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Sunday, October 13, 2024

What Ideas From the Paleolithic Are Still With Us in the Modern World?

An interview with renowned economic historian Michael Hudson on where our calendar comes from, his collaborations with the late intellectual David Graeber, and the long-lost practice of forgiving debt.
October 11, 2024
Source: Originally published by Z. Feel free to share widely.





Is the order of the modern alphabet connected to how our shared ancestors counted the phases of the moon and its effect on tides 50,000 years ago? Did the first stirrings of government and bureaucracy emerge from the efforts of early astronomers to reconcile solar and lunar calendars? These are the kinds of questions that have kept economic historian Michael Hudson up at night.

On the surface, learning about the origins of the methods people use to bring order to their lives—such as time, weights and measures, and our financial systems—seems like just another history lesson. One ancient practice leading to another, resulting in guesswork of what people did before the last Ice Age.

But it goes beyond interesting. It’s very useful. The more we can parse out and extrapolate the beliefs and attitudes of previous eras, the more we might be able to step out of present behavior patterns and perceive social problems we keep creating because we thought we had to.

A deeper reach into human history is now possible, thanks to a growing body of archaeological and scholarly research collected in recent decades. Many experts in related fields have speculated that this research will have a large social impact as it percolates through centers of influence and we become accustomed to relying on a wider, global human historical evidence base as a reference. Society will greatly benefit from minds that are trained to think in deeper timescales than a millennium or two—archaeology and biological sciences increasingly permit useful insights and pattern observations into humanities at a historical depth spanning millions of years.

Hudson’s research has already made inroads into modern life. Many contemporary economists rely on his understanding of financial history in the Ancient Near East. Hudson’s collaboration with the late anthropologist and activist David Graeber inspired his launch of the debt cancellation movement during Occupy Wall Street. Graeber’s book Debt: The First 5,000 Years is a popularized adaption of Hudson’s research on the early financial systems of the Near East, encouraging Graeber to follow up and coauthor the bestselling book The Dawn of Everything, an overview of new interpretations in archaeology and anthropology about the many paths society can take.

I reached out to Hudson for a conversation on these topics, starting with his reflections on what drew him into prehistory in the early 1970s, and his collaborations with Harvard prehistorian Alex Marshack.

Jan Ritch-Frel: Alex Marshack was well-known for his idea that many of the social institutions we live by today are derived in large part from the “thought matrix of the Paleolithic”—the ideas and attitudes, social systems, and means of recording and transmitting information developed over thousands of millennia until the most recent Ice Age. How did you two find each other?

Michael Hudson: I had read in the New York Times about Alex Marshack’s analysis of carvings on a bone found in France, made approximately 35,000 years ago with markings that he viewed as tracing the lunar month, not mere decorations. We became friends. He was living and working in New York City, with a housing arrangement between NYU and Harvard to provide housing for each other’s faculty.

Marshack was working from the Paleolithic forward, the time before the last Ice Age, to see how it shaped the Neolithic and Near Eastern Bronze Age. My approach was to study the Bronze Age because my study was about the origins of money and debt and its cancellation. And then to work back in time to see how these practices began.

Marshack was most focused on how the measurement of time began before there was any arithmetic. Counting began with a calendrical point of reference. Marshack showed that lunar months initially were pre-mathematical, indicating symbolic literacy proliferated in the Paleolithic. He developed the idea that a motive was to arrange meetings—groups separated by distance tracking the passage of time to convene at pre-agreed locations. I was interested in the calendar as an organizing principle of archaic society: its division into tribes, and as providing a model of the cosmos that guided the structuring of social organization.

I had been writing on ancient debt cancellations, and the idea of economic renewal on a periodic basis. We both had this basic question—how did this awareness of time turn into actual counting and provide a basis for ordering of other systems, from social organization to music? Marshack showed what I’d been writing to the head of the Peabody Museum at Harvard University, who invited me up for a meeting, and soon enough I was a research fellow there too.

I began my work on how order was created by trying to think about how the calendar became the basic organizing principle certainly for the entire Bronze Age, and no doubt leading up to it.

Ritch-Frel: The words “month,” “measure,” and “menstruation” are all derived from the word moon in Proto-Indo-European: “mehns” according to scholars of the early Bronze Age Language, which is ancestral to many of Eurasia’s major languages spoken today. Going back to Marshack’s research direction of looking at the thought matrix of the Paleolithic, what answers was he looking for with the evidence from the past?

Hudson: Marshack saw the centrality of social and prosocial behavior as a driver among separate groups—today’s humans thrive on the interaction between groups. The management of that, diplomatically and administratively through a calendar process had to be a key basis for survival across time; it had an ordering function. The need for dispersed populations to come together for trade and intermarriage.

Marshack believed that Paleolithic leaders would have understood that this lunar calendar and the notations associated with it were technologies of chieftains, of governance. Oftentimes, leadership comes down to organizing meetings and the rules these meetings have. The lunar calendar was the basis for figuring out when separate groups were all going to meet together at some annual interval, and maybe there were meetings at the monthly or seasonal interval, such as the equinoxes or solstices. And it was probably based on a new moon.

Here’s a case of the thought matrix of the Paleolithic shaping societies that we call ancestral: Marshack and I came to interpret that the key meeting date would be a new moon—time was thought of as a baby, the moon grows and becomes older. This goes right down to the Roman calendar. The new year was the shortest day of the year. When the year is born, it’s the smallest before it grows. The idea of a life course of a year, with weather, people, and animals traveling along with it was at the heart of the Paleolithic thought matrix. Marshack, for example, studied the amount of attention and care Paleolithic cave painters of Europe put into drawing animals to indicate a particular time of year. If there was a painting of a fish, it would have the long jaw that fish developed in the mating season. You could look at whether the animals were molting or not. Paleolithic artists across the world were always careful to note that.

To show you how the year’s 12 lunar months were a format often adopted for organizing other social structures, let’s consider the social models we see in the Near East and the Mediterranean that are recorded in the Bronze Age: As populations settled into increasingly sedentary communities, a typical form of association was the amphictyony, divided into 12, four or six “tribes” or regions. These tribal divisions enabled the rotation of chiefs by the month or season so that all members of the amphictyony would be equal. “Foreign relations” were standardized carefully to provide equality.

Ritch-Frel: I am mindful that when people elect to use an ordering system for some part of life, it’s based on good reputation and there being a convention that connected social groups share. If people decide to organize society into groups using a 12-month lunar calendar logic, it’s a measure of its latency in the wider human culture and is still with us today. This Paleolithic tradition organizes the backgammon board we play on today, designed by Sassanid Persians, it’s rooted in the lunar calendar logic of 12. We don’t pay much attention to ordering systems once they’re in place, as long as they work.

Hudson: Certainly by the Neolithic, people began to count everything. Even if they didn’t have systems of mathematics, they were counting—and trying to find correlations and associations with natural phenomena around them, from weather to the behavior of animals. For instance, an archaic cosmologist might count the number of teeth of a horse and attempt to correlate that with something that shared the same number.

The assumption was that maybe we could control things by taking some proxy that shared the same number or some other cosmological characteristic with another, and we could have a ritual on earth that would somehow manipulate the heavens and our environment in the way that we wanted to.

We might call that pseudoscience—confusing similarity with true correlation, confusing correlation with causation. While many of us might make a living in science using higher-grade scientific standards, there’s quite a lot of that still going on today—in conversations with family and friends, in sports and its statistics, and fortune telling is an industry that’s still going strong.

Ritch-Frel: We can regard this general instinct as leading to know-how and in some cases part of science, as the process gets refined.

Hudson: Think of it as experimentation: “Let’s see if we can do this and see what works.” They were experimenting, but the logic was to think in terms of a system, and I think that’s what made the Bronze Age societies work.

