthology Octavia’s Brood.

Chris Gavaler on Wolverine and superheroes never growing old.

Alex Buchet with the first part of a series on the prehistory of the superhero — in this one discussing Enlightenment notions of individuality.

I talk about Dan Clowes, the Death Ray, and superhero parodies.

Isaac Butler on “The Last of Us”, the Watchmen of video games.

Patrick Carland provides an introduction to Russian animation.
 
Utilitarians Everywhere

Kind of a crazy week for the freelancing.

I was interviewed on Weekend Edition about Johnny Cash’s Ring of Fire.

At Slate XX I wrote about how it’s in my interest as a guy to be a feminist.

One of my drawings was annexed by a hedge fund manager.

At the Atlantic I wrote about:

—how my son is unaccountably a thespian.

—why, unlike Hillary Chute, I don’t necessarily want comics to be poetry.

At Splice Today I wrote about:

—Why Walter Becker’s 1st solo album was better than Steely Dan compatriot Donald Fagen’s overrated Nightfly.

Feminists, transwomen, and gendered discrimination against men.

I wrote a piece on social media rules for teachers at the Loyola Center for Digital Ethics.

At the Goodman Project I wrote about Trayvon Martin and misandry.

Other Links

Selena Kitt on wanting to be a slut.

Mary Beth Williams on why men shouldn’t be scared of feminists.

Alyssa Rosenberg with a great reported piece on sexism in comics (HT: Isaac Butler)

Zack Beauchamp on scientism and ethics.

Why a black girl should be Wonder Woman.

Katie Ryder on white music fans being afraid of difference.
 

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Superheroes With Cigarettes

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A little bit back, Peter Sattler noted that Dan Clowes’ career in comics often seems like a long, bitter struggle against comics. As Peter says:

[Clowes’] work goes out of its way to thematize the artist’s and/or the story’s struggle against comics themselves – against a form that, as Clowes presents it, seems unable to encompass interior states, unable to escape its own theatricality and artificiality, unable to circumvent its own closed system of beginnings and endings, set-ups and punch-lines. Clowes dramatizes his contest with these limits, transforming that contest into the content of his graphic novels.

Peter talks about this mainly in terms of formal limits…but to me it seems like it’s a cultural issue as well. Comics seem unable to encompass interior states, and unable to move beyond largely bone-headed gags, because comics are for kids. As I discuss here, Clowes in comics like Velvet Glove and Wilson seems to compulsively assert his distance from a form, and from influences, which he views as both infantile and inescapable. Much of the adult/edgy content, misanthropy, and violence against women in his books comes across as a kind of desperate signaling that he is not (like say Charles Schulz) writing for children. His comics can be seen as a long insistence that he is too grown up — an insistence which is (as he is certainly aware) infantile. From this perspective, Enid’s obsession with older men is not (just) a kind of self-flattering, but is a displaced expression of Clowes’ own obsessions. He’s an older guy who is fascinated with the idea, and the impossibility, of being an older guy.

The Death Ray is pretty much in the same mold. It’s a super-hero parody whose protagonist, Andy, gains super-strength by smoking cigarettes — an obvious reference to wanting to look and be older. The rest of the story is built around exploring what super-hero stories would really be like, as Clowes, familiarly, uses the genre to underline his own adult distance from it. Andy wanders around looking for criminals to beat up, but nobody attacks him. He punishes people who don’t particularly deserve it at the behest of his best-friend, Louie, and then feels bad about it. As Aaron Leitko wrote at the Washington Post “The Death-Ray employs the core super-hero conventions — the origin story, the costume and the sidekick — in the most banal ways possible.” That banality (like the banality in Wilson, or in alt comics more generally) is the validating boredom; the sign that we are not children, but adults, who understand (to paraphrase Ambrose Bierce) that realism is the world as it is actually seen by toads.

