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Genius

How alt-right is Nietzsche really?

Hitler considers a bust of Nietzsche

I wasn’t a big reader as a youth. I was more of a jock and a class clown. It was only around the age of 17 that I suddenly became a moody adolescent book-worm – it was both a quickening and a sickening. In one term, I read Hamlet, King Lear, Heart of Darkness and Freud’s Five Cases of Hysteria, and also watched Blue Velvet. Strong medicine! I had a sudden horrifying and fascinating sense of the dark subconscious bubbling beneath civilized appearances.

The book that made the biggest impression on me, by far, was Friedrich Nietzsche’s Birth of Tragedy. I was transfixed by his description of the play of two opposing forces in ancient Greek culture – the Apollonian, which seeks limits and moderation, and the Dionysian, which seeks excess and ecstasy. I started to see these forces everywhere. Every essay I wrote weaved its way inevitably back to the Apollonian and the Dionysian. The obsession continued at university. Fifteen years later, I wrote my first book on the Socratic path to flourishing, and my second on the Dionysian path. How long a shadow that book has cast!

Strangely enough, I never read other books by Nietzsche. I got my Nietzschean philosophy second-hand, from the novels of DH Lawrence. But recently I was sent a new biography of Nietzsche by Sue Prideaux, called I Am Dynamite. I devoured it – it’s a beautiful, moving, and very absorbing account of a heroic and pathetic life. And it inspired me to read more Nietzsche, and consider his influence on our time a little more deeply.

Nietzsche grew up in a fairly well-to-do German family in Prussia, but the family fortunes took a turn for the worse when his father – a Lutheran pastor – died of a degenerative brain illness in his 30s. The family became hard-up, but Nietzsche lifted them up through his academic brilliance. He was appointed a professor of philology at the age of 25, but he dreamt of being a composer. He managed to befriend Richard Wagner – already a European celebrity – and spent the happiest days of his life at the Wagner castle, where he was embraced as one of the family. For a few years, he moved in the exalted atmosphere of Chateaux Wagner – all high ideals and swooning ecstasies.

But his 30s were not as glorious as his 20s. He wrote The Birth of Tragedy at 28, but it was greeted with ominous silence by the press and academic peers. It was so over-the-top in its ecstatic style, compared to the average plodding academic work. Then he fell out with Wagner, and fell in love with a 20-year-old Russian, named Lou Salome, who ultimately rejected his advances and humiliated him. He was prone to terrible migraines and digestive troubles, and was often confined to bed for days. He found himself tramping across Europe, from city to city, self-publishing his own books, and almost always alone.

Nietzsche in a humorous photo with his friend Paul Ree and 20-year-old Russian tearaway Lou Salome. The three lived in a sort of Platonic menage a trois for a while, before Lou and Paul abandoned the besotted Nietzsche. He became markedly more misogynistic afterwards. ‘You go to women?’ he wrote. ‘Do not forget the whip.’

Yet somehow, out of these inauspicious circumstances, his ideas burst forth, more and more confident and radical. He was certain that he had an entirely new vision of existence, which would destroy the last 2500 years of morality, and pave the way for a bold new adventure for mankind.

When one reads the great prophets of moral philosophy – the Buddha, Plato, the Stoics, Christ, the author of the Upanishads – one notices that they all preach self-knowledge, self-examination, self-control, sobriety, chastity and asceticism of the body. Only through this self-denial, we are told, can the virtuous person go beyond desires and appetites, beyond appearances, beyond impermanence, and arrive at some transcendental resting place – the One, God, the Logos, Buddha-nature, Brahman.

Nietzsche, through his great ‘transvaluation of values’, turns all these systems on their head. Their morality is not virtue and health. It is sickness, weakness, pessimism, nihilism, a symptom of decadence and decline. It is the consolation of the weak, the broken and the disappointed, those who turn wearily from life and ‘put their last trust in a sure nothing rather than an uncertain something’.

