... nature did not make us to feel too good for too long (which would be no good for the survival of the species) but only to feel good enough to imagine, erroneously, that someday we might feel good all the time. To believe that humanity will ever live in a feel-good world is a common mistake. And if we do not feel good, we should act as if we do. If you act happy, then you will become happy—everybody in the workaday world knows that. If you do not improve, then someone must assume the blame. And that someone will be you. We are on our way to the future, and no introverted melancholic is going to impede our progress. You have two choices: start thinking the way God and your society want you to think or be forsaken by all. The decision is yours, since you are a free agent who can choose to rejoin the world of fabricated reality—civilization, that is—or stubbornly insist on . . . what? That we should rethink how the whole world transacts its business? That we should start over from scratch, questioning all the ways and means that delivered us to a lofty prominence over the amusement park of creation? Try to be realistic. We made our world just the way nature and the Lord wanted us to make it. There is no starting over and no going back. No major readjustments are up for a vote. And no nihilistic head case is going to get a bad word in edgewise. The universe was created by the Creator, goddamn it. We live in a country we love and that loves us back. We have families and friends and jobs that make it all worthwhile. We are somebodies, as we spin upon this good earth, not a bunch of nobodies without names or numbers or retirement plans. None of this is going to become unraveled by a thought criminal who contends that the world is not double plus good and never will be and who believes that anyone is better off dead than alive. Our lives may not be unflawed—that would deny us a future to work toward—but if this charade is good enough for us, then it should be good enough for you. So if you cannot get your mind right, try walking away. You will find no place to go and no one who will have you. You will find only the same old trap the world over. It is the trap of tomorrow. Love it or leave it—choose which and choose fast. You will never get us to give up our hopes, demented as they may seem. You will never get us to wake up from our dreams. Your opinions are not certified by institutions of authority or by the middling run of humanity, and therefore whatever thoughts may enter your chemically imbalanced brain are invalid, inauthentic, or whatever dismissive term we care to assign to you who are only “one of those people.” So get the hell out if you can. But we are betting that when you start hurting badly enough, you will come running back. If you are not as strong as Samson— that no-good suicide and slaughterer of Philistines—then you will return to the trap. Do you think we are morons? We have already thought everything that you have thought. The only difference is that we have the proper and dignified sense of futility not to spread that nasty news. Our shibboleth: “Up the Conspiracy and down with Consciousness.

Many things in this period have been hard to bear, or hard to take seriously. My own profession went into a protracted swoon during the Reagan-Bush-Thatcher decade, and shows scant sign of recovering a critical faculty—or indeed any faculty whatever, unless it is one of induced enthusiasm for a plausible consensus President. (We shall see whether it counts as progress for the same parrots to learn a new word.) And my own cohort, the left, shared in the general dispiriting move towards apolitical, atonal postmodernism. Regarding something magnificent, like the long-overdue and still endangered South African revolution (a jagged fit in the supposedly smooth pattern of axiomatic progress), one could see that Ariadne’s thread had a robust reddish tinge, and that potential citizens had not all deconstructed themselves into Xhosa, Zulu, Cape Coloured or ‘Eurocentric’; had in other words resisted the sectarian lesson that the masters of apartheid tried to teach them. Elsewhere, though, it seemed all at once as if competitive solipsism was the signifier of the ‘radical’; a stress on the salience not even of the individual, but of the trait, and from that atomization into the lump of the category. Surely one thing to be learned from the lapsed totalitarian system was the unwholesome relationship between the cult of the masses and the adoration of the supreme personality. Yet introspective voyaging seemed to coexist with dull group-think wherever one peered about among the formerly ‘committ

Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line.There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now.

No, there's a group of hardened, fossilised men opposed by fresh young revolutionaries as John Butte once was, forming between them a whole, a balance. And then a group of fossilised hardened men like John Butte, opposed by a group of fresh and lively-minded and critical people. But the core of deadness, of dry thought, could not exist without lively shoots of fresh life, to be turned so fast, in their turn, into dead sapless wood. In other words, I, 'Comrade Anna'- and the ironical tone of Comrade Butte's voice now frightens me when I remember it-keep Comrade Butte in existence, feed him, and in due course will become him. And as I think this, that there is no right, no wrong, simply a process, a wheel turning, I become frightened, because everything in me cries out against such a view of life, and I am back inside a nightmare which it seems I've been locked in for years, whenever I'm off guard. The nightmare takes various forms, comes in sleep, or in wakefulness, and can be pictured most simply like this: There is a blindfolded man standing with his back to a brick wall. He has been tortured nearly to death. Opposite him are six men with their rifles raised ready to shoot, commanded by a seventh, who has his hand raised. When he drops his hand, the shots will ring out, and the prisoner will fall dead. But suddenly there is something unexpected-yet not altogether unexpected, for the seventh has been listening all this while in case it happens. There is an outburst of shouting and fighting in the street outside. The six men look in query at their officer, the seventh. The officer stands waiting to see how the fighting outside will resolve itself. There is a shout: 'We have won!' At which the officer crosses the space to the wall, unties the bound man, and stands in his place. The man, hitherto bound, now binds the other. There is a moment, and this is the moment of horror in the nightmare, when they smile at each other: it is a brief, bitter, accepting smile. They are brothers in that smile. The smile holds a terrible truth that I want to evade. Because it cancels all creative emotion. The officer, the seventh, now stands blindfolded and waiting with his back to the wall. The former prisoner walks to the firing squad who are still standing with their weapons ready. He lifts his hand, then drops it. The shots ring out, and the body by the wall falls twitching. The six soldiers are shaken and sick; now they will go and drink to drown the memory of their murder. But the man who was bound, is now free, smiles as they stumble away, cursing and hating him, just as they would have cursed and hated the other, now dead. And in this man's smile at the six innocent soldiers there is a terrible understanding irony. This is the nightmare.

