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2020 marks two anniversaries. The first is the 40th anniversary of the murder of ex-Beatle John Lennon (1940 – 1980) by the social misfit, Mark David Chapman (1955 – ). The second is the 70th anniversary of the release of Sunset Boulevard. Although they are separated by some thirty years, each event acts as a reminder of what can happen when the desire for fame gets out of hand.
At 10.50pm on December 8th, 1980, Chapman watched as Lennon and his wife, Yoko Ono (1933 – ) made their way through the entrance of the Dakota building, dropped into a combat stance, and fired five shots from his Charter Arms .38 Special revolver. Four bullets struck Lennon in the back and shoulder. The fifth missed and shattered a window.
Lennon was rushed to the Roosevelt Hospital where three doctors, two to three medical attendants, and nurse spent ten to twenty minutes trying to revive him. The doctors even tried opening his chest to perform a manual heart massage, but the damage to the vessels around his heart were too great. John Lennon was announced dead on arrival at 11.15pm.
Lennon had been shot at close range by four hollow-point bullets. Two had passed through his body, one had lodged itself in his upper left-arm, and a fourth had lodged itself in his aorta. The autopsy concluded that Lennon died of “hypovolemic shock, caused by the loss of more than eighty-percent of blood volume due to multiple through-and-through gunshot wounds to the left shoulder and left chest resulting in damage to the left lung, the left subclavian artery, and both the aorta and aortic arch.”
John Lennon’s murder and the plot of Sunset Boulevard mirror one another in many ways. Lennon was murdered by a deranged lunatic who believed he could achieve notoriety for himself by murdering a popstar. Similarly, Sunset Boulevard tells the story of a long forgotten, and equally demented, film star who achieves a return to fame by murdering her gigolo.
Sunset Boulevard was the product of a collaboration between Billy Wilder (1906 – 2002), Charles Brackett (1892 – 1969), and Donald McGill Marshman, Jr. (1922 – 2015). The story was based, in part, on the Evelyn Waugh (1903 – 1966) novel, The Loved Ones which recounted the author’s experiences in Hollywood and the funeral business. Wilder, who had become fascinated by American culture whilst living in Berlin, dreamt up a story about a long forgotten silent film star who resides in one of Sunset Boulevard’s grand houses. Brackett suggested making the story about the star’s comeback, whilst Marshman, Jr. suggested using it to explore the relationship between the forgotten film star and a young man.
Sunset Boulevard’s success was aided by three factors: the writing of Wilder, Brackett, and Marshman, Jr., the direction of Wilder, and the cinematography of John Francis Seitz (1892 – 1979). Seitz gave Sunset Boulevard a dreamlike quality in which fantasy and reality blend together almost seamlessly. The fantasy world Norma Desmond inhabits is shot in deep focus and made to look dark and ominous. By contrast, the real world that Joe Gillis inhabits is depicted as well-lit and filmed in a documentary-style fashion.
Numerous actors were considered to play Joe Gillis, including Fred MacMurray (1908 – 1991) and Montgomery Clift (1920 – 1966). Clift was originally signed to play the part, but withdrew from the project at the last minute. The role eventually went to William Holden (1918 – 1981).
Joe Gillis is a down and outer. Prior to meeting Norma Desmond, Gillis’ situation is so dire that he actually considers returning to his newspaper job in Dayton, Ohio. He is hounded by debt collectors, forced to use the telephone at Schwab’s drugstore because he cannot afford one of his own, and is even fired by his own manager. Gillis believes that he can live the life of an expensive playboy by reading Desmond’s script and entertaining her deluded fantasies. The problem is that he has to make a Faustian pact in order to do so.
The reason Gillis finds Desmond’s offer so tempting is that he has become jaded about the Hollywood system. He represents the writer as just a mere cog in the movie-making machine. He notes the general lack of recognition for the writer and his craft, the writer’s uncertain prospects, the likelihood of executive meddling, and the ever-present risk of plagiarism. He complains that Hollywood will reject your script if it is too original or if it is not original enough.
