Mind of an Outlaw (33 page)

The huge industrial developments and scientific advances of the twentieth century—the automobile, antibiotics, radium, flight, the structure of the atom, relativity, the quantum theory, psychoanalysis, the atom bomb, the exploration of space—may speak not so much for the genius of the twentieth century as for the genius of the centuries which preceded it. Modern science may prove to be the final poisoned fruit of the rich European tree, and plague may disclose itself as the most characteristic invention of our time. For science was founded originally on metaphor, would go our Argument, and the twentieth century has shipped metaphor to the ghetto of poets. Consider: science began with the poetic impulse to treat metaphor as equal to equation; the search began at that point where a poet looked for a means (which only later became experiment) to measure the accuracy of his metaphor. The natural assumption was that his discovery had been contained in the metaphor, since good metaphor could only originate in the deepest experience of a man; so science still remained attached to poetic vision, and scientific insight derived from culture—it was not the original desire of science to convert nature, rather to reveal it. Faust was still unborn when Aristotle undertook his pioneer observations.

There is a danger in metaphor, however; the danger which is present in poetry: contradictory meanings collect too easily about the core of meaning; unconnected meanings connect themselves. So, science sought a methodology through experiment which would be severe, precise, and able to measure the verity of the insight in the metaphor. Experiment was conceived to protect the scientific artist from ambiguity.

Experiment, however, proliferated; as the scientist ceased to be a great amateur and became expert, experiment ran amok, and laboratory men of partial, determined, fanatic brilliance became the scientist’s director rather than his assistant. The laboratory evicted the mind; the laboratory declared itself the womb of scientific knowledge; laboratory methodology grew as cumbersome as the labor codes of a theatrical union. Metaphor disappeared.

It was replaced by a rabidity of experiment, a fetishism of experiment. Mediocrity invaded science. Experiment became a faith, experiment replaced the metaphor as a means of inquiry, and technological development pushed far ahead of even the most creative intuition. Penicillin was discovered by accident, as a by-product of experiment—it did not come at the end of a poetic journey of the mind. No, it was an orphan and a bastard. And by similar mass methods were all the other antibiotics uncovered, by observing the bactericidal action of a million molds: those which gave the best laboratory evidence of success were marketed by drug companies. But the root of the success was not comprehended. There was no general theory to point to a particular mold for a specific disease. No metaphor. Metaphor had been replaced by gross assay.

Metaphor. The word has been used generously. Would an example be welcome? The Argument can try to provide it. A modern disease, for example, as it is comprehended in a laboratory, is explained to the laboratory technician, the student, and the layman, as a phenomenon made up of its own pimples, rash, swelling, and development, but the disease is not ever presented as a creature—real or metaphorical—a creature which might have an existence separate from its description, even as you and
I have an existence which is separate from the fact that we weigh so many pounds and stand so many inches tall. No, the symptom is stripped of its presence. Of course, psychoanalysis made an attempt to say that the root of one disease could be similar to the root of another whose symptoms were different; it was a way of hinting that the metaphor ought to return. Such an approach might have wished ultimately to demonstrate that a malfunction of the liver and an inflammation of the eyes were both connected to despair at one’s position in society. But psychoanalysis was hungry, and dependent upon the sciences: like most welfare cases it was therefore not in a rush for poetry—rather it rushed to advertise the discovery of each new tranquilizer for each disorder in emotion. It was anxious to show itself respectable. So psychiatry became pharmacology.

Let us, however, try to travel in the other direction, let us look for an extreme metaphor of disease. Let us suppose that each specific ill of the body is not so much a dull evil to be disposed of by any chemical means whatever, but is, rather, a theatrical production presented by some company in oneself to some audience in oneself. To the degree then that our illness is painful, detailed, clear, and with as much edge as a sharply enunciated voice, the particular disease is a
success;
the communion of the body (the statement sent from stage to audience) is deep, is resonant. The audience experiences catharsis—at the end of the drama, the body is tired but enriched. By the logic of our metaphor, that is a good disease. The illness has waged conflict, drama, and distress through the body, and has obliged the body to sit in attention upon it, but now the body knows more. Its experience has become more profound, its intimate knowledge of its own disharmony is more acute.