So Clowes is doing his usual thing. But…his usual thing, in this context, isn’t nearly as irritating as it usually is. The main reason for that, I think, is that, in this case, Clowes’ agonized relationship with his material doesn’t come across as condescending or wearisomely anxious. It just comes across as another superhero comic. After all, the main reference here seems to be to the Lee/Ditko Spider-Man — and how different is Andy from Peter Parker, really? Not very. Like Andy, Peter is a nerdy, angry, unhappy, orphaned kid; like Andy, Peter uses his powers for self-aggrandizement; like Andy, Peter’s powers make things worse for him, not better; like Andy, Peter makes his own kind of doofy looking costume.

And, like Andy, Peter, and the comic he’s in, is obsessed with growing up. As Chris Gavaler pointed out here last week, the whole Spider-Man story is basically a metaphor for puberty, with radioactive spider bite standing in for surging hormones. Clowes changes the spider bite to a cigarette, which makes the metaphor more pointed, but it doesn’t really change it’s nature. The Death Ray, almost despite itself, is extending its source material — the anxiety and angst that Clowes’ taps is the same in essence as Lee/Ditko’s angst. That’s very different from Wilson, for example, where Charles Schulz’s whimsy and weird humor are replaced with jokes about shit and ass rape (and not with funny jokes about shit and ass rape, either.)

All of which perhaps helps to explain in part why parody has always been so central to the super-hero genre. From Plastic Man and Captain Marvel to Superduperman to the 60s Batman television show to the Watchmen, superhero parodies have always been both critically lauded and extremely popular. On the one hand, you could argue that this is because superheroes are really stupid, and no halfway intelligent creator is going to take them seriously. And I certainly think there’s a lot to that argument.

But Death Ray also suggests that parodies are the best superhero narratives not only because they undermine the stupidity of superhero narratives, but because they fulfill them. Superhero stories are, as everybody knows, adolescent power fantasies; they’re a way for children of all ages to pretend to have ascended to the prerogatives and super-strength of adulthood. And what is more adult than parodying the silly fantasies of youth? Clowes is (fairly amusingly) sneering at the stupid dreams of fanboys of all ages who want to be grown up — but he’s also providing those fanboys with the exact same dream. Andy takes a hit from his cigarette; Clowes’ readers take a hit of The Death Ray. It’s Clowes’ best comic because, almost despite himself, it’s the one in which he’s able to provide the genre pleasures that obsess him without compulsively assuring his readers and himself that he’s too good for them.

The Spy Who Waded About in the Bullshit

This ran a long ways back at Splice Today.
___________

200px-JohnLeCarre_TheSpyWhoCameInSomehow, I had thought that John Le Carré’s The Spy Who Came In From the Cold was an unflinching look at the idiocy of the cold war era — a spy novel for people who hated not just James Bond, but John F. Kennedy.

Alas, the book in my head was far, far better than the book that ended up in my hands. I had hoped for acerbic wit; what I got instead was maudlin tripe.

Admittedly, Le Carré’s book has superficial differences from Fleming’s here-I-come-to-save-the-world! cheerleading. Alec Leamas is not your typical manly-man. Basically a rumpled bureaucrat, he spends most of the book semi-undercover as a no-account boozing wastrel. His main spy skill is not fighting powers or seductive charm, but the ability to lie convincingly for surprisingly extended periods of time.

And yet, on closer look, Leamas starts to seem not so different from Bond after all. It’s true that he only gets into one or two fights — but the book details his brutal competence in those encounters with crisp, matter-of-fact smugness. And yes, he only sleeps with one girl — but that relationship is wearisomely familiar. Liz, library assistant and idealistic Communist party member, is pure and good and loving, and she falls in love with Alec instantly and for no reason except that he’s so darn deep. Leamas loves her too, and the book pivots around that mutual love without ever providing one iota of evidence that it exists. Declarations of eternal devotion come out of nowhere and are attached to nothing. Liz and Alec are in love not because they like each other, or make each other laugh, or even know jack shit about each other. Rather, they’re in love because Le Carré has a plot to push along, and this is the best he could do.

