February 10, 2016
The Myth of Human Progress and the Collapse of Complex Societies (VIDEO)
Posted on Apr 13, 2014
By Chris Hedges
Complex civilizations have a bad habit of ultimately destroying themselves. Anthropologists including Joseph Tainter in “The Collapse of Complex Societies,” Charles L. Redman in “Human Impact on Ancient Environments” and Ronald Wright in “A Short History of Progress” have laid out the familiar patterns that lead to systems breakdown. The difference this time is that when we go down the whole planet will go with us. There will, with this final collapse, be no new lands left to exploit, no new civilizations to conquer, no new peoples to subjugate. The long struggle between the human species and the earth will conclude with the remnants of the human species learning a painful lesson about unrestrained greed, hubris and idolatry.
Collapse comes throughout human history to complex societies not long after they reach their period of greatest magnificence and prosperity.
“One of the most pathetic aspects of human history is that every civilization expresses itself most pretentiously, compounds its partial and universal values most convincingly, and claims immortality for its finite existence at the very moment when the decay which leads to death has already begun,” Reinhold Niebuhr wrote.
That pattern holds good for a lot of societies, among them the ancient Maya and the Sumerians of what is now southern Iraq. There are many other examples, including smaller-scale societies such as Easter Island. The very things that cause societies to prosper in the short run, especially new ways to exploit the environment such as the invention of irrigation, lead to disaster in the long run because of unforeseen complications. This is what Ronald Wright in “A Short History of Progress” calls the “progress trap.” We have set in motion an industrial machine of such complexity and such dependence on expansion, Wright notes, that we do not know how to make do with less or move to a steady state in terms of our demands on nature.
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And as the collapse becomes palpable, if human history is any guide, we, like past societies in distress, will retreat into what anthropologists call “crisis cults.” The powerlessness we will feel in the face of ecological and economic chaos will unleash further collective delusions, such as fundamentalist beliefs in a god or gods who will come back to earth and save us. The Christian right provides a haven for this escapism. These cults perform absurd rituals to make it all go away, giving rise to a religiosity that peddles collective self-delusion and magical thinking. Crisis cults spread rapidly among Native American societies in the later part of the 19th century as the buffalo herds and the last remaining tribes were slaughtered. The Ghost Dance held out the hope that all the horrors of white civilization—the railroads, the murderous cavalry units, the timber merchants, the mine speculators, the hated tribal agencies, the barbed wire, the machine guns, even the white man himself—would disappear. And our psychological hard wiring is no different.
In our decline, hatred becomes our primary lust, our highest form of patriotism. We deploy vast resources to hunt down jihadists and terrorists, real and phantom. We destroy our civil society in the name of a war on terror. We persecute those, from Julian Assange to [Chelsea] Manning to Edward Snowden, who expose the dark machinations of power. We believe, because we have externalized evil, that we can purify the earth. And we are blind to the evil within us.
Melville’s description of Ahab is a description of the bankers, corporate boards, politicians, television personalities and generals who through the power of propaganda fill our heads with seductive images of glory and lust for wealth and power. We are consumed with self-induced obsessions that spur us toward self-annihilation.
“All my means are sane,” Ahab says, “my motive and my object mad.”
Ahab, as the historian Richard Slotkin points out in his book “Regeneration Through Violence,” is “the true American hero, worthy to be captain of a ship whose ‘wood could only be American.’ ” Melville offers us a vision, one that D.H. Lawrence later understood, of the inevitable fatality of white civilization brought about by our ceaseless lust for material progress, imperial expansion, white supremacy and exploitation of nature.
Melville, who had been a sailor on clipper ships and whalers, was keenly aware that the wealth of industrialized societies was stolen by force from the wretched of the earth. All the authority figures on the ship are white men—Ahab, Starbuck, Flask and Stubb. The hard, dirty work, from harpooning to gutting the carcasses of the whales, is the task of the poor, mostly men of color. Melville saw how European plundering of indigenous cultures from the 16th to the 19th centuries, coupled with the use of African slaves as a workforce to replace the natives, was the engine that enriched Europe and the United States. The Spaniards’ easy seizure of the Aztec and Inca gold following the massive die-off from smallpox and [other diseases] among native populations set in motion five centuries of unchecked economic and environmental plunder. Karl Marx and Adam Smith pointed to the huge influx of wealth from the Americas as having made possible the Industrial Revolution and modern capitalism. The Industrial Revolution also equipped the industrialized state with technologically advanced weapons systems, turning us into the most efficient killers on the planet.
Ahab, when he first appears on the quarterdeck after being in his cabin for the first few days of the voyage, holds up a doubloon, an extravagant gold coin, and promises it to the crew member who first spots the white whale. He knows that “the permanent constitutional condition of the manufactured man … is sordidness.” And he plays to this sordidness. The whale becomes like everything in the capitalist world a commodity, a source of personal profit. A murderous greed, one that Starbuck, Ahab’s first mate, denounces as “blasphemous,” grips the crew. Ahab’s obsession infects the ship.
“I see in [Moby Dick] outrageous strength, with an inscrutable malice sinewing it,” Ahab tells Starbuck. “That inscrutable thing is chiefly what I hate; and be the white whale agent, or be the white whale principal, I will wreak that hate upon him. Talk not to me of blasphemy, man; I’d strike the sun if it insulted me.”
Ahab conducts a dark Mass, a Eucharist of violence and blood, on the deck with the crew. He orders the men to circle around him. He makes them drink from a flagon that is passed from man to man, filled with draughts “hot as Satan’s hoof.” Ahab tells the harpooners to cross their lances before him. The captain grasps the harpoons and anoints the ships’ harpooners—Queequeg, Tashtego and Daggoo—his “three pagan kinsmen.” He orders them to detach the iron sections of their harpoons and fills the sockets “with the fiery waters from the pewter.” “Drink, ye harpooneers! Drink and swear, ye men that man the deathful whaleboat’s bow—Death to Moby Dick! God hunt us all, if we do not hunt Moby Dick to his death!” And with the crew bonded to him in his infernal quest he knows that Starbuck is helpless “amid the general hurricane.” “Starbuck now is mine,” Ahab says, “cannot oppose me now, without rebellion.” “The honest eye of Starbuck,” Melville writes, “fell downright.”
The ship, described as a hearse, was painted black. It was adorned with gruesome trophies of the hunt, festooned with the huge teeth and bones of sperm whales. It was, Melville writes, a “cannibal of a craft, tricking herself forth in the chased bones of her enemies.” The fires used to melt the whale blubber at night turned the Pequod into a “red hell.”
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