He writes, perhaps with the Buddha in mind: ‘They encounter an invalid or an old man or a corpse, and straightaway they say ‘Life is refuted!’ But only they are refuted, they and their eye that sees only one aspect of existence.

These famous moral systems are really an outgrowth of ‘slave morality’. The slave-philosopher Epictetus is a perfect example. He has no power over external things, so he says that true power, true freedom, is power over one’s thoughts and desires. How convenient. Then, like Socrates, he preaches this acceptance-of-weakness to strong aristocratic youth, and ruins them.

The ‘slave-morality’ was first invented by the Jews, Nietzsche says, out of their weakness and domination by various more powerful races. Judeo-Christianity pretends to be a morality of meekness and forgiveness, but underneath that mask lurks resentment and passive-aggression. ‘I forgive you’, they say to their conquerors, but what they really mean is ‘I’m better than you’. And the Romans, alas, fell for it.

Against the slave-morality, Nietzsche champions the masters, the ‘blond beasts’, those strong, carefree warriors who maraud across the world from time to time, like the Vikings, the Teutonic knights, the Mongols, the Indian Kshatriyas, the Greek aristocrats. They were young, healthy, vigorous, laughing, cruel and violent. They basically did what they liked, and called it ‘noble’, and had a gay old time of it until Socrates, Jesus, Lao Tse and the Buddha came along and ruined everything.

Nietzsche thought that liberal democracy was really an extension of Christianity, with its sympathy for the weak and the rights of man. He looked across late 19th century Europe, with its campaigns for universal suffrage, gender equality and the welfare state, and saw the triumph of slave morality, the triumph of the herd, the masses, the little people. It made him sick. He railed against the plebs, and especially against female suffrage – ‘the struggle for equal rights is a symptom of sickness’, he wrote. Healthy women loved to obey men. Only barren women fought for equality.

Democratic, plebeian, mediocre Europeans had lost any sense of greatness. They’d lost even the memory of God and of their predecessors’ heroic struggle for transcendence. They just wanted comfort and ‘well-being’. Nietzsche was no fan of well-being:

You want, if possible—and there is not a more foolish “if possible”—TO DO AWAY WITH SUFFERING; and we?—it really seems that WE would rather have it increased and made worse than it has ever been! Well-being, as you understand it—is certainly not a goal; it seems to us an END; a condition which at once renders man ludicrous and contemptible—and makes his destruction DESIRABLE! The discipline of suffering, of GREAT suffering—know ye not that it is only THIS discipline that has produced all the elevations of humanity hitherto?

Instead, he lays out a new vision for humans, a new project: the Ubermensch, or Superman. He writes in Thus Spake Zarathustra: ‘I teach you the Superman. Man is something that should be overcome.’ We should seek to transcend ourselves not in the service of ‘super-terrestrial hopes’ like God or Nirvana, but rather in the service of self-actualization. This self-actualization – becoming what we are – does not involve the disciplining of the body, the emotions and the desires, but rather letting the desires, emotions and body sing and dance. It does not mean a weary obedience to rules and precepts handed down by priests, but rather the bold creation of new values. Man creates meaning, he does not receive it from God. And this self-actualization will be here and now, in this body, on this Earth, or it will be nowhere. We must resist the urge to find consolation and security in fake metaphysical dreams like God or Nirvana, and instead learn to dance with uncertainty and chaos.

By 1888, Nietzsche felt he had blown his way clear of the old morality, and was euphoric with the new prospects he saw for mankind. He wrote four books in nine months, they poured out of him. He was filled with joy, and even lost control of his face and his emotions – he couldn’t stop grinning. He saw coincidences in everything. ‘He only had to think of a person for a letter from them to arrive politely through the door.’ His letters to his friends became increasingly manic. He started to allude to himself as Dionysus, or ‘The Crucified’. ‘I shall rule the world from now on.’ ‘In two months time I shall be the foremost name on the earth’.