Thematically, Liz is supposed to contrast with the evil machinations of the spy network. She’s sentimental and good; the service is realistic and bad. The final pages of the novel (following the Shocking Twist Ending that I figured out halfway through the book) are given over to a heartfelt argument between Liz and Leamas. “[T]hey…find the humanity in people…and…turn it like a weapon in their hands, and use it to hurt and kill—“ Liz fulminates with naïve moralism. “What else have men done since the world began?” Leamas responds with world-weary cynicism. “I don’t believe in anything don’t you see — not even destruction or anarchy.”

Thus are the battle lines laid down…though, appropriately for a spy novel, I suppose, it’s pretty much impossible to tell the one side from the other. Liz and Leamas are equally earnest, equally humorless, and equally committed to vapid Hollywood philosophizing. Ostensibly their conversation reveals the evils of spying and exposes the despicable practices of the Cold War warriors. In fact, though, their sodden disillusionment is indistinguishable from slack-jawed reverence. “The spies…,” they seem to cry in unison, “oh, Lord, they’re so diabolical, so vicious! They do such dirty work out there beyond the bounds of morality, use such subtle tricks, that normal people just fall to pieces before them. How can we parse the questions they raise? How can we live in this horrible world? What, oh what, shall we do?”

Back in the real world, of course, most major espionage activities look more like farce than anything else. I mean, the Bay of Pigs? Oliver North? Accidentally murdering suspected terrorists at Guantanamo Bay and then removing the corpses’ throats because, hyuk! hyuk!, gee nobody’ll notice that? Clearly, the real secret of intelligence is that these people aren’t Machiavellian geniuses. They’re bumbling shitheads, just like most government functionaries — or, for that matter, most people.

Joseph Conrad had this figured out in The Secret Agent. Not Le Carré though. He believes in the hard truths, which is the same thing as saying that he’s a credulous sucker for melodrama. Leamas sacrifices himself for love, because, damn it, that’s what spies do. Le Carré’s heroes care so much they barter their souls, a formulation which cleverly elides the fact that in truth said heroes couldn’t find their own asses, much less their souls, with both hands and a $50,000 government-procured state-of-the-art GPS tracking system.

Utilitarian Review 8/3/13

News

I’m supposed to be on NPR’s Weekend Edition, I think today, (Update: Nope, it’s on Sunday) talking about Johnny Cash and “Ring of Fire”. Not sure what time though….

On HU

Featured Archive Post: Sarah Horrocks on Salammbo.

Me on the sometimes pleasing but not this time crappiness of Bonnie Raitt.

I express skepticism about ev psych’s ability to understand the mind.

Me on conventions of violence in We3, Spy vs. Spy, and martyrs.

Richard Cook on the crappy Evil Dead remake.

Chris Gavaler on how a radioactive spider bite means you have puberty for all eternity.

A 50 Shades/Cthulhu ebook which you can purchase for your enjoyment, and/or to help us help you. Heaving tentacles! Thrashing bosoms! Limping ecommerce!

Ng Suat Tong on whether Joss Whedon deliberately defaced John Totleben’s art.
 
Utilitarians Everywhere

At the Atlantic I wrote about how Johnny Cash sang a love song to himself.

At Wired I write about crazy Japanese fusion and how the internet killed the music bargain bin.

At Slate I talk about the feminist blogosphere, male writers, and Hugo Schwyzer.

At Splice I talk about:

Why Anthony Weiner’s penis is funny.

G.I. Joe, Mike Vosburg, and work for hire.

At the Good Men Project I talk about transgender kids and gender essentialism.

 
Other Links

Osvaldo Oyola on Spider-Man, Watchmen, and race.

Tom Spurgeon hosts a conversation about the direction of comics journalism.

Noam Scheiber on Obama’s boy’s club.
 