The key to archaic science was to think in terms of a cosmos, in which everything was interrelated. The so-called Astrological Diaries of Babylonia correlated grain prices, the level of the Euphrates, and other economic phenomena, including royal disturbances and behavior much as modern astrology seeks to do. They were seeking order, and they started by correlating everything they could, including the movements of the planets.

Today, we think in the decimal system. But it’s not automatic to assume 10 fingers as the basis for how hunter-gatherers are going to count; even in cases of using the body as a memory device. Some Indonesian societies, for example, counted across the span of their outstretched arms, with 28 spots. That would be a measure of using the body to follow the phases of the moon. I also noted that these tended to track with a range in the number of letters in the alphabet that we see in many languages today, in the mid-20s and 30s. It seems that before numbers, something like the alphabet was used to name the moon’s phases.

The number of letters in many early alphabets that we know of corresponded with the lunar months. And the most important characteristic of the alphabet is its sequential order. We don’t say AMD, we say ABC. They’re always in the same order. Does that contain an older pattern? The key is the fixed sequence, a pre-mathematical organizational system.

We know that many Paleolithic communities across Eurasia and the Americas were following the phases of the moon. And we know from Neolithic structures such as Stonehenge that people were also focusing on the key solar intervals, especially the solstices that were turning points for the birth of the year on the shortest day, and equinoxes that were the turning points.

There was a permanent need to combine a lunar calendar, which governed local social life, with a solar calendar, which told the story of the seasons, separated by solstices and equinoxes. And, of course, that was a big problem because imagine the frustration that they had when they realized that the lunar and solar months don’t correspond exactly: A lunar year has 354 days, and a solar one has 365. The mathematics of the form of solstices and equinoxes, and the time gap between the 354-day lunar year and the 365-day solar year (as well as the leap year) could lead to divergences in cosmology and social ritual using the calendar as a basic organizing principle. The solstices and the seasons, often highly social events with important rites and traditions, would be more complicated to schedule and would be pushed to different dates as the years went by.

Marshack thought that once arithmetic was developed, some priest-like individuals or chiefs began counting everything, looking for a pattern, an explanation. “Let’s see what works.”

I became curious about how Mesopotamia and others blended their cosmological calendars and kept their traditions on schedule and societies harmonized. We know that many of the lunar years remained the basis for many religions all the way from Mesopotamian practices to Jewish practices, down to today, and yet there was also the solar year.

Ritch-Frel: As Near Eastern societies became more complex in the 3rd and 4th Millennium BCE, how did they reconcile all this? And how did the calendrical system become imbued into an arithmetic basis of weights and measures and rations?

Hudson: The early Sumerian cities like Uruk or Lagash frequently experienced the upheavals of warfare and disease. That meant there were large numbers of widows, orphans, and slaves in these cities. The place they found for them was basically in large weaving workshops around the temples. A large, exploited workforce producing textiles required an administrative system to feed the labor pool over the course of the year—a new calendar system.

Leaders worked with their astronomers and cosmologists to develop this administrative calendar to feed this workforce population. It seems that the convention of 12 months per year borne out of the lunar calendar was assumed, the question came down to how many days are there in that month. Neither the 354-day lunar or 365-day solar calendar worked—for causes of variability in length, their need to be corrected to follow the seasons, or the inconvenience of the way the numbers couldn’t be divided by 12. There couldn’t be oversights in the administrative calendar that missed a day—mistakes made in provisioning food for people are quickly noticed.

It seems natural they’d want to land on a day that both served the administrative needs and could be correlated with the 354-day lunar calendar and the 365-day solar calendar. After trial and error, 30 rations per month, 12 months per year produced a social logic of 360, pretty close to the two ancient cosmologies.

The standard ancient daily ration in these early Mesopotamian cities for the workers and enslaved people was two cups of grain per day per person. Using the administrative 30-day calendar, 60 cups of grain was one month’s ration. A slave or a temple worker required 60 cups of grain a month—it became a rule of thumb for the city leaders and managers. One month’s rations, 60 cups, is a unit of weight, a bushel. That key weight, organized by the number 60 has a forcing effect on how the commodity grain is often exchanged for silver. It led to silver being organized in weight units of 60, called a mena, so that the trades for weights of grain and silver could correspond easily.

The palace calendar became the administrative ration calendar model, the 12-month, 30-day calendar. And there was administrative efficiency. They saw correspondence in the rations with the units they used for weights and measures, and for calculating loans and mercantile trade. Naturally, if silver and grain are organized on the basis of 60, it was convenient for minds trained to calculate on the basis of 60 to use it as the numbering structure for interest rates. You can see how units of measure, once they become convention, have an easy time traveling across categories of activity. To hammer it home, the time units for payment plan structures on early Mesopotamian debt were derived from Paleolithic time units: monthly, borrowing from the lunar calendar; quarterly, borrowing from the four annual seasons divided by solstice and equinox; or annually using the solar calendar.

That annual part is the next phase of this to discuss, as you’ll remember, the 360-day calendar is a social artifice that needed a process every year to correctly align with 354- and 365-day calendars. The incompatibility between these calendar years was treated as a time of anarchy, which required harmonization—long before the administrative one was invented. The process of bringing order to chaos was also brought over from the Paleolithic—it was as familiar a convention as the 12 lunar month calendar. The resumption of a new solar year was treated as an occasion for setting affairs back in order and clearing up old dues—not just getting the calendar to align, but the social imbalances and unresolved appeals to justice inside groups and among them. The cleaning of the slates, which listed debts and obligations in increasingly large settlements, would have drawn their justification from this Paleolithic process.

The importance of recording grain supplies and the related mercantile trades and the lending system around them, the palace administrative calendar, and forecasting lunar and solar cycles to find concordance dates for future calendar years put pressure on the astronomers and cosmologists of the Bronze and Iron ages to develop fuller arithmetic, quadratic equations, and even analogue computers with gears to determine the movement of the sun and the moon and other heavenly bodies that served as useful fixed points for their calculations.

Ritch-Frel: The process is important here, and so is this example for understanding how existing human social conventions like the Paleolithic lunar calendar form the basis for future ones. How did Bronze Age rulers adapt Neolithic and earlier traditions of resetting the annual calendar, old debts, and unresolved justice?

Hudson: Archaic societies knew well that social order required active intervention to restore order. Unlike the calendar, realignment in the social economy was not achieved automatically. The birth of a new year was a tool and natural marker to clean up debts and obligations from the year before. This became especially important with the spread of interest-bearing debt in trade and agriculture: It was necessary to prevent an oligarchy.

Cosmology is a system. And calendrical cosmology is a system with an inherent source of disorder: the gap between the solar and lunar years. Certainly, both in Mesopotamia and Egypt, the idea that the gap between the lunar year and the solar year was a time out of time—when repair of social inequality and imbalance could be addressed.

Debt cancellations were normal practice throughout the Bronze Age in the form of royal proclamations of clean slates. Not only were debts wiped out, but bondservants were free to return to their own families (and enslaved people were also returned to their debtor owners), and lands that had been lost through debt or other misfortune were returned to their former holders. The logic of the statements in the proclamations follows a thought line of, as above, so below; on earth as it is in heaven. It’s useful to cloak the ancient calendar convention of the Paleolithic chaos-into-order period into the social-economic principles that the new agricultural society lived by.

And while you’re dealing with this cosmology trying to create order and restore order in terms of time, how do you prevent the disorder from the increase in wealth that occurs as technology and population grow and societies become more and more productive and wealthy? That was a big challenge to civilization. The Asian societies met it very well. The Middle Eastern societies met it very well.