In January 1889 he had some sort of breakdown in the streets of Turin. It is said he saw a man whipping a horse, and he clung to the horse’s neck and wept. How poignant if this is true – the man who condemned pity breaks down in pity! He retreated to his apartment, where he screamed and danced naked. His friend Franz Overbeck was contacted, and found Nietzsche cowering in a corner, trying to read his writings but obviously unable to comprehend them. He never recovered his mind – never seemed to know who he was or what was happening.

He was 44, but lived for another 11 years. His sister Elizabeth, who sounds an evil and selfish anti-Semite, took care of him, and cashed in on his growing success. She ran salons celebrating his work in the living-room, while Nietzsche howled in his bedroom upstairs. She controlled his estate, and turned him into a prophet of Nazism. Hitler came to visit, and emerged from their conversation bearing Nietzsche’s walking stick.

Was Nietzsche’s collapse a divine punishment for his hubris and over-reaching? Some kind of psychosis or spiritual emergency? Or a neurological illness, perhaps inherited from his father? We don’t know. But, just as he prophesized, in the years after his collapse his influence grew and grew. His dynamite philosophy blew a hole in Victorian complacency, and created a space for the fierce experimentation of modernism.

For some years after World War 2, Nietzsche was understandably out of fashion. But he’s been rehabilitated since the 1970s, and is now one of the most popular subjects for philosophy PhDs. Scholars have clarified that, unlike his sister, he wasn’t anti-Semitic – he admired Jewish culture. Nor was he a nationalist – he thought nationalism was a cheap intoxicant, despised German militarism, and called himself a ‘good European’. He was a key influence on Michel Foucault and Jacques Derrida, and helped to create what Paul Ricoeur called the ‘hermeneutics of suspicion’ which is so popular in left-wing humanities and social sciences: what secret interest lurks under an ideal? Aren’t all claims to ‘truth’ or ‘beauty’ really disguised power-grabs by particular interest groups?

This new biography will add to his good reputation – what a heroic man we meet, what a stylist, what a humourist! Who else has chapter headings like ‘Why I am so clever’! Who else can tear apart an entire philosophy (like Stoicism) with a few hilarious sentences. What brilliant psychological insights he threw up in his inspired frenzy – on the unconscious, the ego, projection, the wisdom of the body.

It’s awkward, then, that this new, sympathetic, rehabilitated Nietzsche should prove to be so popular with the alt-right. The American neo-Nazi Richard Spencer has said he was ‘Red Pilled by Nietzsche’, and many other angry young white men on alt-right or Red Pill websites have nothing but praise for Nietzsche. They don’t get him, insist liberal or leftist defenders of Nietzsche. They’re misappropriating him. They’re making the same mistakes the Nazis made.

Oh come off it. Foucault is right that there are many Nietzsches, but one of the most consistent notes one hears is contempt for the masses and hatred of liberal democracy, equality, and the rights of women, workers or the weak. As I read his books this week – particularly Beyond Good and Evil and The Genealogy of Morals  – I thought how well it fit with the alt-right worldview: Liberal democracy is a monstrous cacophony that seeks to shame and emasculate strong men. It is a dictatorship of the offended, the resentful, and the easily bruised, who seek power through victimhood and hurt feelings. This conspiracy of the weak will only work if strong men fall for it – if they become cuks or ‘white knights’, in alt-right and Red Pill terms – if they are so credulous as to believe that women or minority groups really are interested in ‘equality’ and ‘fairness’ rather than simply power and domination. But the strong man, the Alpha male, will break the bonds of liberal guilt and roam free, just like Trump, Bo-Jo, Bolsonaro, Orban, Duterte, Erdogan, Berlusconi, and every other blond or not so-blond beast now strutting on the world stage.

How could the alt-right and Red Pillers not thrill to passages like this, where Nietzsche gets nostalgic about the good ol’ days of rape and pillage enjoyed by the ‘blond beasts’:

They enjoy freedom from all social control, they feel that in the wilderness they can give vent with impunity to that tension which is produced by enclosure and imprisonment in the peace of society, they revert to the innocence of the beast-of-prey conscience, like jubilant monsters, who perhaps come from a ghostly bout of murder, arson, rape, and torture, with bravado and a moral equanimity, as though merely some wild student’s prank had been played, perfectly convinced that the poets have now an ample theme to sing and celebrate.