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50 Tentacles of Unspeakable Hue

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So I’m trying something a bit different here today. I’ve written a 50 Shades of Grey/Cthulhu mashup, and rather than just giving it away, I thought I’d do that quixotic thing people used to do before the Internet, and actually try to see if anyone would be willing to pay me for it. It’s available at the Amazon e-store for Kindle; if you’d like to read it you can click on over.

Here’s the exciting summary:

Alyssa Irons has been assigned the task of interviewing mysterious, powerful, exciting billionaire Sebastian Mauve in his gleaming headquarters throbbing with the intoxicating rush of capital. Little does she expect that behind Sebastian’s dark eyes are terrible secrets, and also fish monsters with tentacles. Can she survive the twisted pleasures he offers — and

3900+ wds of heaving bosoms, thrashing tentacles, thrashing bosoms, and heaving tentacles. Also fish monster sex, pouting billionaires, and true love lurking hideously outside of space and time.

And an exciting excerpt:

Oh, my. Even the elevator was intimidating and impressive. I gulped and bit my lip and tried not to be too overly stimulated as the shining glass tube shot upwards through the slick, vertical passageway. On one side, a magnificent view of the Pacific. On the other, the inner workings of Mauve Enterprises, stacked floor on floor, shining in transparent glass. I could see people bustling here and there. Impressive looking people in suits. You could almost see the money steaming off those impressive suits. It was…impressive. I looked away to the Pacific again. Also impressive…but not as unsettlingly stirring as that money moving through corridors, directed by an enticing, directing will.

I struggled to get ahold of myself. I breathed deeply, causing the smooth, luxurious skin of my cleavage to rise enticingly — though, of course, I was completely unaware of my own considerable personal beauty. Would Sebastian Mauve be unaware as well? Did I want him to be? I was here on professional business — to interview the wealthy mystery man whose incredible power, wealth, and mystery probed into every rarefied orifice of finance. He was…mysterious. And it was up to me, Alisa Irons, reporter for the spunky internet startup Power and Money, to plumb that mystery.

Or, suggested my traitorous inner lady bits with an involuntary flutter, to be plumbed by it.

The elevator slid to an immaculate stop redolent of good taste, and the doors hissed open. I gasped, once more unconsciously agitating my bosom, as I beheld the massive antechamber beyond. Holy crap. The décor was sumptuous and subtle…but also, subtly, disturbing. The thick carpet was covered with swirls and patterns, almost seeming to form a script or an alphabet throbbing with unspeakable meanings. Directly in front of the elevator was a pedestal, upon which a nude bronze sculpture of a shockingly well-formed and realistic woman (somewhat resembling myself!) struggled with what looked like an octopus. I looked closer, and realized it was not exactly an octopus — there were too many tentacles, and the central head was not really a head, but itself a mass of writhing limbs. My broad reading led me to conclude, therefore that it was some sort of mythological thingee. Not an octopus, anyway. Also it was not struggling with the woman, but…holy crap. I turned my eyes modestly away to the wall hangings, which were also covered with swirls, swirls, swirly swirls. They dipped and slid and criss-crossed not unlike those not-octopus limbs. They coiled around and up, sliding smoothly into my eager, pouting brain the way they slid right up into the statue’s….

“Miss Irons?”

I started. Oh, my. I was looking into the eyes of a very beautiful woman. Her dark eyes were limpid pools, her white bosom strained against the fabric of her blue dress. Around her neck was an odd piece of jewelry…a kind of octopus, but not really an octopus, like the one on the statue. Its tentacles seemed to be exploring her cleavage, which was more amply visible than I would usually expect in a business setting. But perhaps cleavage amply displayed was what Sebastian Mauve demanded. I imagined Sebastian Mauve perusing the cleavage. My inner lady bits sat up and did some complicated writhing at the thought. What sort of man was he, who would so boldly, so shamelessly, peruse both staff cleavage and octopus statue rape? Skeevy, perhaps. But it was the skeeviness of power.