By this reckoning, a disease is the last attempt (
at a particular level of urgency
) to communicate from one part of the body to the other, a last attempt to tell us that if we do not realize the function before us is now grievously out of harmony, then we will certainly sicken further. On the other hand, if the disease which presents itself is not accepted, if one’s suffering is not suffered, if there are no statements of our suffering enunciated through the
caverns of the body, but if instead our disease is averted by antibiotic, or our pain is silenced by a sedative, then the attempted communication of the illness has failed. The disease, having no other expression, sinks, of necessity, into a lower and less elegant condition, it retreats from a particular pain or conflict into a bog of disharmony. Where one organ or two might have borne the original stress, now ten organs share ubiquitous tension. A clear sense of symptom tends to disappear. Infection begins to be replaced by virus, a way of saying the new diseases are not classifiable—their symptoms reveal no characteristic form. One is close to the plague.

If my metaphor is valid, then drugs to relieve pain, and antibiotics to kill infection, are invalid. They are in fact liquidators of possibility, for they deaden the possibility of any quick dramatic growth. A disease checked by an antibiotic has taught the body nothing—nothing to terminate ambiguity—for the body does not know how well it could have cured itself, or even precisely what it had to cure. Yet ambiguity is the seat of disease. Ambiguity demands double communication to achieve a single purpose. It demands we be ready for a particular course of action and yet be ready for its exact opposite. So it demands double readiness or double function for single use. Ambiguity is therefore waste. A man brought back from death by chemicals his own body did not manage to provide cannot know afterward if he should be alive. Small matter, you may argue; he is much alive, is he not? But he has lost biological dignity, he is crucially less alive in a part of his mind and his body. That is one reason metaphors are not encouraged near to science now, for one would then have to say that the patient is alive, but his soul has died a degree.

So the Argument would demand that there be metaphors to fit the vaults of modern experience. That is, in fact, the unendurable demand of the middle of this century, to restore the metaphor, and thereby displace the scientist from his center. Would you call for another example? Think of the elaborate architecture in the structure of a protein molecule. The scientist will describe the structure and list the properties of the molecule (and indeed it took technological achievements close to genius
to reach that point) but the scientist will not look at the metaphorical meaning of the physical structure, its meaning as an architectural form. He will not ponder what biological or spiritual experience is suggested by the formal structure of the molecule, for metaphor is not to the present interest of science. It is instead the desire of science to be able to find the cause of cancer in some virus: a virus—you may count on it—which will be without metaphor. You see, that will then be equal to saying that the heart of the disease of all diseases is empty of meaning, that cancer is caused by a specific virus which has no character or quality and is in fact void of philosophy and bereft of metaphysics. All those who are there to claim that disease and death are void of meaning are there to benefit from such a virus, for next they can move on to say that life is absurd. We are back once again at the enigma surrounding the art of the absurd. Except now we have hints of the meaning. For if the Argument would propose that a future to life depends on creating forms of an intensity which will capture the complexity of modern experience and dignify it, illumine—if you will—its danger, then the art of the absurd reveals the wound in its own heart and the schizophrenia of its impulse, for the art of the absurd wars with one hand against the monotonies of all totalitarian form in politics, medicine, architecture, and media communication, and with the other, trembles and is numb to any human passion and is savage toward discourse, for the danger is palpable and the discovery of new meaning may live in ambush at the center of a primitive fire.

Well, enough of such metaphor. Let us go off to explore the tributaries of form.