It reminds one of Kavanaugh – it’s all just student pranks…just bants!

There are passages where Nietzsche even sounds like Trump – in his insults against women, and his absurd boasting: ‘At no moment of my life can I be shown to have adopted any kind of arrogant or pathetic posture’, he says, before continuing: ‘Anyone who saw me during the seventy days of this autumn when I was uninterruptedly creating nothing but things of the first rank which no man will be able to do again or has done before, bearing a responsibility for all the coming millennia, will have noticed no trace of tension in me.’ It reminds me of Trump’s immortal line: ‘I’m much more humble than you would understand’.

How could fascists not grin at Nietzsche’s Strangelovian denunciations of the superfluous dwarves of liberal democracy, who don’t deserve any sympathy – in fact, it is just this sympathy which has led to the ‘DETERIORATION OF THE EUROPEAN RACE’? How could they not cheer at his calls for ‘the higher breeding of humanity, together with the remorseless destruction of all degenerate and parasitic elements’, at his yearning for ‘the harshest but most necessary wars’, at his praise of violence and cruelty as the source of all higher culture, at his endless comments like: ‘The weak and the failures shall perish. They ought even to be helped to perish’.

I could give many such quotes. Nietzsche can’t be called a fascist or alt-righter, because he never stayed in one position long, and he rejected any political action as ‘filth’. But the alt-right can find a lot to love in him. I’m sure sometimes he is being provocative – just bants! – but words and ideas easily slip off the page and kill people.

And this champion of strength and virility was a sickly and weak man, a failure in the army, a loser in love, who claimed not to need public attention yet became more and more megalomaniac until he claimed to be a god. He’s right that there can be something morbid and unhealthy in Stoicism and other philosophies of consolation – but there is also, surely, something morbid and resentful in him, the impoverished and humiliated Prussian constantly insisting on his aristocratic rank. One can find him interesting, funny, fascinating, even sympathetic, and still be honest about the toxicity of his ideas and the damage they do.

Kanye West and the five elements of creative genius

I went to see a publisher the other day, who said they had a project for me. The project turned out to be a series called ‘Great Philosophers’. Could I suggest any great living philosophers to write about, other than myself obviously? ‘How about a book about Kanye West?’ They laughed. Pause. ‘No, really. Make a series of little books about great cultural influencers. I’ll do one on Kanye West.’

They didn’t go for it, naturally. Apparently he’s writing his own philosophy book in any case. But it was a genuine impulse. This may sound weird coming from a white, middle-class philosophy-blogger, but West has been a creative inspiration for me over the last decade or so, more than anyone else our generation. I often listened to his music while writing books, because it got me going, made me believe I could complete the creative task I’d set myself, in an era where artists don’t get paid and we’re all over-saturated with media.

I’ve been into West since I first heard the explosive optimism of Touch The Sky in 2005. But I only really got into him in 2010, when I was writing my first book.

Back then, West was in a bad place – his mother had died, he’d split up with his girlfriend, he’d made an electronic break-up album which didn’t sell very well (it’s now considered a classic). Then he’d interrupted Taylor Swift during her acceptance speech at the MTV Awards, and been labelled a jack-ass by president Obama. He was a global laughing-stock.

For a while he apparently thought about quitting music. But instead he relocated to Hawaii, block-booked a suite of recording studios,  then invited his favourite artists to come, stay, and make music – everyone from RZA and Q-Tip to Nicki Minaj and Justin Vernon of Bon Iver. Every day, they gathered for breakfast meetings, then played basketball, then in the afternoon hit the studio and stayed until the early hours. It was an extraordinary burst of creativity for West – he’d be at the studio all night, switching between different studios and songs, sleeping for a couple of hours in a chair, then starting again.