It’s witty! Meaningful! Suspenseful! Buy the whole thing here!

If there seems to be interest and enough people purchase it to make the time investment worthwhile, I may well write more. So if you enjoy it and want further product along the same lines, encourage your friends and relations and elder gods to invest as well.

If you’re a regular reader and have spent the past five years desperately wishing there were some way you could help HU pay it’s hosting fees, this is a nice way to make a donation to the blog. Sort of like a kickstarter, except you just pay to receive the finished product. Innovative!

Bloody Conventions

I’ve avoided reading We3 for years, in part because I find depictions of violence against animals upsetting, and I was afraid I’d find it painful to read.

As it turns out, though, I needn’t have worried. We3 does have some heart-tugging moments for animal-lovers — but they’re safely buried and distanced by the towering pile of bone-headed standard-issue action movie tropes. There’s the hard-assed military assholes, the scientist-with-a-conscience, the bum with a heart of gold and an anti-fascist streak…and of course the cannon-fodder. Lots and lots of cannon fodder. We3 clearly wants to be about the cruelty of animal testing and, relatedly, about the evils of violence — themes which Morrison covered, with some subtlety and grace, back in his classic run on Animal Man. In We3, though, he and Frank Quitely gets distracted by the pro-forma need to check the body-count boxes.
 

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The plot is just the standard rogue supersoldiers fight their evil handlers. The only innovation is that the supersoldiers are dogs and cats and bunnies. That does change the dynamic marginally; you get more sentiment and less testosterone. But the basic conventions are still in place, which means that the comic is still mostly about an escalating series of violent confrontations more or less for their own sake. It’s hard to really take much of a coherent stand against violence and cruelty when so much of your genre commitments and emotional energy are going into showing how cool your deadly bio-engineered cyborg killer cat is. To underline the idiocy of the whole thing, Morrison has us walked through the entire comic by various military observers acting as a greek chorus/audience stand-in to tell us how horrifying/awesome it is to be watching all of this violence/pathos. You can see him and Frank Quitely sitting down together and saying, “Wait! what if the plot isn’t quite thoroughly predictable enough?! What if the Superguy fans experience a seizure when they can’t hear the grinding of the narrative gears?! Better through in some boring dudes explicating; that always works.”

The point here isn’t that convention is always and everywhere bad. Rather, the point is that conventions have their own logic and inertia, and if you want to say something different with them, you need to think about it fairly carefully.

Antonio Prohias’ Spy vs. Spy comics, for example, are every bit as conventional as We3, both in the sense that they use established tropes (the zany animated slapstick violence of Warner Bros. and Tom and Jerry), and in the sense that they’re almost ritualized — to the point where in the collection Missions of Madness, Prohias is careful to alternate between black spy victory and white spy victory in an iron and ludicrous display of even-handedness. Moreover, Spy vs. Spy, like We3, is, at least to some extent, trying to say something about violence with these tropes — in this case, specifically about the Cold War.

Obviously, a lot of the fun of Spy vs. Spy is watching the hyperbolic and inventive methods of sneakiness and destruction…the black spy’s extended (and ultimately tragic) training as a dog to infiltrate white headquarters, or the white spy’s extended efforts to dig into black HQ…only to end up (through improbable mechanisms of earth removal) back in his own vault. But the very elaborateness and silliness of the conventions, and their predictable repetition, functions as a (light-hearted) parody. Prohias’ spies are not cool and sexy and competent and victorious, like James Bond. Rather, they’re ludicrous, each committing huge amounts of ingenuity, cleverness, malice, and resources to a never-ending orgy of spite. Spy vs. Spy is certainly committed to its genre pleasures and slapstick, but those genre pleasures don’t contradict its (lightly held, but visible) thematic content. Reading We3, you feel like someone tried to stuff a nature documentary into Robocop and didn’t bother to work out how to make the joints fit. Spy vs. Spy, on the other hand, is never anything less than immaculately constructed.
 