They had a system that was able to keep time, and generally prevent or remedy social polarization. They wanted to have a system that maintained order on a continuous basis without creating disorder. And that’s what led me to work with David Graeber and other people trying to think, well, how is it that you’d have some very archaic societies that very often lasted a lot longer than the ones we have today? And as Graeber pointed out in his more recent book, The Dawn of Everything, there are many Mesoamerican, and generally speaking, Native American communities that had a very careful standardization of social poles—you didn’t want there to be wealthy people, it creates egotism, it tends to be abusive to other people.

Ritch-Frel: Can you share a bit about your collaborations with David Graeber?

Hudson: Graeber’s basic aim was to show how some societies had avoided polarization and inequality as social wealth developed. How do we explain the origins of inequality and how do we prevent it? We had talked originally about economic historian Karl Polanyi and his circle’s attempt to go beyond the economic orthodoxy that social organization began with individuals bartering and lending money based on its rate of return. He took the viewpoint that there was a wider society in motion that was shaping our economic structures, not just merchants and customers.

Well, he had read my books, and I mean, we had long discussions and he said, he wrote Debt: The First 5,000 Years largely to popularize my work, and because he realized that debt was the great polarizing fact of antiquity. And that’s why he pushed the Occupy Wall Street movement to focus on debt cancellations.

One of David’s activist tactics was to buy defaulted debts of people for 1 cent on the dollar, which everybody thought was collectible. There are marketplaces for defaulted debt that lenders have given up on, and there’s a secondary market for debt-collecting divisions of banks that want to take their chances, buying the debt at very steep discounts. And Graeber wanted to raise money to buy these debts and tell the debtors, you don’t owe this money anymore. Look, we paid it all off for you.

What David and his friends couldn’t have bargained for is just how depraved and corrupt the banks were—the banks had sold the same collection rights to many different collectors. The debtors were still being harassed by debt collectors even after their loans were bought off.

The tactic didn’t work, but the idea was right. David and I both wanted to advocate debt cancellations here because that’s what’s destroying the economy today. Western civilization never developed the means of canceling debts in the way that the Near East and other parts of Asia did.

Today, we are smothered in a fake storyline, a fake origin myth for economics. Margaret Thatcher typifies this attitude. You have to pay the debts. You have to let the rich people take over because they get wealthy. And unequal wealth is what civilization is all about. The ability of wealthy people to crush and destroy civilization is Western progress.

The myth goes like this:

In the beginning, there were individual entrepreneurs who tried to make money, the government then stepped in and wouldn’t let them make money, canceled the debts, and nobody would lend money anymore, so economies couldn’t develop. But fortunately, our modern economy figured out how to grow: the payment of debts is a must, and that gives security to the creditors. We can’t have a free market, wealth-creating economy if the 1 percent can’t drive the 99 percent into debt. And that’s why the stock and bond market and the real estate market have gone up when the rest of the American population economy, the 99 percent since 2008 have gone down.

Meanwhile, if you look under the hood of the Bronze Age, the Neolithic that preceded it, and the Paleolithic before it—the evidence overwhelmingly points to a default: mutual aid, and common wealth.

Our leading economists say civilization couldn’t have begun this way: “If you began this way, how could you ever have the security of creditors to make the loans, to help everything develop?” They’ve just never lived in that world, so, therefore, it’s unimaginable for them.

Ritch-Frel: A fuller account of human history that stretches millions of years into the geological time scale, across a wider geographic area, is part of the infrastructure humans need to pave a road back to more resilient and equal societies. What have you gathered as you have followed the evolution of social insurance and mutual aid systems into government administration, modern banking, and finance? Did you spot paths not taken that lead to more humanistic outcomes?

Hudson: In my opinion, the key driver of Western economic history is the shifting and unstable political relationships that grew out of the financial dynamic of debts growing at compound interest faster than the economies can pay. Casting the net wider, we can see that it was a tenet of Chinese law, Indian law, and Middle Eastern law, to prevent an independent financial oligarchy from developing.

How did we lose all of that?

A series of historical events, of course, rooted in what we call the Classical Era in the Mediterranean. When Phoenician and neighboring sea traders expanded their trading posts into the Mediterranean and mixed with various colonies, they enforced the concept of charging interest on debts, and the chieftains of city-states and colonies adopted this policy without the debt cancellation cure that centralized rulers adopted across the Near East. The traders just wanted their silver, they weren’t terribly bothered by upheavals in the social order that occurs when you don’t cancel debt. The economies of Greece and Rome and their political heirs in Western Europe were all about creating a financial oligarchy and sanctifying debts instead of sanctifying the cancellation of debt.

By explaining the Mesopotamian and other Near Eastern royal proclamations canceling debts and reestablishing order, it is possible to show people another path—one that has worked for thousands of years, and emerged out of that Paleolithic thought matrix. What we call Western civilization and progress is a detour from the direction that human civilization had been traveling for a much longer time.

This whole detour of not being able to control the egotism borne by wealth and the development of a creditor class—who eventually gain control of the land and the basic needs of life—is a civilizational problem.

This article was produced by Human Bridges, a project of the Independent Media Institute.

Saturday, August 31, 2024


Break on Through: Finding The Doors



 
 August 30, 2024Facebook

The Doors in 1968. Photo: Elektra Records.

LONG READ


I was at university when I first heard the Doors.  It was springtime, coming on summer.  I was living on campus, my first year, and I was eighteen.  I was in a housemate’s room, waiting for him to get back for some reason I don’t recall now.  The building we lived in was a little run down, the rooms were shabby, but I remember that day – the sunshine streaming through the windows, the dust embers in the air glinting and dancing.  Our campus was situated in the lap of a large valley, and in the distance, I could see the green of the hills.  Maybe it was late morning or early afternoon; knowing my habits at that point in my life, I probably hadn’t been up all that long.  I was sleepy and a little bored so I began to thumb through my housemate’s CD collection.

I took out a CD, ‘The Best of the Doors’.  It’s the one with a black and white cover, the lead singer Jim Morrison, his arms extended sideways like some sort of rock and roll Jesus, the shaggy mane tumbling down from the sides to frame a face which is statuesque and perfect, eyes vacant and yet melancholy somehow too.  But I only glanced at the cover, dismissing it.  I pretty much figured it was music from the 60s.  I knew music from the 60s; growing up my father had record and CD collections spread around the house, and when he’d get drunk he’d pelt them full blast keeping everyone awake.

I liked some of that stuff though. I liked the cheeriness of rock and roll rhythms and the sentimentality of some of those old crooning love songs.  They seemed of another time.  A self-contained world that had none of the sophistication or irony of modern music, music which tended to reflect darker and more fitful realities.  These were the vague prejudices I felt, rather than thought upon.

But for some reason – perhaps it was that boredom again – I ended up putting on that first Doors CD.  I went to a random song and pressed play.  And listened while the sunlight streamed in and I could hear the vague chatter from people passing outside. And then it just … melted away.  There are certain times in one’s life when you have an existential aesthetic experience, something which feels almost life-changing, and yet it is wholly accidental.   Flicking TV channels late at night, coming to rest sleepily on a film, and eventually finding yourself drawn in, gripped and awakened, only to remember that film for the rest of your days.   This was a little like that.

The song was ‘The Crystal Ship’.   Whatever I had been expecting it wasn’t anything like what I heard.  I had thought of 60s music as being old-fashioned, but this seemed much more modern.  Only modern is not the right word.  Timeless.   The first few words of the song are acapella, this voice intoning in the dark – ‘Before … you … slip …’ and then it is joined by what I can only describe as fairground music.   A faint shimmering symbol, a fluttering rhythm which gives way before the gentle but steady piping of a distant organ, and that voice continues, diaphanous and hypnotic – ‘Before you slip …. into unconsciousness … I would like another kiss, another flashing chance at bliss … another kiss’

As that carousel music flows onward in the background, that voice continues to intone.  That voice.  I’d never heard anything like it.   It was so perfect as to be almost hollow, so fine as to be almost toneless.  There was something inhuman about it, ethereal; more like a Platonic Form – a shimmering transcendental archetype – than something living and breathing; and yet, in the same moment, it carried such human loneliness, such longing – ‘the days are bright and filled with pain … enclose me in your gentle rain.’    It was haunting. It was hurting.   I imagine that if a ghost had a voice – a spirit imbued with all the regrets of a life now gone – it might sound something like that.  It might sound the way Jim Morrison sounded to me that day, in that room, all those years ago.