Norma Desmond, Sunset Boulevard’s antagonist, was based on a myriad of silent film actresses. The name is believed to be derived from the silent film star, Mabel Normand (1892 – 1930) and the film director, William Desmond Taylor (1872 – 1922), who’s sensational 1922 murder has never been solved. Suggested models for Desmond include Norma Talmadge (1894 – 1957), Mary Pickford (1892 – 1979), Pola Negri (1897 – 1987), Mae Murray (1885 – 1965), Clara Bow (1905 – 1965), and Valeska Surratt (1882 – 1962).
Norma Desmond was played by former silent film star, Gloria Swanson (1899 – 1983). Like Desmond, Swanson had been a major silent film star and was known for her beauty, talent, and extravagant lifestyle. And like Desmond, her film career faded with the coming of sound. Unlike Desmond, however, Swanson was able to accept the end of her film career, moved to New York in the early-thirties, and pursued a successful career in theatre, radio, and television.
Norma Desmond has come to symbolise an entire generation of silent film stars whose were thrust aside by the advent of sound. When her star fell, Desmond retreated into her gothic mansion and built up a fantasy world where she was still a big star. At one stage she tells Gillis that she had the floor of her ballroom tiled at the behest of Rudolph Valentino (1895 – 1926), as though Valentino was still a big star. She speaks in melodramatic tones, acts like an infatuated schoolgirl in Gillis’ company, and engages in acts of emotional blackmail through mock suicide attempts.
Desmond refuses to admit that the “parade has long since passed her by.” Incapable of functioning in the real world, she has constructed a fantasy life for herself. Any attempt to bring her out of her stupor is met with either denial or indignation. Towards the end of the movie, Gillis informs her: “Norma, you’re a woman of fifty, now grow up. There’s nothing tragic about being fifty, not unless you try to be twenty-five.” And just like John the Baptist in Salome (the 1891 Oscar Wilde tragedy Desmond has chosen to adapt), Gillis pays for the faux pas with his life.
When Sunset Boulevard premiered, Louis B. Mayer (1884 – 1957) reportedly shouted at Billy Wilder: “You bastard! You have disgraced the industry that made you and fed you. You should be tarred and feathered and run out of Hollywood.” Mayer had reason to be angry, too. Sunset Boulevard is perhaps one of the most scathing criticisms of Hollywood ever made. The film indicted Hollywood for its treatment of the writer, its obsession with youth, its toxic star system, and cult of celebrity worship.
In a world of social media and reality television, the murder of John Lennon and the story of Sunset Boulevard is more potent today than ever before. Thanks to reality TV and social media sites like Facebook, Instagram, and Twitter, it is far too easy for mentally unstable people to achieve easy fame. How long will it be before society produces another Mark David Chapman or Norma Desmond?
In 2017, the online video subscription service, Hulu, embarked on the production of Margaret Atwood’s (1939 – ) 1985 novel, The Handmaid’s Tale. The story is set in the fictional, totalitarian state of Gilead: a society run by fundamentalist Christians who overthrew the previous secular state and set up a theocracy in its wake. For years, influential thought leaders and other arbiters of popular opinion have espoused the opinion that broader society would greatly benefit from the abolition of Christianity. It is my belief that such an occurrence would have precisely the opposite effect.
No group has criticised Christianity more than the New Atheists. Frequently deriding it as nothing more than “science for stupid people”, prominent New Atheists have ridiculed Christianity and dismissed its positive effects. Atheists and anti-Christians turn Christianity into a straw man by reducing it down to his most basic elements (they are helped, unfortunately, by those fundamentalist Christians who still assert that the earth is literally six-thousand years old). They then use this straw man to discredit the idea of faith. The philosopher, Sam Harris (1967 – ) argued in his book, The End of Faith that religious belief constituted a mental illness. More alarmingly, the British Scientist, Richard Dawkins (1941 – ) took things one step further by claiming that religious instruction constituted a form of child abuse.