That led to My Beautiful Twisted Dark Fantasy in November 2010, for many critics the greatest album of that decade.  He was so on fire, he and his collaborators were turning out classic tracks that West just gave away on the internet for free, every Friday – tracks like Chains Heavy, or Joy, or his remix of Justin Bieber’s Runaway Love – one of my favourite tracks of that year (yeah, that’s right, a Bieber remix was my favourite track of the year).

That was when I thought, shit, maybe Kanye’s right…maybe he is a genius!

Genius is an unfashionable term these days, in an era when scientific breakthroughs occur via big data analysis and teams of hundreds. But I think psychologists like Frederic Myers and William James were right when they argued certain individuals can rightly be called geniuses, because they possess certain capacities.

As I wrote about David Bowie, a creative genius needs five attributes. First, they need to be able to open up to their subconscious, which means being able to switch off their critical fire-wall and dive in to uncensored imagination (often this goes hand in hand with mental instability, with a tendency to bipolar or schizoid personality disorder, as it did with Bowie and West).

Second, just as important, they need a conscious power of discrimination, to sort the gold from the dross that pours out of the subconscious. Third, they need to be able to collaborate with other artists, get their ego out of the way, and bring out the best in others. Fourth, they need incredible self-belief to follow their vision and do something new, when the market wants them to repeat the last trick over and over (think Dylan leaving his folk social criticism to go electric).

Finally, and most importantly, they need to have that particular daemonic power in their subconscious, that livewire connection to the Main Source, and to maintain a relationship to that daemon without being fried by it. That’s very rare – a lot of creative geniuses, like Amy Winehouse, get fried by the Main Source before they’re able to create much.

Kanye and the angel / daemon of creative inspiration, from the movie for Runaway

West, like Bowie, has this proximity to the Main Source, the fiery creative daemon within him. The creativity just pours out of him – he’ll create a killer hook, and then change direction mid-song, just because. On the first song of Yeezus, the abrasively electronic On Sight, he declares ‘How much do I not give a fuck? Let me show you right now ‘fore you give it up.’ And the song turns on a dime into this soaring gospel choir-song. The choir sings ‘He’ll give you what you need, it may not be what you want’… and then it’s back to the in-your-face electronics. It’s like Prince – just a ridiculous bounty of creative talent, an excess of it, a table groaning with dishes. Other artists will take a five-second clip of one of his songs and turn it into a hit – like Sigma taking the break from Bound and turning it into their hit, Nobody to Love.

Quite often, West’s songs seem like they’re winding up, and then suddenly they swell back even harder, like a thunderstorm. It’s nature’s bounty, the excess of it. It’s Shakespeare putting in a scene with a gravedigger because why the fuck not.

At the end of Devil In A New Dress from MBTDF – my favourite song of his – the song starts to wind down after three minutes, and you think that’s the natural end, then a guitar starts to wail, the storm starts to build, then Rick Ross comes in with an amazing last verse. It’s a revelling in natural power, a dancing in the storm.

This is the last three minutes of Devil in a New Dress (the video is dumb):

 

With that creative power, that ‘dragon energy’, comes arrogance, ego-inflation and mania. The artist as prophet, the artist as superman, the artist as god. Both West and David Bowie flirted with the ideas of Aleister Crowley, the black magician of the early 20th century, who declared there would be a new era of superhumans who would do what they wanted while the pathetic masses worshipped them. This is the theme of Power, the big hit on MBTDF, the video for which shows West wearing a massive Crowley necklace at the centre of a pagan mass. Both West and Bowie have also flirted with fascism (or, at least, with Donald Trump in West’s case). And both have often fallen for their own myth and pretty much gone crazy.

‘I am a God’ – Crowley, Bowie and West

 

But he somehow hasn’t destroyed himself, yet, partly through a capacity to face his shadow and make art from it. He rapped in Touch the Sky: ‘I try to right my wrongs but it’s funny the same wrongs helped me write this song’. That’s what makes MBTDF so amazing – the ability to hold steady and transmute all the darkness into one of the great albums, as Bowie did on Station-to-Station.