And perhaps that is the fundamental miracle of music.  It is, more than anything, an activity of ghosts.  Someone has lived a life, and at some point along the line, they poured that life into words and music.   Eventually, that life must be lost to time.  And yet, the medium preserves the sound – the record, the cassette, the CD, the MP3 – it allows what once was to play out again, to call out across time – as a plea, a lament – bridging one existence with another, the past with the future, the living with the dead.

I have never experienced that aspect of music – the sense of its ghostly eternity – with the intensity and power with which his voice stole over me that early afternoon. Neither before nor since.  I replayed the ‘The Crystal Ship’ over and again, marveling at its ephemeral beauty, feeling a physical sense of loss when that voice died out.  When my friend returned, I asked him if I could borrow the CD (we were not particularly close) and I recall the anxiety that shot through me at the thought of being parted from the sound if only for a few hours.   He was, however, kind enough to lend me the collection, and later that evening I smuggled it into my room like contraband, like something otherworldly, something precious.

The late comic and rather wonderful human being Robin Williams once said ‘I used to think that the worst thing in life was to end up alone. It’s not. The worst thing in life is to end up with people who make you feel all alone.’  I like this quote because it hits on something deeper, something that is a fundamental part of modern existence.  The sense that loneliness isn’t simply about separation but also about togetherness.

Many of us live in cities populated by millions, some of us live in tenement blocks or towers, hundreds of people are packed together in these great concrete fortifications, and yet we rarely ever speak to, or even know the names of, our closest neighbors.  In modern life, the individual existence unfurls in the midst of the crowd and yet this sometimes serves to emphasize the crystalline quality of loneliness all the more sharply.

At university, I felt like that.  My evenings were often busy and filled with people – having done various awful part-time jobs to pay the bills, I eventually resorted to selling weed, which was more fun, despite the nocturnal hours.  But I felt a distance from the people around me.

The students I knew on campus were often public school boys or international students.   The public-school boys fascinated me, they had an affected drollness, they would all address one another by their second names, as if they were practiced professionals conducting business scenarios in a board meeting or gentleman’s club – the ridiculousness of their affectations betrayed only by a twinkling, knowing smile.

They would banter ostentatiously, with wry grins, and their humor was droll in a wink-wink, nod-nod type of way.  And they would drink like medieval aristocrats – and though their politics were as awful as you might expect – they could be very funny, taking each other down ruthlessly, and yet with the underlying affection that comes from the recognition of another member of your same tribe.  What I remember most was how at home they were in the world, how comfortable they seemed in their own skins.

The international students were different again; beautiful boys and girls with olive skins and honeyed eyes, young men and women from Greece, Spain, Italy and France whose rooms smelt faintly of incense and coffee, of olive oil and pot, and who would spend nights under a candle-lit glow holding forth on politics and philosophy, passionate and amused.  Even their conversation was impossibly continental and exotic; magical names floated across the air like incantations, names I had never heard before – ‘Foucault’, ‘Derrida’, ‘Deleuze’ ‘Levinas’ – mysterious and enigmatic figures whose esoteric thoughts and theories it seemed to me these students had at their fingertips.

They seemed so knowledgeable and in the ease with which they moved through life, so casually sophisticated and supremely adult.   And this they shared with their public-school brethren – a sense of being entirely at home in the world.

I did not feel at home in the world.  I don’t think I ever have.   And in the summers, the public-school boys would take to the snowcapped mountains of Switzerland and France for skiing holidays and the international students would decamp for a summer spent island hopping around the Mediterranean, and I would return home to do factory work or spend the summer pushing trolleys in Tesco feeling vaguely that life was leaving me behind.

And in the nights, I’d drink whiskey and smoke and listen to the Doors.  Their music seemed to speak to me of loneliness in that hauntingly modern way.  When one listens to a song like ‘People Are Strange’ it is paradoxical.   On the one hand, it has that carnivalesque sound; when the song reaches its chorus, the music is jaunty almost cheerful – ‘When you’re strange … faces come out of the rain’.  It has the rhythmic tempo of a New Orleans marching band, it is rousing, upbeat, and you want to clap along with it.  But this is offset by the otherworldliness of that distant voice and the lyrics themselves which provide a masterclass in the poetry of alienation: ‘When you’re strange, faces come out of the rain … When you’re strange, no one remembers your name …. When you’re strange, when you’re strange …’

This is the loneliness of modernity; a loneliness which is filtered through other people, only they are not other people at all, but apparitions – those ‘faces’ which ‘come out of the rain’ are as specters materializing from the nighttime mist.   It is the loneliness of the streets where there is an insuperable divide between one’s inner life and thoughts, and the people you encounter in the darkness. ‘People Are Strange’ provides a ribald, Gothic-esque carnival, blending the excitement of the city at night and all those unimagined lives with the infinite distance that opens up between each and every one.

Such music – encompassing both the stark alienation of urban realities along with the gothic sound of an eerie and ghostly carnival – offers a tissue of contradictions; the upbeat works in tandem as a musical refrain with an underlying pulse of despair, the baroque plays out alongside the contemporary, isolation and anomie is refined in and through the noise of the crowd. As the author Melissa Ursula Dawn Goldsmith comments on ‘People Are Strange’, the song employs an ‘expressionist’ sense of ‘alienation and distanciation’ in order to express the positive aspect of social life as something ‘strange’.[1]

‘Alabama Song’ – perhaps one of the best peons to getting drunk ever penned – operates in a similar fashion; that ‘Show me the way to the next whiskey bar … Oh show me the way to the next whiskey bar!’ again works in terms of a marching rhythm, a call to action, the need to seek out Dionysian excess, to drive the pleasure principle to its apex but of course such ‘positivity’ eventually yields a chaos and a senselessness and a lack of meaning – ‘oh don’t ask why’.  The antinomies of pleasure and pain, of joy and hopelessness that are the syncopated rhythms driving the soundtrack to the existence of every alcoholic, every drug abuser, are – in Morrisons’s hands – rendered as vivid and raw as the train tracks that streak down a heroine addict’s arm.

As is well documented, Jim Morrison was both an alcoholic and a drug addict, though toward the end of his brief existence, the former mostly outweighed the latter.  That Jim Morrison should have indulged in booze and drugs is hardly surprising; indeed it would have been more shocking had a young man of his age and time been a teetotaller, especially given the relationship drugs and drink played in the context of a social rebellion that saw conservative mores challenged not simply by direct action and political protest but also by a cultural revolution.

In their comprehensive, insightful and well-written biography of Jim Morrison, authors Jeffery Hopkins and Danny Sugerman describe how the teenage Morrison was drawn into the burgeoning counterculture of the 1950s, how he was able to escape the stifling small-town conservatism of Alameda – where the family was based – by hopping on a bus and making for North Beach.  North Beach was a neighborhood in San Francisco that had become a beacon for counterculture through the new breed of literature and records which were beginning to describe the adolescent experience as it tore itself away from the expectations of the ‘greatest generation’.  Expectations which had been marked by a certain unremarked stoicism, a silent duty to the family and the state and perhaps also a quiet desperation; all aspects of a way of life whose insularity and conservatism had grown out of the trauma of war and the memory of economic depression.