The basis for much of Christianity’s negative portrayal finds its roots in the philosophies of the political left. A central tenet of the left-wing worldview is an adherence to secularism, which appears set to replace Christianity as the prevailing cultural belief system. (This is not to be confused with atheism, which denies the existence of a creator). On the one hand, secularism promotes both religious liberty and the separation of church and state (both of which are good things). On the other hand, however, proponents of secularism reject the knowledge and wisdom religious institutions can impart on the world. In a secular society, God can be believed to exist, but not in any sort of a productive way. God is something to be confined the private home or the sanctuary of one’s local Church. God is something to be worshipped behind closed doors where no one can see you.
Of course, anti-Christian rhetoric has been a facet of popular culture since the 1960s. Today, finding a positively-portrayed devout Christian family is about as likely as finding a virgin in the maternity ward. Christians are routinely depicted as stupid, backwards, hateful, and extreme. By contrast, atheists are routinely depicted as witty, intelligent, and tolerant. In short, Atheism is deemed as good and Christianity is deemed as bad. And, of course, this attitude has filled some with a kind of arrogant grandiosity. During an interview in 1966, John Lennon (1940 – 1980) opined: “Christianity will go. It will vanish and shrink. I needn’t argue with that; I’m right and I will be proved right. We’re more popular than Jesus now; I don’t know which will go first, rock and roll or Christianity.”
The mainstream media rarely discusses the persecution of Christians. Indeed, prejudice and discrimination against Christianity is treated with a type of permissiveness that prejudice and discrimination against other religions, Islam being a primary example, is not.
Christians are estimated to be the victims of four out of five discriminatory acts around the world, and face persecutions in one-hundred-and-thirty-nine countries. Churches have been firebombed in Nigeria. North Koreans caught with Bibles are summarily shot. In Egypt, Coptic Christians have faced mob violence, forced removals, and, in the wake of the Arab spring, the abduction of their females who are forced to marry Muslim men.
In China, Christian villagers were instructed to remove pictures of Christ, the Crucifix, and Gospel passages by Communist Party officials who wished to “transform believers in religion into believers in the party.” According to the South China Morning Post, the purpose behind the drive was the alleviation of poverty. The Chinese Communist Party believed that it was religious faith that was responsible for poverty in the region and wanted the villagers to look to their political leaders for help, rather than a saviour. (Wouldn’t it be wonderful if the Chinese Communist Party looked at their own evil and ineffective political ideology as the true cause of poverty in their country rather than blaming it on religion?). As a result, around six-hundred people in China’s Yugan county – where about ten percent of the population is Christian – removed Christian symbology from their living rooms.
Popular culture and thought in the West has attempted, with a great deal of success, to paint Christianity as stupid, backwards, dogmatic, and immoral. It is the presence religion that is to blame for holding the human race back. It is religion that is to blame for racism, sexism, and all manner of social injustices. It is religion that is the cause of all wars. So, on and so forth.
I strongly disagree with this argument. Indeed, it is my belief that the abolishment of Christianity from public life would have the effect of increasing intolerance and immorality. Christianity’s abolishment will have precisely this effect because it will abolish those metaphysical doctrines – divine judgement, universal and absolute morality, and the divinity of the human soul – that has made those things possible.
Christianity and Western Civilisation are inextricably linked. In the field of philosophy, virtually all Western thinkers have grappled with the concepts of God, faith, morality, and more. As the writer, Dinesh D’Souza (1961 – ) wrote in his book, What’s So Great About Christianity:
“Christianity is responsible for the way our society is organised and for the way we currently live. So extensive is Christian contribution to our laws, our economics, our politics, our art, our calendar, our holidays, and our moral and cultural priorities that J.M. Robers writes in Triumph of the West: ‘We could none one of us today be what we are if a handful of Jews nearly two thousand years ago had not believed that they had known a great teacher, seen him crucified, died, and buried, and then rise again’.”