West wasn’t just confronting his own shadow, he was confronting the shadow of being a black male superstar. You get to the top by being a well-behaved performer, like Obama. You do not interrupt Taylor Swift at the MTV awards. You do not expose all your sexual peccadillos, your porn addiction, your kink for white girls. You do not support Donald Trump. You hide that darkness, create a polite persona and a monster in the shadows, as Michael Jackson did, or OJ Simpson, or Tiger Woods, or Bill Cosby. West confronted that monster and made art out of it. He put a painting of him fucking a white girl on the cover (or a white…angel?). ‘Let’s have a toast to the douchebags’, he sings on Runaway. That self-exposure takes guts. Who else doesn’t just admit he’s bipolar, but celebrates it?

Celebrating the shadow – the covers for MBTDF (left) and Ye (right)

And he has an ability to get on his knees before God, as Bowie did in the dark heart of Station-to-Station. He gets really close to the edge of mania and darkness and self-destruction, and he surrenders to God. There’s a powerful bipolarity in African-American music, between God and the ego / flesh / Devil. The church and the juke joint. White music sometimes lacks that energy because white middle-class hipsters don’t believe in God or the Devil anymore, so the stakes are lower. West taps into that bipolarity, consciously. Take ‘Father Stretch My Hands’ from Life of Pablo – it’s a beautiful gospel track which begins with a preacher singing ‘You’re the only power’ and Kanye wailing ‘I just wanna be liberated’ and then goes into a rap about a girl bleaching her asshole. The last line of his excellent new album with Kid Cudi has him singing ‘Lord shine your light on me, save me please’, like Bowie singing ‘Lord, I kneel and offer you my word on a wing’ on Station-to-Station.

Then there are the other superpowers of the creative genius. The ability to discriminate, sort the gold from the shit, to be a perfectionist and not stop until it’s right – it reminds me of the story Jimmy Iovine tells of producing Born to Run for Springsteen, when Springsteen made him work on one snare drum sound for days.

And there’s the ability to collaborate. Like Bowie, Kanye West is amazing at finding collaborators and getting ego out of the way to bring the best out of them and him. That’s how he made MBTDF – gather the people he most admires, and crowd-source it. When he was stumped for the lyrics for Power, he went round the room asking everyone what power meant to them. So when he raps ‘no one man should have all this power’ – that song was, ironically, a group effort. This is what Brian Eno calls ‘scenius’ – not the solitary genius, but the ability to network and collaborate. He lifts artists to another level with his intensity – just like Bowie and Eno could.

Many of the greatest moments in his music feature other artists leading – Nicki Minaj’s rap on Monster, Chance the Rapper at the end of Ultralight Beam, Lupe Fiasco’s rap on Touch the Sky, 070’s amazing last verse on new song Ghost Town, or Kid Cudi’s amazing performance on new song Reborn. That’s generous and ego-effacing, to let others take centre stage. Check out how much he enjoys the other artists’ performance in this killer live performance of UltraLight Beam on SNL:

 

 

And, of course, he’s also a douchebag, a loud-mouth, a narcissist, a fool, a personification of the vain male ego. But for a decade or so, now, he’s been chanelling the Main Source of creative energy, and that is exhausting and destructive – it almost killed Bob Dylan, it almost killed Bowie, it has almost killed West. The masses look to them as prophets but as Plato said of poets, they don’t really know what’s coming through them – it’s not wisdom, it’s sheer creative power. Don’t expect ethical or political wisdom from them.

Then the electricity shifts and finds someone else in the network to fry, and they’re out there in the cold for a while, everyone saying they’ve lost it, Dylan’s gone evangelical, Bowie’s making Tin Machine, Paul McCartney’s gone vegan, West’s gone alt-right. He’s a douchebag. You feel let down by his latest doucherie? He’s always been a douchebag. But listen to the new album Kids See Ghosts. Or listen to this Spotify playlist I made of some of his finest moments. Here comes the rain again.