But if that generation had played out the events of its life in a monochrome black and white, then the generation of the 1950s was the first to explode into technicolor.   As the teenage Morrison strolled down North Beach Broadway, he’d encounter a hectic clutter of bright, neon-lit shops whose contents gave voice to the new spirit of youth and self-expression starting to emerge from the grey fug of small-town suburbia, for here, among other things, was the ‘world headquarters for the beatniks’.[2]    Morrison would frequent the ‘City Lights Book Store’ with its alluring promise of ‘Banned Books’, and he would pore over the work of the beatnik poets – ‘Ferlinghetti was one of Jim’s favorites, along with Kenneth Rexroth and Allen Ginsberg.  Ginsberg made the greatest impact’.[3]

But the most potent influence on the teenage Morrison and his sense of self came in the form of the great bohemian, beatnik novel On the Road, the nomadic flavor of its wandering freedoms and most of all, its invocation of the character of the wild and free-spirited Dean Moriarty and its blurring of the lines between freedom and madness – ‘He was one of Kerouac’s “mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn burn burn like fabulous yellow Roman candles exploding like spiders across the stars’.[4]    Indeed the teenage Morrison was so enamored by the fictional character that ‘he began to copy Moriarty right down to his “hee-hee-hee-hee” laugh.’[5]

It was unsurprising, then, that the adolescent Jim Morrison would get drunk and dabble with pot, not just because these things provide goofy and fun experiences for many a teenager, but on a more profound level, they were part and parcel of the cultural milieu and the kind of archetype of youthful freedom and rebellion that Morrison was intuitively and aesthetically drawn toward.  For the same reason, it is no coincidence that this developing cultural consciousness, the rituals of drinking and getting high, and the exploration of the counter-culture aesthetic through beatnik literature would also coincide with Morrison’s first forays into writing himself:

Jim was becoming a writer.  He had begun to keep journals, spiral notebooks that he would fill with his daily observations and thoughts … and as he entered his senior year, more and more poetry.  The romantic notion of poetry was taking hold: the “Rimbaud legend,” the predestined tragedy, were impressed on his consciousness, the homosexuality of Ginsberg and Whitman and Rimbaud himself; the alcoholism of Baudelaire, Dylan Thomas, Brendan Behan; the madness and addiction of so many more in whom the pain married with the visions.  The pages became a mirror in which Jim saw his reflection.[6]

The connection between alcohol and creativity has a seasoned lineage.  In ancient Greek times, the grape was not just a symbol of Hellenic identity in the same way as the olive vine, nor just a richly traded commodity and mere object of consumption, but moreover something which had a significant aesthetic and religious usage in its form as alcohol.   The Greek word Pneuma (πνεῦμα) translates into ‘spirit’ – but it also has the meaning ‘breathed’; it was conceived that the ‘soul’ or ‘spirit’ was something ‘breathed’ into the individual from a divine source, and that inebriation was a way of opening up the spirit to its origins, to bringing oneself into contact with the infinite once more.

And, as the late Christopher Hitchens pointed out, ‘the very word “spirit”’ also preserves an intuition of the ‘“inspired” that was detected by the Greeks when they hit upon fermentation’[7] and used its results in their creative endeavors, not least of which was the production of music and art.   The counterculture movement of the 50s and 60s revived this notion and deepened it; the idea that alcohol and drugs could provide a gateway to a deeper essence, the conscious-altering-means which could provide a sublime encounter with the transcendental reality.  Whilst at UCLA, Morrison became fascinated by the ancient Greek world, particularly in and through his readings of the eloquent and savage reactionary philosopher Fredrich Nietzsche.

In particular, Morrison would come to identify with the figure of ‘the long-suffering Dionysius’, for in the ancient Greek god, Morrison found something more primordial, an archetype that hinted at a buried and elemental reality through the experience of both suffering and excess.  Dionysius, in Nietzsche’s philosophy of art, became a symbol for the darker, unrestrained and irrational impulses that lurk just below the depths of the psyche and come to power that aspect of aesthetic creation which is chaotic, instinctive and unconscious.

Morrison combined this sense of art, with a broader philosophical vision; the poet’s suffering, the poet’s creativity – heightened by the use of alcohol and drugs – could work toward an ‘ecstatic dissolution of personal consciousness’.[8]   If this was achieved – if personal consciousness with all its distortions and peccadillos was somehow transcended – then true reality could be glimpsed in its eternal and elemental guise; or as the great religious poet William Blake put it, ‘If the doors of perception were cleansed every thing would appear to man as it is, Infinite.’[9]

This type of philosophy precipitated an artistic journey, the use of drink, drugs and aesthetic activity in combination to seek out the ‘infinite reality’, the ‘primordial nature of the universe’, or as Jim Morrison and his college friends would come to call it, ‘the universal mind’.[10]  This intuitive, emotional and sometimes frenzied quest would bleed into other intellectual trends and cultural preoccupations; both psychology and shamanism became key moments defining the focus of Jim Morrison’s poetry and eventually the music of the Doors.

Jung was a key fit, for instance; his theory of primeval archetypes tessellated nicely with the idea of a ‘universal mind’ which was veiled by the paraphernalia of the empirical and everyday, while shamanism, provoking altered states of consciousness often through hallucinogens as a way of transitioning into the invisible realm of spirits and ghosts, conceived of reality in the same dualistic fashion; a physical world behind which lay a more fundamental spiritual essence which could be encountered given the correct intellectual strategies and spiritual activities.

A note of caution should be sounded. These intellectual trends easily shade into the worst forms of cod philosophy and trite spiritualism; who hasn’t had to endure that bore at a party describing an experience of taking mushrooms in the Amazon and touching a dolphin in order to become ‘one’ with nature, or Gary from Peckham off his nut on a ‘vision quest’ having snorted a good bump of crystal?

And the idea that there is any hard and fast connection between aesthetic creativity and the use of drugs and alcohol is a treacherous one to say the least.  As a functioning alcoholic, I can say that a moderate amount of drinking certainly can grease the wheels and allow for a more unincumbered creative flow.  At the same time, I’ve gone over the next day some of the stuff I’ve written while fully flushed (stuff I thought was brilliant in the moment) and it’s nearly always read wincingly self-indulgent and all-over-the-place in the sober light of day.

I suppose what I want to say is that although people rightfully laud the explosion of political and aesthetic creativity provided by the counterculture that emerged in the 50s and 60s, it did have its distortions and deficits.   Many of the rambling stream-of-consciousness poems unleashed by those beatniks who thought they were harmonizing with infinite realities were simply onanistic, annoying, and completely meaningless.

And the hippy movement, which many of the beatniks would flow into, was problematic.   The hippies of the early 1960s famously played an important and effective role in the anti-war movement in their capacity as flower-power-promoting pacifists, but in terms of the possibilities of challenging the status quo and the political forms of exploitation back home, it is important to remember that there was a streak of conspicuous individualism which ran through much of the movement, and made it resistant to radical social change. As Devon Van Houten Maldonado observes, the hippies were in the ‘majority white, middle-class group of young people’ whose wealthy backgrounds most often meant that they had ‘had less at stake than those fighting for civil rights’.[11]

The material luxury many of the hippies enjoyed set the basis for a cultural indulgence; on the one hand, they loathed the militarism and the straight-laced conservatism of their parent’s generation, and yet, the solution to many of the political problems of the age for them became the expansion of the mind through drugs and the adoption – in crude outline – of various tenets of mysticism and eastern religions such as Buddhism or Hinduism.

But the search for nirvana or brahman was also the movement of the isolated and private consciousness as it turned in on itself; the great social and political problems of the age faded before one’s own spiritual journey of individual discovery.  This kind of esoteric spiritualism – so attractive to many a hippy – allowed the individual in question to feel as though they were posing a radical affront to the status quo, that their higher consciousness had transcended the material and base imperatives of a capitalist economy such as consumerism and the never-ending drive toward accumulation and profit, and yet, in the same moment, such an isolated and aloof spiritual purview left intact the social structures and forms of capitalist organization and oppression which set the stage for the ‘consumerist’ society in the first place.