The primary contribution of Christianity to Western civilisation has been to act as a stabilising force, providing society with an overarching metaphysical structure as well as rules and guidelines that act as a moral foundation. This shared metaphysical structure and moral foundation, combined with traditions and cultural customs, has the effect of bringing a country, a township, even a school or parish, together.
When Christianity lost its supremacy in society it was replaced by smaller, less transcendent and more ideological, belief systems. Where people had once been unified by a common belief, they have now become more divided along ideological lines. Religious belief has not been replaced by rationalism or logic, as the New Atheists supposed. Rather, people have found outlets for their need to believe in other places: social activism, political ideologies, and so forth.
The most prevalent contribution that Christianity has made to the Western world comes under the guise of human rights. Stories like The Parable of the Good Samaritan have had a remarkable influence on its conception. Human rights stem, in part, from the belief that human beings were created in the image of God and hold a divine place in the cosmos. Christianity has played a positive role in ending numerous brutal and archaic practices, including slavery, human sacrifice, polygamy, and infanticide. Furthermore, it has condemned incest, abortion, adultery, and divorce. (Remarkably, there are some secularists who wish to bring back some of these antiquated practices).
Christianity placed an intrinsic value on human life that had not been present in pre-Christian society. As the American Pastor, Tim Keller (1950 – ) wrote in Reasons for God: “It was extremely common in the Greco-Roman world to throw out new female infants to die from exposure, because of the low status of women in society.” Roman culture was well known for its brutality and callousness. Practices of regicide, gladiatorial combat, infanticide, and crucifixion were all common. Seneca (4BC – AD65), Nero’s (AD37 – AD68) chief advisor, once stated that it was Roman practice to “drown children who, at birth, are weakly and abnormal.”
Christian morality has had a notable effect on our views on human sexuality and has helped to provide women with far greater rights and protections than its pagan predecessors. Christianity helped to end the hypocritical pagan practice of allowing men to have extra-marital affairs and keep mistresses. It formulated rules against the cohabitation of couples prior to marriage, adultery, and divorce. Unlike the Ancient Greeks and Ancient Romans, Christians do not force widows to remarry, and even allowed widows to keep their husband’s estates.
The Christian faith has been instrumental in the enactment and promotion of public works. The instigator of the Protestant Reformation, Martin Luther (1483 – 1546) championed the idea of compulsory education and state-funded schools. Similarly, the Lutheran layman, Johann Sturm (1507 – 1589) pioneered graded education. Christianity has been the source of numerous social services including health-care, schooling, charity, and so forth. Christianity’s positive belief in charity and compassion has lead to many orphanages, old-age homes, and groups like the Sisters of Charity and Missionaries of the Poor, the YMCA and YWCA, Teen Challenge, the Red Cross, and numerous hospitals and mental health institutions being founded by the faithful.
One of the frequent criticisms levelled at the Christian faith, particularly the Catholic Church, has been that it has stymied scientific and technological development. In truth, Western science and technology have been able to flourish because of the influence of Christianity, not in spite of it. This is because the Christian belief that God created everything lends itself to the idea that everything is worth contemplating. It is certainly true that the Catholic Church has been hostile to those discoveries that do not conform to its doctrine. Galileo, for example, was forced to retract his claim of heliocentrism because it challenged the Church’s doctrine that the earth acted as the centre of the solar system. For the most part, however, Christianity has been largely supportive of scientific endeavour. Christian scientists have included Gregor Mendel (1822 – 1884), Nicolaus Copernicus (1473 – 1543), Johannes Kepler (1571 – 1630), Galileo Galilei (1564 – 1642), Arthur Eddington (1882 – 1944), Isaac Newton (1643 – 1727), Blaise Pascal (1623 – 1662), Andre Ampere (1775 – 1836), James Joule (1818 – 1889), Lord Kelvin (1824 – 1907), Robert Boyle (1627 – 1691), George Washington Carver (1860s – 1943), Louis Pasteur (1822 – 1895), Joseph Lister (1827 – 1912), Francis Collins (1950 – ), William Phillips (1914 – 1975), and Sir John Houghton (1931 – ), and more.