TURNING THROUGH THE PAGES
of this book one is captured finally by a modest addiction. One keeps going back. As the pages are toured for the tenth time, a small magic emerges. The flights, the vulgarities, the comedy, and the religious dedication of the bullfight return. Late afternoons of color—hues of lavender, silver, pink, orange silk and gold in the
traje de luces
—(feminine indulgences only a bullfighter could entertain) now begin to play in one’s mind against the small sharp impact on the eyes of horseballs falling like eggs between the frightened legs of the horse, and the flanks of the bull glistening with the sheen of a dark wet wood. And the blood. The bullfight always gets back to the blood. It pours in gouts down the forequarters of the bull, it wells from the hump of his
morillo
and moves in waves of bright red along the muscles of his chest and the heaving of his sides. If he has been killed poorly and the sword goes through his lung, then the animal dies in vomitings of blood. If the matador is working close to the animal, the suit of lights becomes stained—the dark bloodstain is honorable, it is also steeped in horror. Should the taste of your favorite herb come from the death of some rare love, so the life of the bright red blood of an animal
river pouring forth becomes some other life as it darkens down to the melancholy hues of an old dried blood which speaks in some lost primitive tongue about the mysteries of death, color, and corruption. The dried blood reminds you of the sordid glory of the bullfight, its hint of the Renaissance when noble figures stated their presence as they paraded through the marketplace and passed by cripples with stumps for legs, a stump for a tongue, and the lewdest grin of the day. Yes, the spectrum of the bullfight goes from courage to gangrene.

In Mexico, the hour before the fight is always the best hour of the week. It would be memorable not to sound like Hemingway, but in fact you would get happy the night before just thinking of that hour next day. Outside the Plaza de Mexico, cheap cafés open only on Sunday, and huge as beer gardens, filled with the public (us tourists, hoodlums, pimps, pickpurses and molls, Mexican variety—which is to say the whores had headdresses and hindquarters not to be seen elsewhere on earth, for their hair rose vertically twelve inches from the head, and their posteriors projected horizontally twelve inches back into that space the rest of the whore had just marched through). The mariachis were out with their romantic haunting caterwauling of guitar, violin, songs of carnival and trumpet, their song told of hearts which were true and hearts which were broken, and the wail of the broken heart went right into the trumpet until there were times when drunk the right way on tequila or Mexican rum, it was perhaps the best sound heard this side of Miles Davis. You hear a hint of all that in the Tijuana Brass.

You see, my friends, the wild hour was approaching. The horrors of the week in Mexico were coming to term. Indeed, no week in Mexico is without its horrors for every last Mexican alive—it is a city and a country where the bones of the dead seem to give the smell of their char to every desert wind and auto exhaust and frying tortilla. The mournfulness of unrequited injustice hangs a shroud across the centuries. Every Mexican is gloomy until the instant he becomes happy, and then he is a maniac. He howls, he whistles, smoke of murder passes off his pores, he bullies, he beseeches friendship, he is a clown, a
brigand, a tragic figure suddenly merry. The intellectuals and the technicians of Mexico abominate their national character because it is always in the way. It puts the cracks in the plaster of new buildings, it forgets to cement the tiles, it leaves rags in the new pipes of new office buildings and forgets to put the gas cap back on the tank. So the intellectuals and the technicians hate the bullfight as well. You cannot meet a socialist in Mexico who approves of the running of the bulls. They are trying to turn Mexico into a modern country, and thus the same war goes on there that goes on in three-quarters of the world—the battle-front is the new highways to the suburbs, and the corporation’s office buildings, the walls of hospital white, and the myopic sheets of glass. In Mexico, like everywhere else, it is getting harder and harder to breathe in a mood through the pores of the city because more and more of the city is being covered with corporation architecture, with surgical dressing. To the vampires and banshees and dried blood on the curses of the cactus in the desert is added the horror of the new technology in an old murder-ridden land. And four o’clock on Sunday is the beginning of release for some of the horrors of the week. If many come close to feeling the truth only by telling a lie, so Mexicans come close to love by watching the flow of blood on an animal’s flanks and the certain death of the bull before the bravery and/or humiliation of the bullfighter.