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Print August 21, 2015

“Тар“ на Уиндам Люис: Упражнение по дясна психология

Jonathan Bowden

949 думи

English original here

Романът “Тар“(Tarr) на Уиндам Люис (анаграма едновременно на “art”(изкуство) и “rat”(плъх)  излиза за пръв път през 1915 г., докато Великата война бушува и остава едно от големите упражнения по психология на хладнокръвието. Докато по-голямата част от бихейвиористката проза бива поставена в белетристки жанрове, като приключения или може би noir детективски роман, “Тар“ е необикновен с това, че представя комбинация от високо ниво на художествена литература и този тип психология, който оживява героите на “Изворът“ на Айн Ранд – като Доминик Франкон, Хауърд Роарк и Гейл Уинанд, например. Критиците през периода – с изключение на завладяните от модернисткия похват – говорят за лишен от сантименталност труд, в който главните герои искат да “вземат своето парче от пая и да го изядат!“

Действието се развива около пет основни героя, едноименният художник Тар, бохемите-радикали Крайслер и Золтик и двете жени или обекти на любовен интерес, Берта и Анастасия. Уважаваният критик, Ребека Уест, веднъж сравнява Люис с Достоевски, на основата на този роман и казва, че неговия характер е по-скоро руски, отколкото английски, заради несъразмерния му интерес към човешката душа.

Героите са многостранни и разгорещени в израза на страстите си – особено умствените си. Всеки един се стреми да няма либерални или любовно-ориентирани реакции на събитията – с единственото изключение на Берта… въпреки, че тя също трябва да се стегне, след като бива изнасилена от Крайслер, немския художник.

Основната част на романа – някъде след, като една трета е премината, до края – е посветена на Крайслер. Той е небрежен и полупсихопат – без съмнение амалгама на източно и централноевропейските бохеми, които Люис среща в началото на XX в. Голяма част от “Тар“ всъщност се базира на собствения му живот. Крайслер решава да “разбие“ ограниченията на цивилизацията, посредством разрешителното, което Бохемия дава, и в хода на действията си, той действително се оказва много разрушителен – Берта е изнасилена, а Золтик убит на дуел в гората, в който нещата излизат извън контрол.

Повечето критици сравняват личността на Крайслер с Хитлер и набеждават Люис в ужасяващо предчувствие или наличие на окултни способности… имайки предвид, че книгата е написана между 1909 и 1915 г. Би било много по-точно да обвиним Люис в наличието на магистрални антени – улавящи хаоса, морала и всичко, което се спотайва в храсталаците на бохемството.

Това се отнася особено много за голямата периферия от творци, които в действителност не са дейни, но се изхранват от изкуствата на малки порции. Люис винаги е нащрек за непрофесионализма и аматьорството в изкуството – независимо дали то бива приписвано на бохеми без пукната пара или милионери, от типа, който осмива в “Божиите маймуни“ The Apes of God.

С изключение на няколко дребни бохеми, които нямат особен принос към развитието на сюжета – най-вече английски емигранти и познати на Тар – всички главни герои демонстрират хладнокръвие по описания от мен начин. Единственото изключение е Берта. Всички останали са хищни грабливи птици, които се хранят с психическата мърша на хората около тях… тъй като описаната психика е по-близка до тази на войници, отколкото до стандартното описание на артистични натури. Обективният начин на работа с човешки същества – както, когато те са разглеждани отвън-навътре, така и при схематичния начин, по който биват описвани закоравели каубои и индианци – всичко създава този ефект.

Въпреки, че “Бури от стомана“ (Storm of Steel) не излиза до края на Великата война, интелектуалната атмосфера в книгата е удивително близка. Описанието на обяд между Берта и Тар, например, се превръща направо в повод за кална борба – цялата войнственост, обаче остава на емоционално и езиково ниво.

“Тар“, като книга, също показва тиранията на оригиналността, тъй като всички герои смущават благодарение на тяхното неумение да кажат нещо неоригинално. Част от “шокиращата“ правдоподобност на тази книга се състои в това, какво ни казва за нормалните отношения – а именно, колко скучни са те, най-често! Опитайте се да прекарате ден, в стила на Тар, в който всичко, което кажете на всеки е свежо и агресивно оригинално и ще видите, че ще ви изключат, като чудовище в края му.

Всички герои, особено Крайслер, са чудовища, които пият жадно каймака на живота до забрава и с кеф. Всички те (с изключение на Берта) живеят съобразно ницшеанските максими и ницшеанското кредо на Люис, постулирано в есето Етиката на пастира (The Code of a Herdsman). Това есе е трудно да бъде обобщено, но същината му се състои в това, никога да не се повтаряш, като носиш маски пред масата, никога да не повтаряш грешките си и да направиш ежедневието си, театър на насилието, ако мога да използвам сполучливата фраза на Антонен Арто.

Всичко това се вижда на либералните критици, дилетантско и незряло, но в действителност издава голяма фашистка скала на емоциите. Рядко се среща роман, написан от толкова антилиберална гледна точка, в литературен и метаполитически смисъл. Защото почти всички романи, поеми и пиеси се базират на презумпцията, че всичко, от което имаме нужда, е любов (химна на Бийтълс, който покорява ’60-те ). Въпреки това, единствените герои – в либералната литература – които демонстрират аморалност в своето ежедневие са злодеите. Това е една от причините за съвременната трансгресия – а именно, очарованието на злото и негативизма, защото такива личности  изглеждат най-живи. Това е феноменът Алистър Кроули, до голяма степен, ако щете.

Ключов пример за това можем да открием в книгата на Айрис Мърдок, “Ученикът на философа“ (The Philosopher’s Pupil), книга, в която всеки е слаб, приличен, морален, квакероподобен и с либерални възгледи, с единственото изключение на руски философ, които изглежда два пъти по жив от останалите герои. В “Тар“, всички персонажи, дори стандартният германски романтик, Берта, издават очарование от нелибералните качества, които винаги се крият в либералната гръд. Действително тайното влечение, особено в изкуството, което либералите изпитват към антилиберални интелектуалци, е форма на любов, чието име не трябва да бъде изговаряно.

 

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