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We3 doesn’t seem to realize its themes and conventions don’t fit; Spy vs. Spy gets the two to sync. That leaves one other option when dealing with genre and violence, which is to try to deliberately push against your tropes. Which is, I think, what happens in Pascal Laugier’s Martyrs.

Martyr’s is an extremely controversial film. Charles Reece expresses something of a critical consensus when he refers to it as “really depressing shit.”

And yet, why is Martyr’s so depressing…or, for that matter, why is it shit? Many fewer people die in Martyr’s than in We3; there are fewer acts of violence than in Spy vs. Spy. Even the film’s horrific finale — in which the main character is flayed alive — is hardly new (I first saw it in an Alan Moore Swamp Thing comic, myself.) So why have so many reviewers reacted as if this is something especially shocking or especially depressing?

I think the reason is that Laugier is very smart about how he deploys violence, and about how he deploys genre tropes. Violence, even in horror, generally functions in very specific ways. Often, for example, violence in horror exists in the context of revenge; it builds and builds and then there is a cathartic reversal by the hero or final girl.

Laugier goes out of his way to frustrate those expectations. The film is in some sense a rape/revenge; it starts with a young girl, Lucie, who is tortured; she escapes and some years later seeks vengeance on her abusers.

But Laughier does not allow us to feel the usual satisfying meaty thump of violence perpetrated and repaid. We don’t see any of the torture to Lucie; the film starts after she escapes. As a result, we don’t know who did what to her…and when she tracks down the people who she says are the perpetrators, we don’t know whether to believe her. As a result, we don’t get the rush of revenge. Instead, we see our putative protagonist perform a cold-blooded, motiveless murder of a normal middle-class family, including their high-school age kids.

We do find out later that the mother and father (though not their children) were the abusers…but by that time the emotional moment is lost. We don’t get to feel the revenge. On the contrary, no sooner have we realized that they deserved it, than we swing back over to the rape. Lucie has already killed herself, but Anna, her friend, is captured and thrown into a dungeon, taking her former companion’s place. There she is tortured by an ordinary looking couple who look much like the couple Lucie killed. Thus, instead of rape/revenge, we get the revenge with no rape, and the rape with no revenge. Violence is not regulated by justice or narrative convention; it just exists as trauma with no resolution.
 

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I wouldn’t say that Martyrs is a perfect film, or a work of genius, or anything like that. Anna’s torture is done in the name of making a martyr of her; the torturers believe suffering will give her secret knowledge. And, as Charles point out, they end up being right — Anna does attain some sort of transcendence, a resolution which seems to justify the cruelty. And then there’s the inevitable final, stupid plot twist, when the only person who hears Anna explain her secret knowledge goes off into the bathroom and shoots herself. So no one will ever know what Anna saw, get it? Presumably this is supposed to be clever, but really it mostly feels like the filmmakers steered themselves into a narrative dead end and didn’t know how to get out.

Still, I think Charles is a bit harsh when he says that the film is meaninglessly monotonous, that it is not transgressive, and that the only thing it has to offer is to make the viewer wonder “can I endure this? can I justify my willingness to endure this?” Or, to put it another way, I think making people ask those questions is interesting and perhaps worthwhile in itself. It’s not easy to make violence onscreen feel unpleasant; it’s not easy to make people react to it like there’s something wrong with it. Even Charles’ demand that the film’s violence provide transgression — doesn’t that structurally put him on the side of the torturers (and arguably ultimately the filmmakers), who want trauma to create meaning?

Charles especially dislikes the handling of the high-school kids who are killed by Lucie. He argues that they are presented as innocent, because their lifestyle is never linked to their parents’ actions. Anna’s torture is mundane enough and monotonous enough to recall real atrocities, and conjure up real political torture — basically, a guy just walks up to her and starts hitting her. But the evocation of third-world regimes, or even of America’s torture regimen, no matter how skillfully referenced, falls flat since it is is not brought home to the bourgeois naifs who live atop the abattoir.

