Well, I think the adventure of my bloodline ends with me having liberal or leftist type inclinations, because that is where the paint palette appears to create new culture, to add to humanity's museum of traditional works. It also leads me back to the animism of my ancestors, which treats spiritually as a living and open-ended wind. But that's just the way it worked out for me..
According to one reading of my line, my direct Anglo ancestor was one of the first to erect private property, as a european in america. I have one that was a general for George Washington. I have one that married the daughter of a Native american chief. I think it's possible that I might have a very, very great African American grandmother. I have one grandfather who was caught bootlegging on a river. I have another that was the mayor of London, and an executive in the East India Company. So there is the adventure of my blood to consider, I suppose, if that what you're asking about. I think that maybe, much of this goes into making us some of the most unique people derived from British stock anyway.. Maybe some of these people were bad, and some were good, but with research, I am struck by how boldly many of them lived..
So I think we were selected for that boldness, whether it be errant or justified. You might notice, that we are most 'optimistic' people in the english speaking world. For example, I think our brand is incapable, currently, of producing works like 'Dark side of the Moon,' or 'The Dubliners,' or 'The road to Wigan Pier.' If you notice how we speak, we do not speak with an air of apprehension or contemplation really, but with determination and belief, whether we be republican or democrat. In this way for example, the line could not be stranger or more alien between a Douglas Murray and a Kenneth Copeland. Australia probably does not have sects of snake-handlers, nor does Caledonia have strange woodmen showing us their Likker run operations. So are these idiosyncrasies more important, or closer to the truth, or do they even need to be? For we often belief that what we do is central to the animation of history
We are betting on our boldness, and I suppose we might as well have faith in it. But somehow , we must avoid smugness and self righteousness.. We are more and more in the habit of speaking our views wearing wry smiles, no matter what 'side' we take. What can temper that
Your comments made me think about the movie,
The Last Samurai. ------Like
Avatar,
The Matrix, and maybe
I-Robot, the
The Last Samurai transcends the genre of movie narration. It gives us quite a lot for the price of a ticket and a bucket of popcorn.
The movie juxtaposes the supposed good guys, the Samurai, with the story's bad guys, the drunk whore-chasing Westerners. Many of the noble qualities you note concerning animists are echoed in the movie's portrayal of the Samurai. The movie collocates the Samurai with the mindless Western soldiers flawlessly.
Which segues almost perfectly with my statement and your response. My statement concerned whether or not a truth could be ignored in a manner that benefited the ignorer without causing countervailing forces that must be inevitably or eventually dealt with by the ignoring party or else by someone on the other side of the wall protecting him from unseemly truths?
The axis around which the philosophical aspect of the story of
The Last Samurai revolves is the irony that the sublime soldiers, full of honor, humility, and general goodness all around, i.e., the Samurai, are pitted against monsters, low-life's, who, by some unnamed evil, are given technological tools that completely transcend the skill and honor associated with the quintessential soldier that is the Samurai.
A Western cavalry officer can sit on his perch guzzling Old Overholt whiskey and puffing on his hand rolled tobacco while mowing down the glory of the world with his Gatlin gun and his Winchester rifle. . . We see the same juxtaposition of aboriginal goodness and tree-hugging simplicity in the movie
Avatar where once again it's the bad guys, the products of Western Civilized technology, who are portrayed as destroyers of truth and good.
The Last Samurai's virtue in relationship to
Avatar is that it doesn't produces a happy ending as difficult to swallow as a roach in the bottom of the bucket of popcorn.
Avatar makes the good guys win through Hollywood theatrics, so to say, while
The Last Samurai lets the truth of its philosophical portrayal sink into the very bone marrow of the audience.
And what's the philosophical truth portrayed in
The Last Samurai?
That in this godforsaken world, science is the prism, the crucible, the criteria, where truth transcends ideology, religion, politics, humanistic nicety, and delivers up the weapons through which truth will, eventually, deliver up the fallen world to the kingdom of heaven where there will be no more tears, no more pain, death, or want, for the old order of things will have passed away in the bright light of a world freed from the shackles of half-truths and mere manifestations of good, humility, honor, and brotherhood, which are, in their outer manifestations, only fragile, fleshly, chimera, doppelgangers, predisposed, and possessed, in the dark place of their genesis, where they never go, to destroy the truths science and scientific technology, as guardians of God, defend to the death.
The philosophical truth delivered up in
The Last Samurai is as hard to swallow as a dead fly in our Coca Cola: that heaven will be peopled by Old Overholt swigging whore-chasers while hell's citizens will be Samurai, humanists, all manner of liberal-minded religious do-gooders, who, while they lived in this godforsaken realm, stated at least one Gospel-like truth that even God can't tinker with: they'd rather live in hell than in a heaven where God's mercy overlooks the flaws and untruths they dealt with through self-ingratiating graft rather than God's grace.
John