The forces behind the stratospheric success of Western civilisation has not been its art or music or architecture, but the ideas it has built itself upon. It is notions like the rule of law, property rights, free markets, a preference for reason and logic, and Christian theology that are responsible for making Western society the freest and most prosperous civilisation that has ever existed. It cannot survive with one of its central tenents removed.
This week for our weekly cultural article we will be examining the David Lean’s (1908 – 1991) 1946 film Great Expectations, considered to be one of the greatest British films ever made. When it was released in 1946, it was met with glowing reviews. Today, seventy years later, it has been described by Criterion as “one of the greatest translations of literature into film.”
David Lean’s Great Expectations captures the essence of Charles Dicken’s (1812 – 1870) literary genius by juxtaposing his memorable characters with the artful film direction of David Lean. Leans use of black and white to add to the foreboding and melancholy atmosphere of the film. Then there are the numerous dark, creepy, rundown, and ultimately human locations that burn themselves into the memory: the creepy graveyard where a young Pip first meets escaped convict Abel Magwitch, the Kentish marshes, Miss Havisham’s dilapidated and macabre home whose clocks are stopped at the exact time Miss Havisham learnt of her fiance’s betrayal, 19th century London, Mr. Jagger’s offices whose walls are decorated with the death masks of defendants lost to the gallows, the prison where Magwitch dies, and so forth.
Then there are the wealth of memorable characters the film presents to us. The most notable of these is Pip through whom we see all of the tragedy and injustice of early 19th century England. Pip acts as more of an observer to the world around him than an actual protagonist. We first meet Pip (Anthony Wager, 1932 – 1990) as a young orphan being raised by his overbearing older sister (Freda Jackson, 1907 – 1990) and her kindly blacksmith husband (Bernard Miles, 1907 – 1991). It is during this time that Pip first encounters Abel Magwitch (Finlay Currie, 1878 – 1960), a kind yet ultimately decent escaped convict, in the cemetery, and when his heart is broken by the coquettish Estella (Jean Simmons, 1929 – 2010) and the dishevelled and deranged Miss Havisham (Martita Hunt, 1900 – 1969).
As the film progresses, we see Pip grow into a young man, played by John Mills (1908 – 2005), who, it could be argued, was perhaps a little too old to play Pip in his early twenties. This Pip has been bequeathed a large allowance by an unknown benefactor and travels to London with the view of becoming a gentleman. There he forms a friendship with the Herbert Pocket (Alec Guinness, 1914 – 2000) who helps him refine his manners. The adult Pip finds himself corrupted by the ponce and ceremony of the English upper-class and is ashamed to admit that he would have paid money to keep Joe Gargery, dressed in his cheap suit and awkward manner, away. Pip is forced to reexamine his views after discovering that his benefactor is none other than the escaped convict Magwitch, who was so struck by Pip’s childhood compassion that he was inspired to make something of himself and become his benefactor. Magwitch’s kindness and gratitude cause Pip to regain his lost humanity.
Great expectations represents a type of film that no longer exists: one that deals entirely with the human condition. These films are no longer made because they often do not involve exciting elements, but rather present characters that are flawed and suffering and places these characters in stories that are essentially tragic in nature. These films are no longer made because they do not fit into the blockbuster formula. Rather than the larger-than-life heroes of the blockbuster, films on the human condition feature characters that are ultimately flawed and suffering. These characters are placed in stories that are ultimately tragic in their nature. A far cry from the often over-the-top plots of the modern blockbuster. There is something deeply satisfying about films like Great Expectations which shows normal people to be capable of leading a dignified existence regardless of the tragedy and suffering they are forced to face.