Again, though, I think the disconnection, which seems deliberate, is in some ways a strength of the film, rather than a weakness. Violence isn’t rationalized or conventionally justified in Martyrs — except by the bad guys, who are pretty clearly insane. In a more standard slasher like Hostel, everyone is guilty,and everyone is punished. In Martyrs, though, you don’t get the satisfaction of seeing everyone get theirs, because scrambling the genre tropes makes the brutality unintelligible. The conventions that are supposed to allow us to make sense of the trauma don’t function in Martyrs — which makes it clear how much we want violence to speak in a voice we can understand.

The Recursive Mind

“From a scientific viewpoint, the only real contender for the seat of the mind, or even the soul, is the brain,” says Michael C. Corballis in his new book The Recursive Mind: The origins of Human Language, Thought, and Civilization.

Corballis is an evolutionary biologist, and, as he mentions repeatedly, an atheist. So when he says that the brain is the “only real contender” for the soul what he actually appears to mean is that there is no real contention at all. You don’t need to assume outside forces to explain human beings. You just need to look at the holy atavistic trinity of evolutionary psyche—primitive cultures, great apes, and autistics. Using the deviations of chimps, rain-forest dwellers, and Rain Man, science can triangulate normality through entirely material means. There is no need to postulate a soul, or God, or transcendence, or miracles.

The refusal of miracles is particularly important for Corballis, and it leads him to some surprising places. Specifically, it causes him to reject the idea that what makes humans into humans is language. Other writers, like Noam Chomsky, have argued that Homo sapiens became the Homo sapiens we know and (more or less) love when they learned to talk.

Chomsky believes the ability to understand language is innate, and that that ability has to precede the use of language itself. This creates a difficulty, though. Joe Hominid, in Chomsky’s view, would have gained no advantage just because deep in his skull he was suddenly able to talk to Jane Hominid. Eventually, of course, the Hominids would learn to converse and this would help them collaborate in the hunting and tracking of mammoths and/or tubers. Until they actually had language, though, the ability to speak would have done nothing for them.

Since, in Chomsky’s view, there was a lag between ability for language and actual language, natural selection is taken out of the picture. Instead, Chomsky suggests that the ability to use language was a bolt from the developmental blue. Or, in Corballis’ paraphrase, it was the result of, “some single and singular event causing a rewiring, perhaps a fortuitous mutation, in the brain.” Corballis notes drily that Chomsky’s “account, although not driven by religious doctrine, does smack of the miraculous.”

Corballis’ goal, then, is to get rid of the miracle. And he decides that the best way to do this is by unseating language as the key to humanity. For Corballis, In the beginning was the Word, should be replaced by, In the beginning was recursion.

Recursive thinking, for Corballis, is the ability to think about thinking. He identifies several recursive processes as characteristic of human beings. First, he points to mental time travel—the ability to imagine past events within current consciousness. This is the basis both of memory and of fiction, which for Corballis is a kind of memory of the future. Corballis also singles out theory of mind—the ability to imagine the state of mind of others (and therefore to imagine them imagining your state of mind and you imagining their state of mind imagining your state of mind imagining their state of mind, and so on.) Corballis argues that theory of mind allows for the development of language. In order to talk to somebody, you have to have a sense that there is a somebody, a consciousness, out there to talk to. Recursion allows humans to share each other thoughts, and it is the sharing of thoughts which allows for language, rather than language which allows for the sharing of thoughts.

It’s an intriguing thesis, and to defend it, Corballis comes up with—well, with not much, at least as far as I can tell. He shows beyond a shadow of a doubt that songbird patterns can be explained without assuming that songbirds have recursive thinking. He demonstrates that primates other than humans appear to have only a rudimentary theory of mind—though it’s hard to tell exactly how rudimentary, since their language is rudimentary too, so we can’t ask them. He notes that those with certain kinds of autism seem to have trouble with recursive thinking and with language. He puts great emphasis on the so-called mirror neurons in monkeys, which appear to be activated when the monkey sees another monkey acting in the same way as the monkey, and also seem to have something to do with language. So the mirror-neurons may link recursion and language—unless, of course, you turn to Corballis’ notes, where he admits that many researchers think the whole mirror-neuron/language connection is a load of monkey pooh.