For the struggle for ‘nirvana’ would never necessitate the joining of the trade union, or the radical organization, or the revolutionary party; it would never require the one who sought it to siphon their efforts into the practical transformation of society at the socio-economic level in and through collective action – through strikes and committees.  For this reason, the ‘rebels’ could ‘rebel’ against their parents’ generation – against their concern with material goods, their unquestioning fidelity to the government and country, the conservatism of a conventional bourgeois existence more broadly – while at the same time their own basis in a substantial degree of material privilege which sustained such a ‘rebellion’ was left wholly undisturbed.

As a consequence, hippies could often ‘turn on, tune in, drop out’ in a way that would never have been feasible for civil rights activists and besieged radicals such as the Black Panthers, for the struggle of the latter was most often an ‘existential’ one – i.e. they could not afford to ‘drop out’ as their politics flowed from the fight for their very existence.  And in this way, the hippy movement was always inclined toward an aspect of trite and superficial spirituality, a cultural luxuriant that overlaid a more fundamental accommodation of the status quo.  As a long-deceased journalist once opined, scratch the surface of a hippy, and you will nearly always glimpse a conservative on the inside.

How much of the music of the Doors was infused with this hippy-esque sense of saccharine spirituality, camouflaging a more conventional and conservative mindset?  While Jim Morrison shared much of the hallucinatory ‘LSD’ culture which hoped to cleanse ‘the doors of perception’ and allow the user to gaze into the infinite beyond (the name of the band was lifted from Blake’s phrase siphoned through Huxley), there were also important points at which Morrison eschewed the hippy ethic and reacted against it.

The song ‘Five To One’, for instance, seems to draw attention to the futility of the hippy lifestyle: ‘Night is drawing near/Shadows of the evening crawl across the years.  You walk across the floor with a flower in your hand.  Trying to tell me no one understands’.  The ‘flower in your hand’ hints at that flower-power generation which is increasingly unmoored from the political realities as time creeps on – ‘shadows of the evening’.  The conclusion?  Morrison seems to suggest that radicalism will eventually and inevitably be traded for renumeration – ‘Trade in your hours for a handful of dimes.’[12]; the youthful hippy protestor will eventually morph into a figure of comfortable middle-class entitlement.

In an interview from 1970, Jim Morrison was more explicit in his antipathy to the hippy movement – ‘The hippie lifestyle is really a middle-class phenomenon … and it could not exist in any other society except ours, where there’s this incredible surfeit of goods, products, and leisure time.’[13] In another interview given that same ‘[u]n year, he was even more vehement, describing how the young hippies at Woodstock had ‘seemed like a bunch of young parasites, being kind of spoon-fed this three or four days of … well, you know what I mean.’[14]

Hopkins and Sugerman also emphasize Morrison’s spiritual and intellectual distance from the hippy movement, ‘[un]like the prototypical “hippy”, Jim thought astrology was a pseudoscience, rejected the concept of the totally integrated personality, and expressed a distaste for vegetarianism because of the religious fervor often attached to the diet.  It was, he said, dogma, and he had no use for that.’[15]  And, as Christopher Crenshaw argues, the Doors were ‘not part of the “love generation.” … were not influenced by folk-rock, and Jim Morrison’s lyrics did not often encourage listeners to “feel good.” Listeners were more likely to call them “evil” than look to them for peace and love.’[16]

For Crenshaw, the Doors embodied another aspect of the sixties counter-culture revolution, a ‘side of the resistance experience, a side fascinated with self-expression, darkness and release, sex and death.’[17]  The music journalist Max Bell, writing for Classic Rock magazine expresses a similar sentiment, writing that ‘Morrison’s neo Gothic croon and Manzarek’s ghostly, cathedral-like organ spoke of murkier climes than those offered by the Beatles’ brand of polychromatic pop.’[18]  For Bell, the music of the Doors was the darker palliative to much of the happy-go-lucky music of the 60s, ‘the symphonic high art’ of the Beatles for instance; for Bell, the Doors ‘gave the lie to such positivism, drawing on the growing feeling of ‘us against them’ that pervaded a generation of young Americans in fear of the draft to Vietnam’.[19]

But perhaps the music has a deeper historical resonance still.   As Hopkins and Sugerman write, one of the things which inoculated Morrison against some of the worst aspects of hippy-esque counterculture was the fact of his own background as a ‘college graduate instead of a dropout, a voracious reader with a highly catholic taste …[w]hether he liked it or not, he was the obvious product of a Southern upper-middle class family: charming, goal-orientated, and in many ways politically conservative.’[20]

Again there are deep and underlying contradictions here.  From an early age, Morrison seems to have intuited the hypocrisy, the façade of respectability that cloaks the lives of the well-to-do – his mother Clara, an aspirant social climber, vividly exampled it.  And she was keen to impress standards of respectability and decorum on her often wild and wayward eldest child, and when he failed to meet her expectations, she was not shy about letting him know.  Jim’s father was a navy man, away living on distant bases for most of his childhood, so Jim saw him infrequently.   The times he did, however, were turned into significant occasions as when Jim was invited to visit a ship carrier his father had recently been promoted to run.

By this point, Jim Morrison was a young man, a college student who had a keen sense of his own developing identity, but this was something his mother could neither comprehend or respect, demanding instead that he cut his hair before the important visit: ‘There are three thousand men on that ship and your father has their respect, and he has that respect because he is a fine disciplinarian.  How would it look if his son, his very own son, showed up looking like a beatnik?’[21]

Jim attended the event with his hair shorn as requested, but the bitterness over these kinds of incidents never really left him.  A few years later, he would sever all links with his parents, brutally sudden, and he seems to have never looked back.   From his earliest days when he used to torment his little brother, there was an aspect of cruelty, of coldness, about Jim Morrison – something that was on display in later life particularly in terms of the parade of women he scorned, mistreated and sometimes even brutalized.  His parents, despite their faults, clearly loved him, and put a lot of effort into trying to raise him, albeit according to their parochial and conservative values.  The manner in which he suddenly and abruptly discards them does seem unnecessarily cold and cruel, however on another level, it also makes a certain sense.

For the spiritual and political distance that opened up between them was immense.   Clara, for Jim, represented something more than the stifling, shaming probations enforced by a parent on her child.  She became more generally an emblem of the lower-middle-class world; the faux sense of respectability that thinly disguised the calculating aspiration and the snobbish superiority which lay underneath.

And if his mother was the prim package in which the values of the lower-middle class were decorated, then his father represented a more direct archetype – the distant disciplinarian with a military gait, someone in whom words and self-expression were always subordinate to the unthinking and unquestioning devotion to duty, a figure in which the state and the status quo could locate a steadfast guardian, someone of the lower orders who had thoroughly imbibed the tonic of patriotism and hierarchy, whose whole being was sheened red, white and blue, and would devote his existence to the shoring up of American military power and the project of globalism and mass murder which that entailed.

I believe that, for Jim Morrison, his parents became more than just figures whose authority he resented as part and parcel of adolescent rebellion; they were emblems, personifications almost, of aspects of the decadence and decay of the American society in the late twentieth century, the point at which historical development was reaching its twilight.