This week for our theological article, we will be examining Friedrich Nietzsche’s (1844 – 1900) infamous statement, “God is dead.”
Friedrich Wilhelm Nietzsche (pronounced ‘knee-cha’) was born in Röcken, near Leipzig, on October 15th, 1944. His father, Karl Ludwig Nietzsche (1813 – 1849), was a Lutheran pastor and former teacher, and his mother was Franziska Oehler (1826 – 1897). The Nietzsche family quickly grew to include a daughter, Elisabeth (1846 – 1935), and another son, Ludwig Joseph (1848 – 1850). Unfortunately, the family would be beset by tragedy. In 1849, when Nietzsche was five-years-old, Karl Nietzsche would suffer a devastating brain haemorrhage and die. Then, as if to rub in salt in their wounds, the infant Ludwig Joseph, would die unexpectedly shortly after.
Nietzsche was educated at the prestigious Schulpforta school near Naumburg. There he received an education in theology, classical languages, and the humanities. After graduating, young Nietzsche attended the University of Bonn before moving to the University of Leipzig. During his time there, Nietzsche became acquainted with the philosophy of Arthur Schopenhauer (1788 – 1860) whose work, the World as Will and Representation (1818), would have a tremendous influence. Then, aged only twenty-four, Nietzsche was awarded the position of professor of Greek language and Literature at the University of Basel in Switzerland. He had never written a doctoral dissertation.
Nietzsche left academia briefly to serve as a medical orderly in the Franco-Prussian War (1870-1871). He was discharged due to poor health. Nietzsche returned to Basel where he came acquainted with the cultural historian, Jacob Burckhardt (1818 – 1897), and the composer, Richard Wagner (1813 – 1883). Wagner’s influence on Nietzsche can most readily be seen in the Birth of Tragedy.
During the late 1870s, Nietzsche became increasingly beset with debilitating health problems: digestive problems, poor eyesight, and migraines. He was forced to spend months off work, and eventually agreed to retire with a modest pension. Nietzsche was only thirty-four years old.
From there, Nietzsche devoted the rest of his life to the study and writing of philosophy. Between 1870 and 1889, Nietzsche wrote nineteen books, including: The Birth of Tragedy (1872), Philosophy in the Tragic Age of the Greeks (1873), Human, All Too Human (1878), the Gay Science (1882), Thus Spake Zarathustra (1883), Beyond Good and Evil (1886), On the Genealogy of Morals (1887), Twilight of the Idols (1888), Ecce Homo (1888), and the Will to Power (1901, technically unpublished manuscripts published by his sister, Elisabeth).
In 1889, in Turin Italy, Nietzsche suffered a mental breakdown after seeing a horse being flogged in the Piazza Carlo Alberto. In the following days, Nietzsche sent a series of ‘madness letters’ to Cosimo Wagner (1837 – 1930) and Jacob Burckhardt in which he signed his name ‘Dionysos’, claimed to be ‘the crucified one’, and asserted that he was the creator of the world. It was quickly agreed that Nietzsche should be brought back to Basel. There he was incarcerated in a clinic in Jena.
In 1890, Nietzsche’s mother, Franziska, brought him home to Naumburg where she looked after him until her death in 1897. From there, Nietzsche was cared for by his sister, Elisabeth, in Weimar. He died on August 25th, 1900 at the age of fifty-five.
The statement, “God is dead” is Nietzsche’s most memorable and provocative statement. (Of course, he wasn’t the first one to coin the term. That was Heinrich Heine (1797 – 1856). Nietzsche merely philosophised it). It first appeared in the Gay Science in a fable entitled, the Parable of the Madman. In the parable, the madman asks, ‘where is God?’, only to be informed that God had been killed by man:
“God is dead. God remains dead. And we have killed him. How shall we, murderer of all murderers, console ourselves? That which was holiest and mightiest of all that the world has yet possessed has bled to death under our knives. Who will wipe the blood off us? With what water could we purify ourselves?”