John Horgan, writing in The Undiscovered Mind, suggested that Corballis’ difficulty in shoring up his theories is not his fault. Rather, it’s endemic to his discipline.

Evolutionary psychology is in many respects a strangely inconsequential exercise, especially given the evangelical fervor with which it is touted by its adherents. Evolutionists can take any set of psychological and social data and show how they can be explained in Darwinian terms. But they cannot perform experiments that will establish that their view is right and the alternative view is wrong—or vice versa.

The specific problem in Corballis’ book is that he cannot experimentally separate recursion and language. How does he know that language didn’t allow us to engage in recursive thinking rather than the other way around? His efforts to nail down this point—by, for example, referring to a remote tribe which some people think may have non-recursive language, or by pointing to autistic people who have difficulty with some kinds of recursive thought but can still learn language—are inconclusive. In fact, after reading this book, I’ve come away impressed not with how much evolutionary psychologists know, but how little. One sheepish note buried in the back of the book even admits that primatologists aren’t sure whether gorillas incessantly vocalize or hardly vocalize at all. If we can’t tell how often gorillas howl, how are we supposed to figure out how human speech is related to human consciousness?

It’s not that Corballis doesn’t have any good ideas. His argument that language developed first as gestures rather than speech, for example, seems both clever and perfectly plausible. And seeing recursion as the essential human trait is entirely reasonable… and even (perhaps despite Corballis’ best efforts) has theological precedent. Reinhold Niebuhr, for example, argued that what made humans human was their capacity for “self-transcendence.” Human beings can look at themselves looking at themselves; they know they’re going to live and that (less cheerily) they’re going to die. “Man’s melancholy over the prospect of death is the proof of his partial transcendence over the natural process which ends in death,” Niebuhr writes in his essay “Humour and Faith.” Recursion, our ability to see ourselves being ourselves, is, for Niebuhr, both our triumph and our tragedy.

Corballis doesn’t see it as a triumph or a tragedy, though. Nor does he phrase recursion in terms of self-transcendence. That sort of theological language is…well, too theological. Instead, Corballis prefers to discuss material things; why humans stood upright, where the Neanderthals went, how different languages indicate tense. All of which is certainly interesting, but misses the main point.

That point being that humans actually are fairly miraculous. I actually find Corballis’ argument for gradual change under evolutionary pressure more convincing than Chomsky’s theory of sudden mutation. And yet, Chomsky’s bolt from the blue is a metaphoric truth, even if it isn’t a factual one. Humans are really, really different than our closest relatives—more different than can be accounted for on the basis of evolution or genes. There’s a rupture there that defies fully material explanation.

Which is where language, followed or preceded by recursion, comes in. Language is both social, existing between individuals, and private, existing within the core of our identities. “I think therefore I am” is a piece of language. If it can’t be said, it doesn’t exist, and then where are we?

Perhaps even more importantly, language is a material thing; it’s a technology. But it’s also inseparable from ourselves. We create it and it creates us, recursively. Language retools us. We were apes—we still are apes—but we’re apes that are constantly remaking ourselves in the image of words such as “human being.” Evolutionary psychologists can natter on (as Corballis does) about how women are biologically programmed to be nurturers and men are biologically programmed for science. But the more they natter, the more they show that the nattering is what matters, not the programming. What our ancestors did is a lot less important than what they said.

And if the saying is the thing, it’s possible that Corballis is looking for the soul in the wrong place. Perhaps it’s not in the brain, after all. Maybe it’s where the Bible says it is—in that non-space between and within us known as the Word.
 

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