It is well-chronicled that Morrison claimed his earliest memory to be from when he was four years old, and he was traveling with his parents on the highway from Santa Fe.   The scene is recreated in the film The Doors, directed by Oliver Stone, the dusty highway, the expanse of desert and mountain, the arid heat but with the greys and purples of storm clouds brewing in the background.  The family passes an overturned truck and the young boy glimpses the injured and dying Pueblo Indians who have been thrown from the vehicle and onto the asphalt by the force of the accident.  The child, witnessing the horror, exclaims ‘I want to help, I want to help … They’re dying! They’re dying!’ to which his father responds in a comforting murmur, ‘It was a dream, Jimmy, it didn’t really happen, it was a dream.’[22]

In later years, his parents’ account of the incident differed from Morrison’s own.   With no small dose of imagination and some hyperbole, Jim Morrison probably exaggerated the details of the accident, the number of victims, even going as far as to say that he had, as a four-year-old child, felt the soul of one of the dead Indians pass into his body.  But whatever embellishments Morrison gave to the incident in retrospect, it is clear what happened was something that left an indelible mark on who he was, who he became – he would later describe it as ‘the most important moment of my life’.[23]

And this is significant on several levels.  In the most immediate sense, it was a traumatic, unsettling and harrowing experience for any small child.  But it also became, I think, a philosophical allegory of a broader political and social vision.  The victims of the accident were native Americans – the ingenious people whose displacement, ethnic cleansing and murder on a vast scale constituted perhaps the nation’s ‘original sin’ (it preceded the transatlantic slave trade in this respect).  It is not altogether insignificant that Morrison’s father was a military man, someone who rose high in the ranks of the same power which oversaw much of the ethnic cleansing that had been interwoven with the nation-building project of the past.   And that whisper – ‘it was a dream … it didn’t really happen’ – isn’t that the refrain of every white conservative in the political establishment seeking to diminish or disappear historical memory?

The idea of the US as a long smooth highway, a journey of sleek, technological progress and civilization, an untrammeled and unproblematic voyage into the future that works to disguise the wreckage of persecution, slavery and mass-murder which one glimpses momentarily through a window as those details rapidly recede into the rearview of the past; this acts as a potent metaphor for history, for society, for the family unit.  I think the veneer of respectability that overlaid the often spiteful, ruthless and acquisitive values of the lower-middle class suburban existence became blurred in Jim Morrison’s aesthetic consciousness with broader social and historical horizons, the modern nation – its values of liberty, fraternity and equality – papering over the deeper primeval darkness at work beneath the surface of respectability and decorum.

I think too this is why he came to despise his parents so absolutely; not only did they sense in him the antithesis of their own respectability and accommodation to the status quo, but he located in them – unconsciously, indirectly perhaps – the ciphers of a broader system, a system which despite its claims to progress had yielded repression and apartheid and naked children running through streets in lands far away, skins burnt off by napalm.   His parents, of course, couldn’t be held responsible in some purely personal capacity for the scope and entirety of these broader historical trends, but they could be held responsible for turning away, they could be held responsible for denial, for psychological repression, for the same social amnesia exhibited by an entire generation of older conservatives who papered up the cracks of darker realities by retreating into religious tradition and the parochial values of the ‘decent Christian family’.

In one of his most controversial works, Sigmund Freud extended his theory of the ‘Oedipus complex’ to the historical plane; in Totem and Taboo he argued that the latent desire of the son to kill the father provided the motive force for the transition from the rural world of tribes and gens to the earliest emissions of cities and modern civilisations.  The young men whose hungers and freedoms had been suppressed by rigid hierarchy of the ‘totemic’ clan would eventually coalesce as a repressed group which, in turn, would enact a terrible revenge on the ancient patriarchy: ‘the brothers who had been driven out came together, killed and devoured their father and so made an end of the patriarchal horde. United, they had the courage to do and succeeded in doing what would have been impossible for them individually.’[24]

To be blunt, Freud’s analysis doesn’t have a leg to stand on in terms of providing a persuasive or even vaguely accurate description of the way in which the first civilizations came into being, historically speaking. But what is interesting about it is the way it explicitly equates the destruction of a family unit by the unleashing of Oedipal tendencies on an individual scale with the destruction of a whole social order.  In perhaps the most disturbing verse of all, in possibly the Doors’ most evocative and starkly poetic song, Jim Morrison gives full credence to Freudian sensibilities and the Oedipal Complex in a sinister meditation on the ancient and the repressed, on sex and death:

The killer awoke before dawn
He put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door
And he looked inside
“Father?” “Yes, son?” “I want to kill you”
“Mother? I want to… “

This verse is about the half-way point in the song which, in its finalized form, is almost eleven minutes long.  Naturally, this section caused deep controversy – in the live performances, Morrison sometimes erased the ambiguity of that final truncated sentence by concluding with visceral intent – ‘Mother?  I want to … fuck you!’.   But over time, the outrage has melted, and, for some, what remains is simply the sense of a band being shocking for the sake of shock, the Freudian aspect smuggled in as a way to be fashionably intellectual and visibly subversive.  And yet … I would have to demur.  For the song itself reveals much deeper layers and complexities.

The ‘killer’ who awakes before dawn is strangely anonymous – an archetype rather than a person, someone who conforms to the primitive, primeval image selected from the ‘the ancient gallery’ that the Jungian collective consciousness encompasses.  At the same time, the killer has a contemporary bent, he puts ‘his boots on’ – one can imagine he is a serial killer – that dark and sadistic symptom of modern anomie and a staple of American culture in the 60s and the 70s from the Manson murders to the Zodiac.  The damage this killer inflicts on his family is explicitly Freudian, but Morrison is not addressing his own family in the verse but rather the more universal example they had set – for they had become an emblem of the respectability of an American dream which overlaid an American nightmare, a crisis of civilization drawn out through global war and authoritarian repression, a crisis which was reaching its apex in the 1960s.

And so, when Jim Morrison ‘kills’ his father and ‘fucks’ his mother, what he is really alluding to is not just the destruction of a family, but the destruction of a civilization – a civilization which has inculcated the very death drive that seeks to obliterate it.    ‘The End’ is, at its core, a song about the end of an epoch, a collapse, and its form is modernist and fragmented for precisely this reason.    Like Elliot’s The Wasteland we seem to be hearing fragments of different voices at different times.   In the beginning, for instance, the song opens up with the most beautiful, aching melancholy … ‘This is the end. Beautiful friend. This is the end, my only friend, the end. Of our elaborate plans, the end. Of everything that stands, the end. No safety or surprise, the end. I’ll never look into your eyes again’.  Its apocalyptic but also intimate – someone addressing a lover before they unclasp hands for the final time.  Soft, gentle, and so painfully beautiful.

Another voice, however, speaks in a colder way, a soulless way, almost as though someone is speaking through him.  It invokes the aspect of the shaman, of the ancient peoples who lived on the land and who propitiated their animal gods long before they were displaced by Europeans brandishing crosses – ‘Ride the snake, ride the snake to the lake, the ancient lake … He’s old and his skin is cold’.  This sense of ancientness is pronounced in another section, this time in the form of a madness which has fallen upon a modern culture – ‘Lost in a Roman wilderness of pain. And all the children are insane’.   And joining these, is the voice of the preacher of the prairies with his promise of rapture and millennialism – ‘Can you picture what will be?  So limitless and free’.

And then there is our serial killer, of course, who takes a face from the ‘ancient gallery’, and here one can’t help but wonder whether such a disguise – such a mask – might also represent the uniform so many young men were forced to don when they were sent off to kill in Vietnam at the behest of their parents’ generation.  And finally, all these competing voices die down in favour of just the one, again that haunting refrain, ‘this is the end ….’

This achingly beautiful poem/song gives voice to various images of repressed and maddened presences that exist below the surface of ‘Americana’ in some kind of primordial and chaotic state of flux that ultimately suggest the collapse of civilisation itself.    When I listen to ‘The End’ I think it is much more than just a rambling stream of consciousness by a beat poet and hippy-transcendentalist.   Rather it has its roots in the dark terminus of all empires, that seed of degeneration which was present from the beginning, that speck of decay and death which great powers carry with them unbeknownst, the dark shadow at the edges that was so potently diagnosed by the playwrights of the past such as Aeschylus who used his play ‘The Persians’ as a prophetic allegory, the ominous portent which would herald the destruction of Athens at the hands of Sparta, or the poet Shelley as he poignantly referenced the tragedy of the great Ozymandias, that colossal wreck gradually sinking into the sands of time.