What - what - what are you doing?" he demanded."I am almost six hundred years old," Magnus claimed, and Ragnor snorted, since Magnus changed his age to suit himself every few weeks. Magnus swept on. "It does seem about time to learn a musical instrument." He flourished his new prize, a little stringed instrument that looked like a cousin of the lute that the lute was embarrassed to be related to. "It's called a charango. I am planning to become a charanguista!""I wouldn't call that an instrument of music," Ragnor observed sourly. "An instrument of torture, perhaps."Magnus cradled the charango in his arms as if it were an easily offended baby. "It's a beautiful and very unique instrument! The sound box is made from an armadillo. Well, a dried armadillo shell.""That explains the sound you're making," said Ragnor. "Like a lost, hungry armadillo.""You are just jealous," Magnus remarked calmly. "Because you do not have the soul of a true artiste like myself.""Oh, I am positively green with envy," Ragnor snapped."Come now, Ragnor. That's not fair," said Magnus. "You know I love it when you make jokes about your complexion."Magnus refused to be affected by Ragnor's cruel judgments. He regarded his fellow warlock with a lofty stare of superb indifference, raised his charango, and began to play again his defiant, beautiful tune.They both heard the staccato thump of frantically running feet from within the house, the swish of skirts, and then Catarina came rushing out into the courtyard. Her white hair was falling loose about her shoulders, and her face was the picture of alarm."Magnus, Ragnor, I heard a cat making a most unearthly noise," she exclaimed. "From the sound of it, the poor creature must be direly sick. You have to help me find it!"Ragnor immediately collapsed with hysterical laughter on his windowsill. Magnus stared at Catarina for a moment, until he saw her lips twitch."You are conspiring against me and my art," he declared. "You are a pack of conspirators."He began to play again. Catarina stopped him by putting a hand on his arm."No, but seriously, Magnus," she said. "That noise is appalling."Magnus sighed. "Every warlock's a critic.""Why are you doing this?""I have already explained myself to Ragnor. I wish to become proficient with a musical instrument. I have decided to devote myself to the art of the charanguista, and I wish to hear no more petty objections.""If we are all making lists of things we wish to hear no more . . . ," Ragnor murmured.Catarina, however, was smiling."I see," she said."Madam, you do not see.""I do. I see it all most clearly," Catarina assured him. "What is her name?""I resent your implication," Magnus said. "There is no woman in the case. I am married to my music!""Oh, all right," Catarina said. "What's his name, then?"His name was Imasu Morales, and he was gorgeous.

Dear friend…'The Witcher swore quietly, looking at the sharp, angular, even runes drawn with energetic sweeps of the pen, faultlessly reflecting the author’s mood. He felt once again the desire to try to bite his own backside in fury. When he was writing to the sorceress a month ago he had spent two nights in a row contemplating how best to begin. Finally, he had decided on “Dear friend.” Now he had his just deserts.'Dear friend, your unexpected letter – which I received not quite three years after we last saw each other – has given me much joy. My joy is all the greater as various rumours have been circulating about your sudden and violent death. It is a good thing that you have decided to disclaim them by writing to me; it is a good thing, too, that you are doing so so soon. From your letter it appears that you have lived a peaceful, wonderfully boring life, devoid of all sensation. These days such a life is a real privilege, dear friend, and I am happy that you have managed to achieve it.I was touched by the sudden concern which you deigned to show as to my health, dear friend. I hasten with the news that, yes, I now feel well; the period of indisposition is behind me, I have dealt with the difficulties, the description of which I shall not bore you with. It worries and troubles me very much that the unexpected present you received from Fate brings you worries. Your supposition that this requires professional help is absolutely correct. Although your description of the difficulty – quite understandably – is enigmatic, I am sure I know the Source of the problem. And I agree with your opinion that the help of yet another magician is absolutely necessary. I feel honoured to be the second to whom you turn. What have I done to deserve to be so high on your list?Rest assured, my dear friend; and if you had the intention of supplicating the help of additional magicians, abandon it because there is no need. I leave without delay, and go to the place which you indicated in an oblique yet, to me, understandable way. It goes without saying that I leave in absolute secrecy and with great caution. I will surmise the nature of the trouble on the spot and will do all that is in my power to calm the gushing source. I shall try, in so doing, not to appear any worse than other ladies to whom you have turned, are turning or usually turn with your supplications. I am, after all, your dear friend. Your valuable friendship is too important to me to disappoint you, dear friend.Should you, in the next few years, wish to write to me, do not hesitate for a moment. Your letters invariably give me boundless pleasure.Your friend Yennefer'The letter smelled of lilac and gooseberries.Geralt cursed.

