Man Is a Cruel Animal

September 30, 2011

http://www.truthdig.com

By Chris Hedges ( 12-22-08)

It was Joseph Conrad* I thought of when I read an article in The Nation magazine this month about white vigilante groups that rose up out of the chaos of Hurricane Katrina in New Orleans to terrorize and murder blacks. It was Conrad I thought of when I saw the ominous statements by authorities, such as International Monetary Fund Managing Director Dominique Strauss-Kahn, warning of potential civil unrest in the United States as we funnel staggering sums of public funds upward to our bankrupt elites and leave our poor and working class destitute, hungry, without health care and locked out of their foreclosed homes. We fool ourselves into believing we are immune to the savagery and chaos of failed states. Take away the rigid social structure, let society continue to break down, and we become, like anyone else, brutes.

Conrad saw enough of the world as a sea captain to know the irredeemable corruption of humanity. The noble virtues that drove characters like Kurtz in Heart of Darkness into the jungle veiled abject self-interest, unchecked greed and murder. Conrad was in the Congo in the late 19th century when the Belgian monarch King Leopold, in the name of Western civilization and anti-slavery, was plundering the country. The Belgian occupation resulted in the death by disease, starvation and murder of some 10 million Congolese. Conrad understood what we did to others in the name of civilization and progress.

And it is Conrad, as our society unravels internally and plows ahead in the costly, morally repugnant and self-defeating wars in Afghanistan and Iraq, whom we do well to heed.

This theme of our corruptibility is central to Conrad. In his short story “An Outpost of Progress” he writes of two white traders, Carlier and Kayerts, who are sent to a remote trading station in the Congo. The mission is endowed with a great moral purpose—to export European “civilization” to Africa. But the boredom and lack of constraints swiftly turn the two men, like our mercenaries and soldiers and Marines in Iraq and Afghanistan, into savages. They trade slaves for ivory. They get into a feud over dwindling food supplies and Kayerts shoots and kills his unarmed companion Carlier.

“They were two perfectly insignificant and incapable individuals,” Conrad wrote of Kayerts and Carlier, “whose existence is only rendered possible through high organization of civilized crowds. Few men realize that their life, the very essence of their character, their capabilities and their audacities, are only the expression of their belief in the safety of their surroundings. The courage, the composure, the confidence; the emotions and principles; every great and every insignificant thought belongs not to the individual but to the crowd; to the crowd that believes blindly in the irresistible force of its institutions and its morals, in the power of its police and of its opinion. But the contact with pure unmitigated savagery, with primitive nature and primitive man, brings sudden and profound trouble into the heart. To the sentiment of being alone of one’s kind, to the clear perception of the loneliness of one’s thoughts, of one’s sensations—to the negation of the habitual, which is safe, there is added the affirmation of the unusual, which is dangerous; a suggestion of things vague, uncontrollable, and repulsive, whose discomposing intrusion excites the imagination and tries the civilized nerves of the foolish and the wise alike.”

The Managing Director of the Great Civilizing Company—for as Conrad notes “civilization” follows trade—arrives by steamer at the end of the story. He is not met at the dock by his two agents. He climbs the steep bank to the trading station with the captain and engine driver behind him. The director finds Kayerts, who, after the murder, committed suicide by hanging himself by a leather strap from a cross that marked the grave of the previous station chief. Kayerts’ toes are a couple of inches above the ground. His arms hang stiffly down “… and, irreverently, he was putting out a swollen tongue at his Managing Director.”

Conrad saw cruelty as an integral part of human nature. This cruelty arrives, however, in different forms. Stable, industrialized societies, awash in wealth and privilege, can construct internal systems that mask this cruelty, although it is nakedly displayed in their imperial outposts. We are lulled into the illusion in these zones of safety that human beings can be rational.

The “war on terror,” the virtuous rhetoric about saving the women in Afghanistan from the Taliban or the Iraqis from tyranny, is another in a series of long and sordid human campaigns of violence carried out in the name of a moral good.

Those who attempt to mend the flaws in the human species through force embrace a perverted idealism. Those who believe that history is a progressive march toward human perfectibility, and that they have the moral right to force this progress on others, no longer know what it is to be human. In the name of the noblest virtues they sink to the depths of criminality and moral depravity. This self-delusion comes to us in many forms. It can be wrapped in the language of Western civilization, democracy, religion, the master race, Liberté, égalité, fraternité, the worker’s paradise, the idyllic agrarian society, the new man or scientific rationalism. The jargon is varied. The dark sentiment is the same.