In the American context, we might call to mind the work of the artist Thomas Cole and his ‘The Course of Empire’, a set of five paintings which portrays the rise and fall of civilization.   It depicts the origins of humanity in the forms of the early hunter-gatherers who eventually grow into an innocent and pastoral way of life where human beings live in a gentle harmony with nature.

The third painting shows how civilisation itself has succeeded these earlier moments, it renders a resplendent harbour overlooked by ivory palaces and pantheons.   The civilisation – though it certainly has Roman and Greek trappings – is glorious but also generic, it is a placeholder for a concept of empire more generally, as the copper tinted water is festooned with glorious golden ships of war on the verge of departing for battle.  Inevitably, the final paintings in the quintuple describe the apocalyptic downfall of the civilisation and the return to nature once more, shattered ruins overwhelmed by creeping vines and sprouting trees as nature reclaims the landscape.

In a song such as ‘Yes, the River Knows’, the Doors bring across that early stage of pastoral innocence, of people communing with nature; the river itself is personified in an animist tradition – ‘the river told me, very softly’.  The river represents the very heart of being, and yet at the same time it is also ephemeral, like the flow of time itself: ‘Free fall flow, river flow’.  The song describes that early arcadia, the spontaneous and immediate unity with nature which was the province of our most ancient ancestors – ‘breathe underwater to the end’ – and yet time is always at work, ‘On and on it goes’.  It is a gentle poetic meditation, with just the slightest hint of foreshadowing, and in this way it has a similar aesthetic effect to those early paintings of Cole, the sense that innocence in its very essence is something that must inevitably be lost, that history will always find a way of turning the page.

And that sense of loss is also so much a part of ‘The End’, on a personal level in terms of the lover or ‘beautiful friend’ who is being addressed, but also at the level of a whole historical epoch.  It is, perhaps, no coincidence that Francis Ford Coppola used the song to such eerie and crepuscular effect in the opening to Apocalypse Now.  We begin with the sinister whirring of helicopter blads which then elides into that famous intro – ‘This is the end, my only friend the end. Of our elaborate plans, the end. Of everything that stands, the end’.

While this is going on, we see the thickets and trees of a great jungle, the shadow of a helicopter motors by, and then everything is engulfed by great plumes of flame. From that fire materialises the image of a soldier’s shell-shocked face as he gazes up into the ceiling while in the background the inferno continues to rage, punctuated only by the sleek skeletal shadows of burnt-out trees.  It is one of the most powerful introductions to any film I think, not only because of the aesthetic and technical merits of the camera work, but because the music and the images have a real historical resonance, the logic of empire driven to its demented and insensible peak, that heart of darkness which is the engine of great war and cataclysmic collapse.

Morrison and Coppola were of a similar age, cut from the cloth of the same generation, they even attended the same film school.  They were brilliant, quizzical, troubled bright lights of a generation whose lives played out against a backdrop of empire and abuse of power that yielded an epoch-changing war; they were not the type of prophets, Nostradamus-like, who used their art to predict the end of the world, rather – for their generation at that time – it seemed more like something they were actually living through.  Ultimately ‘The End’ carries an intense sadness, the sadness of youth – of children not yet grown – thrust into the terminal freefall of an end of days, and the terrible knowledge which comes with it, a bitter, beautiful lament to innocence lost.

+++

… It is perhaps five or six years after that day, when I discovered the Doors for the first time in that light-riven campus dorm.  It is perhaps only five or so years, but it already feels like a lifetime away.  Now I am living in Latin America, in Ecuador, and I share a flat with a best friend.  We both teach English at the local university.   It is Friday night, and I am meeting her partner for the first time.  It’s often awkward meeting the partner of a dear friend, for a kind of enforced proximity occurs, where you both, as strangers, have to frantically try and gel for the sake of her, so I am a little anxious.

But I shouldn’t be.  Ruben is soft-spoken, gentle, with a brilliant but random and chaotic bent of mind that disappears down rabbit holes and roams across the stars.  And, like me, he enjoys a drink or two.  But the most wonderful thing of all is – as evening merges into night – I discover he is the biggest Doors fan I have ever met.  From that moment on we are friends in our own right.   And together we will savor their music on many more occasions, many more late nights spent drinking and indulging our obsession.

To paraphrase Tolstoy, one of the fundamental miracles of music is the way it expresses the soul of the musician and infects the soul of the listener.  But the relationship isn’t a purely passive one.  For just as the musician breathes color into the lives of future generations, the listener can use music to breathe life into the past too.  I am middle-aged.  I haven’t seen my friend Ruben for many years, and those people I knew at university are as shadows seen from a great distance now.  But when I play the Doors, it brings me back so swiftly, so sweetly, to those moments in the past, to the memory of friends and laughter played out once more under faraway skies, and the ghost of a younger, long-lost self.

Notes.

[1] Goldsmith, Melissa Ursula Dawn (November 22, 2019). Listen to Classic Rock! Exploring a Musical GenreABC-CLIO. pp. 93–94.

[2] Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.11

[3] Ibid., p.12

[4] Ibid., p.12

[5] Ibid., p.12

[6] Ibid., p.18

[7] Christopher Hitchens, ‘Living Proof’, Vanity Fair March 15th 2003: https://www.vanityfair.com/news/2003/03/hitchens-200303

[8] Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.45

[9] William Blake, The Marriage of Heaven and Hell (1790)

[10] Jim Morrison cited in Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.45

[11] Devon Van Houten Maldonado, ‘Did the hippies have nothing to say?’ BBC Culture 29th May 2018: https://www.bbc.com/culture/article/20180529-did-the-hippies-have-nothing-to-say

[12] ‘Five To One’  The Doors 1968

[13] Jim Morrison cited in Christopher Crenshaw, ‘Five to One: Rethinking the Doors and the Sixties Counterculture’, Music & Politics 8, Number 1 (Winter 2014), ISSN 1938-7687. Article DOI: http://dx.doi.org/10.3998/mp.9460447.0008.101

[14] Ibid.

[15] Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.155

[16] Christopher Crenshaw, ‘Five to One: Rethinking the Doors and the Sixties Counterculture’, Music & Politics 8, Number 1 (Winter 2014), ISSN 1938-7687. Article DOI: http://dx.doi.org/10.3998/mp.9460447.0008.101

[17] Ibid.

[18] Max Bell, ‘The Doors: the story of Strange Days and the madness of Jim Morrison’, Classic Rock 12 November 2016: https://www.loudersound.com/features/the-doors-the-story-of-strange-days-and-the-madness-of-jim-morrison

[19] Ibid.

[20] Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.155

[21] Clara Morrison cited in Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.40

[22] Cited in Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.6

[23] Jim Morrison cited in Jerry Hopkins and Danny Sugerman, No One Here Gets Out Alive (Plexus Publishing, London: 2011) p.6

[24] Sigmund Freud, Totem and Taboo (Norton and Company, New York: 1950) p.176

Tony McKenna’s journalism has been featured by Al Jazeera, Salon, The Huffington Post, ABC Australia, New Internationalist, The Progressive, New Statesman and New Humanist. His books include Art, Literature and Culture from a Marxist Perspective (Macmillan), The Dictator, the Revolution, the Machine: A Political Account of Joseph Stalin (Sussex Academic Press), Toward Forever: Radical Reflections on History and Art  (Zero Books), The War Against Marxism: Reification and Revolution (Bloomsbury) and The Face of the Waters (Vulpine). He can be reached on twitter at @MckennaTony