Colonialism, Slavery, Race, Obama, and Original Sin as framing elements of Modern American Social Psychosis


September 21, 2012

Get in line in THAT processional, step into that SMALL confessional, there that guy who’s GOT religion, ‘ll tell you if your sin’s original… if it is, try playin’ it safer! Drink the wine and chew the wafer: two, four, six, eight—time to Transubstantiate… (“the Vatican Rag” by Tom Lehrer, from album: “The Year that Was).

I went to see Dinesh D’Souza’s Obama 2016 again last night—partly because I was afraid it might be the last night it was playing on Third Street in Santa Monica since it hasn’t exactly been jammed and because I was too tired to be in a good state of mind to concentrate the first time I saw it—and I got so depressed the second time I had to walk out during the discussion of Reverend Wright in Chicago….

I have to say I’ve always consider Dinesh D’Souza a “Neocon” of the most boring and uninspiration stripe—exactly what you’d expect a dark-skinned Dartmouth-educated Reaganite born of Goan Catholic parentage in Mumbai to be like—but I think he must have some Brahmin or Ksatrya blood in him, because he is sharp, and his interpretation of Obama—whether right or wrong, is sophisticated and has literary and rhetorical merit as an indictment of the most UN-American President imaginable.

As I so often do, backwards to most people’s preference, I will now have to read his recent books and articles on Obama: because I think that the real subtext of D’Souza’s movie is that Americans have allowed their own fundamental ignorance and “affirmative action-type reverse racism” to elect the man most likely to successfully destroy America—or at least to tolerate his anointment by the Bildergers or the Tri-Lateral Commission or the CFR or however Presidents are really selected in post-modern America.

It has been widely argued that the election of Obama was a racist act, and that his re-election is likely on racist grounds (albeit “benign, affirmative action” racism).  What Dinesh D’Souza seems to be arguing is that, indeed Racism IS the Eight Hundred Pound Elephant (or Gorilla) in the Living Room that no one admits to seeing—(an eight hundred pound gorilla would be just about normal but an eight hundred pound elephant might well be either young and growing or if an adult, extremely anorexic and in need of sustenance, the allegorical analogy works any way you want to envision it—who wants or needs a starving adolescent elephant in the living room?)

Americans are frankly afraid to discuss race, even as they have become so accustomed to discussing sex.  Thus it is that, in the American Psychosis, Race has replaced Sex as the most socially and individually psychotic topic.  

In Sigmund Freud’s “Civilization and its Discontents”, to which Dinesh D’Souza’s movie owes a direct or indirect debt, I’m not sure, the Viennese author of the 20th century’s second or third most twisted and perverse social theory wrote:

“The last…..of the characteristic features of civilization … [is] the manner in which the relationships of men to one another, their social relationships, are regulated, relationships which afect a person as a neighbor, as a source of help, as another person’s sexual object, as a member of a family and of a State.” (Chapter 3, page 70, W.W. Norton “The Standard Edition” 2010, Intro by Christopher Hitchens).

D’Souza’s movie makes abundantly clear that RACE is now the principal ideological value, aside and distinct from money, which regulates the political “thinking” of the mass of Americans and upon which Obama preyed in the election.  When I worked for Orly three years ago EVERYONE was afraid to admit that Obama’s race had anything to do with why they hated him or suspected he was not a natural born citizen.  Yet everything about Obama’s rise to the Presidency was RACIALLY orchestrated including his propagandistic “black sex appeal” which fed into the psyches of more women than I choose to acknowledge I know about…. was orchestrated to make race rather than politics the focus of his election. 

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