During voir dire, the interviews for jury selection, each person is asked under oath about their experience with the criminal justice system, as defendant or victim, but usually not even the most elementary effort is made to corroborate those claims. One ADA [Associate District Attorney] told me about inheriting a murder case, after the first jury deadlocked. He checked the raps for the jurors and found that four had criminal records. None of those jurors were prosecuted. Nor was it policy to prosecute defense witnesses who were demonstrably lying--by providing false alibis, for example--because, as another ADA told me, if they win the case, they don't bother, and if they lose, "it looks like sour grapes." A cop told me about a brawl at court one day, when he saw court officers tackle a man who tried to escape from the Grand Jury. An undercover was testifying about a buy when the juror recognized him as someone he had sold to. Another cop told me about locking up a woman for buying crack, who begged for a Desk Appearance Ticket, because she had to get back to court, for jury duty--she was the forewoman on a Narcotics case, of course. The worst part about these stories is that when I told them to various ADAs, none were at all surprised; most of those I'd worked with I respected, but the institutionalized expectations were abysmal. They were too used to losing and it showed in how they played the game.

Our ability to measure and apportion time affords an almost endless source of comfort.“Synchronise watches at oh six hundred,” says the infantry captain, and each of his huddled lieutenants finds a respite from fear in the act of bringing two tiny pointers into jeweled alignment while tons of heavy artillery go fluttering overhead; the prosaic, civilian looking dial of the watch has restored, however briefly, an illusion of personal control. Good, it counsels, looking tidily up from the hairs and veins of each terribly vulnerable wrist; fine: so far, everything’s happening right on time…“Oh, let me see now,” says the ancient man, tilting his withered head to wince and blink at the sun in bewildered reminiscence, “my first wife passed away the spring of -” and for a moment he is touched with terror. The spring of what? Past? Future? What is any spring but a mindless rearrangement of cells in the crust of the spinning earth as it floats in endless circuit of its sun? What is the sun itself but one of a billion insensible stars forever going nowhere into nothingness? Infinity! But soon the merciful valves and switches of his brain begin to do their tired work, and “The spring of Nineteen-Ought-Six,” he is able to say. “Or no, wait-” and his blood runs cold again as the galaxies revolve. “Wait! Nineteen-Ought — Four.”… He may have forgotten the shape of his first wife’s smile and the sound of her voice in tears, but by imposing a set of numerals on her death, he has imposed coherence on his own life and on life itself… “Yes sir,” he can say with authority, “nineteen-Ought-Four,” and the stars tonight will please him as tokens of his ultimate heavenly rest. He has brought order out of chaos.

This is not the "relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a "mockery of the promise and fitness of things," to return to the OED definition of irony.This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility.

What one should add here is that self-consciousness is itself unconscious: we are not aware of the point of our self-consciousness. If ever there was a critic of the fetishizing effect of fascinating and dazzling "leitmotifs", it is Adorno: in his devastating analysis of Wagner, he tries to demonstrate how Wagnerian leitmotifs serve as fetishized elements of easy recognition and thus constitute a kind of inner-structural commodification of his music. It is then a supreme irony that traces of this same fetishizing procedure can be found in Adorno's own writings. Many of his provocative one-liners do effectively capture a profound insight or at least touch on a crucial point (for example: "Nothing is more true in pscyhoanalysis than its exaggeration"); however, more often than his partisans are ready to admit, Adorno gets caught up in his own game, infatuated with his own ability to produce dazzlingly "effective" paradoxical aphorisms at the expense of theoretical substance (recall the famous line from Dialectic of Englightment on how Hollywood's ideological maniuplation of social reality realized Kant's idea of the transcendental constitution of reality). In such cases where the dazzling "effect" of the unexpected short-circuit (here between Hollywood cinema and Kantian ontology) effectively overshadows the theoretical line of argumentation, the brilliant paradox works precisely in the same manner as the Wagnerian leitmotif: instead of serving as a nodal point in the complex network of structural mediation, it generates idiotic pleasure by focusing attention on itself. This unintended self-reflexivity is something of which Adorno undoubtedly was not aware: his critique of the Wagnerian leitmotif was an allegorical critique of his own writing. Is this not an exemplary case of his unconscious reflexivity of thinking? When criticizing his opponent Wagner, Adorno effectively deploys a critical allegory of his own writing - in Hegelese, the truth of his relation to the Other is a self-relation.