Conrad understood how Western civilization and technology lend themselves to inhuman exploitation. He had seen in the Congo the barbarity and disdain for human life that resulted from a belief in moral advancement. He knew humankind’s violent, primeval lusts. He knew how easily we can all slip into states of extreme depravity.

“Man is a cruel animal,” he wrote to a friend. “His cruelty must be organized. Society is essentially criminal,—or it wouldn’t exist. It is selfishness that saves everything,—absolutely everything,—everything that we abhor, everything that we love.”

Conrad rejected all formulas or schemes for the moral improvement of the human condition. Political institutions, he said, “whether contrived by the wisdom of the few or the ignorance of the many, are incapable of securing the happiness of mankind.”

He wrote “international fraternity may be an object to strive for … but that illusion imposes by its size alone. Franchement, what would you think of an attempt to promote fraternity amongst people living in the same street, I don’t even mention two neighboring streets.”

He bluntly told the pacifist Bertrand Russell, who saw humankind’s future in the rise of international socialism, that it was “the sort of thing to which I cannot attach any definite meaning. I have never been able to find in any man’s book or any man’s talk anything convincing enough to stand up for a moment against my deep-seated sense of fatality governing this man-inhabited world.”

Russell (left) said of Conrad: “I felt, though I do not know whether he would have accepted such an image, that he thought of civilized and morally tolerable human life as a dangerous walk on a thin crust of barely cooled lava which at any moment might break and let the unwary sink into fiery depths.”

Conrad’s novel “Heart of Darkness” ripped open the callous heart of civilized Europe. The great institutions of European imperial powers and noble ideals of European enlightenment, as Conrad saw in the Congo, were covers for rapacious greed, exploitation and barbarity. Kurtz is the self-deluded megalomaniac ivory trader in “Heart of Darkness” who ends by planting the shriveled heads of murdered Congolese on pikes outside his remote trading station. But Kurtz is also highly educated and refined.

Conrad describes him as an orator, writer, poet, musician and the respected chief agent of the ivory company’s Inner Station. He is “an emissary of pity, and science, and progress.” Kurtz was a universal genius” and “a very remarkable person.” He is a prodigy, at once gifted and multi-talented. He went to Africa fired by noble ideals and virtues. He ended his life as a self-deluded tyrant who thought he was a god.

“His mother was half-English, his father was half-French,” Conrad wrote of Kurtz. “All Europe contributed to the making of Kurtz; and by-the-by I learned that, most appropriately, the International Society for the Suppression of Savage Customs had entrusted him with the making of a report, for its future guidance. … He began with the argument that we whites, from the point of development we had arrived at, ‘must necessarily appear to them [savages] in the nature of supernatural beings—we approach them with the might as of a deity,’ and so on, and so on. ‘By the simple exercise of our will we can exert a power for good practically unbounded,’ etc., etc. From that point he soared and took me with him. The peroration was magnificent, though difficult to remember, you know. It gave me the notion of an exotic Immensity ruled by an august Benevolence. It made me tingle with enthusiasm. This was the unbounded power of eloquence—of words—of burning noble words. There were no practical hints to interrupt the magic current of phrases, unless a kind of note at the foot of the last page, scrawled evidently much later, in an unsteady hand, may be regarded as the exposition of a method. It was very simple, and at the end of that moving appeal to every altruistic sentiment it blazed at you, luminous and terrifying, like a flash of lightning in a serene sky: ‘Exterminate all the brutes!’

*Joseph Conrad (born Józef Teodor Konrad Korzeniowski  is regarded as one of the great novelists in English, although he did not speak the language fluently until he was in his twenties (and then always with a marked Polish accent). He wrote stories and novels, predominantly with a nautical setting, that depict trials of the human spirit by the demands of duty and honour. Conrad was a master prose stylist who brought a distinctly non-English tragic sensibility into English literature^[ While some of his works have a strain of romanticism, he is viewed as a precursor of modernist literature. His narrative style and anti-heroic characters have influenced many authors.–wikipedia

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