Of course, Nietzsche wasn’t talking about the literal death of God (he was, after all, an atheist). Instead, he was referring to the death of the concept or idea of God. The statement was meant as a reference to the decline of traditional and metaphysical doctrines that had dominated European thought and culture for centuries.
Nietzsche observed, correctly, that western morality was predicated on the presumption of the truth of Judeo-Christian values. Christianity had become infused in European culture and thought. Philosophers and scientists like Copernicus (1473 – 1543), René Descartes (1596 – 1650), Isaac Newton (1643 – 1727), Saint Thomas Aquinas (1225 – 1274), George Berkeley (1685 – 1753), Saint Augustine (354-430AD), Gottfried Wilhelm Leibniz (1646-1716), and more were all deeply influenced by their belief in God. Culturally, Handel’s (1685 – 1759) Messiah, Da Vinci’s (1452 – 1519) the Last Supper, and Michelangelo’s (1475 – 1564) Statue of David are all infused with religious themes.
The decline of Christianity’s supremacy in society began with the Enlightenment. Science replaced scripture. During this time, the belief in a universe governed by God was replaced by governance through the laws of physics, the divine right to rule was replaced with rule by consent, and morality no longer had to emanate from a loving and omniscient God.
The legacy of the Enlightenment, Nietzsche rightly observed, was that Christianity lost its central place in Western culture. (Of course, it can also be argued that Christianity’s central doctrines and tenets have been so absorbed by society people no longer recognise their influence). Science, replete with its elaborate depictions of physical reality, ultimately replaced religious truth.
Nietzsche’s assertion is often seen as a triumphal or victorious statement. However, analysis reveals that Nietzsche did not necessarily see the death of God as a good thing. He recognised that as society moved closer to secularisation, the order and meaning religion gave to society would fall by the wayside. People would no longer base their lives on their religious beliefs, but on other factors. Their lives would not be grounded in anything. As Nietzsche wrote in the Twilight of the Idols:
“When one gives up the Christian faith, one pulls the right to Christian morality out from under one’s feet. This morality is by no means self-evident… Christianity is a system, a whole view of things thought out together. By breaking one main concept out of it, the faith in God, one breaks the whole.”
Nietzsche believed the solution to the problem would be to create our own, individual values. Christian morality (derided by Nietzsche as ‘slave morality’) would be replaced by ‘master morality.’ Human beings would strive to become Übermensches or overmen.
The problem with Nietzsche’s suggestion is that it is virtually impossible to keep society ordered when everyone’s values are different. Furthermore, as Carl Jung (1875 – 1961) points out, it is impossible for us to create our own values. Most of us can’t keep our new year’s resolutions, let alone create a value system that will bring order to society.
Nietzsche, along with Russian novelist, Fyodor Dostoevsky (1821 – 1881), predicted that the 20th Century would be characterised either by apocalyptic nihilism or equally apocalyptic ideological totalitarianism. In the end, the world experienced both. The wake of the Great War (1914 – 1918) saw Europe plagued by communism, fascism, Nazism, and quasi-religious nationalism. In Russia, communism, through which a person’s value was derived from his labour, arose under the Bolsheviks. In Italy, fascism, through which a person’s value was derived from his nationality, arose under Benito Mussolini (1883 – 1945). In Germany, Nazism, through which a person’s value was derived from his race, arose under Adolf Hitler (1889 – 1945). All of these systems attempted to give people’s lives meaning by replacing the state with God.
In the end, the 20th Century would be the deadliest and most destructive in human history. The legacy of two world wars, nuclear weapons, communism, and fascism has been millions of painful and unnecessary deaths. This is what we get when we remove God from society: needless pain and suffering.