Christopher Caudwell's unpublished manuscripts (2)

Continuing on this work by Christopher Caudwell:

Scenes and Actions: Unpublished Manuscripts, selected, edited, and introduced by Jean Duparc and David Margolies. London: New York: Routledge & Kegan Paul, 1986.

Preface
Introduction
Selected Bibliography
from The Wisdom of Gautama
from Heaviside
Short stories
      from The Rock
                Friends
                The Mother Superior
                Lodgings for the Night
                The Bully
                Thomson
      from The Island
                The Play
                A Bit in the Papers
                The Piston
                Homage to Calderon
                The Bank
                The Device
from ‘Verse and Mathematics’
Heredity and Development
Letters

While I have owned this book for a couple decades or more, I never actually read it through. Verse and Mathematics was the draft of what was honed to his published landmark book Illusion and Reality. The extract published here is interesting and I may make it the subject of another blog post. "Heredity and Development: A Study of Bourgeois Biology" was not included in Caudwell's Studies in a Dying Culture, though it belongs there. The letters outline Caudwell's aesthetic principles and his evaluation of his own fiction, as well as details leading up to his fatal participation fighting fascism in Spain.

The introduction places all this in context, also presenting the following poems in whole or part:

The Survival

The Unspeakables

In Memoriam [of T.E. Lawrence]

Artic Expedition

Soul's Progress [excerpt]

Smoke and Diamond

The Art of Dying

[untitled fragment]

The Object

Heil Baldwin!

Caudwell’s Collected Poems were published by Carnacet Press in 1986.

The balance of the book contains selections from Caudwell's hitherto unpublished fiction. Having read none of his published fiction either, though I knew of it, I experienced this facet of Caudwell for the first time. I turned to the fiction after perusing the rest of the book, not in order of the items presented. After reading the letters, I began with Caudwell's non-naturalistic fiction--the excerpt from the speculative fiction story "Heaviside" and the stories from "The Island," which Caudwell termed Kafkaesque, which are in any case extrapolations of ideas, situations, and institutions. This is an unfamiliar dimension of Caudwell for me and adds to understanding his originality and sensibility. The stories from The Rock are character studies. At various times in reading these pieces my attention flagged, but that may just have been an effect of my state of mind at the moment and not the prose itself. While Caudwell criticized his own fiction, as does the book's introduction, Caudwell's style as well as his probing of human character are noteworthy.

It was fortunate that the Stalinists had no idea of what Caudwell was up to or they would have squashed him like they tried to squash Jack Lindsay, an original polymath from Australia who was also a member of the Communist Party of Great Britain.  Caudwell indulged in formulaic political judgments in his analyses, but retained a freshness and originality in his approach.

Christopher Caudwell on religion as static imagination

I have blogged here before about Christopher Caudwell. As I also mentioned, I used the title of his essay collection Studies in a Dying Culture (1938, followed by Further Studies in a Dying Culture, 1949) as the title of my podcast/radio series and one of my blogs.  Here is an interesting quote on religion from Caudwell's correspondence:

As I see it, religion undoubtedly represents very strong emotional realities, but they only become religion by religious people’s making them static, i.e. by demanding that their formulations (angels, salvation, heaven, hell, God, etc.) represent actual existent entities with the same reality of existence as matter. It is just this static formulation which is the core of any formal religion (Buddhism, Christianity, Mohommedanism). Separate that out and what have you left? Primarily two currents. One: art, or ‘poetry’—The fluid emotional experimenting with illusory concepts drawn from reality, either felt as illusory, as in our civilised age, or felt as real, but unconsciously acknowledged as illusory by the very fluidity of treatment, as in Greek myth (not Greek religion). The other current is sociological, and is symbolical of the tremendously powerful and emotionally charged currents that hold a society together, and express, in a subtle instinctive way, the fact that though individualities, we yet have a real being in common: buds of the same tree. We are not completely divided by ‘The unplumbed, salt, estranging sea.’ The power of this bond is expressed in the attitude of men to a drowning stranger, a ship in distress, in time of war, and so on. You may feel a sociological conception of religion arid and empty of content. So do I, but that is because we are children of a civilisation that necessarily sees society as linked primarily by money exchanges, I mean sees that intellectually, whatever we may sometimes feel emotionally. The first criticism of Communism is always that men would never do their best work for society, regardless of income, and this expresses perfectly how debased and empty of content our conception of social relations has become. But the Greek citizen, or the merest tribal primitive, would see nothing strange in our conception of the society as the basis of religion. To him the city or tribe is joined with religion’s bonds; and even to‑day, when religions are so palpably failing, we see, in Italy and Germany, how men are bowled over by the sociological as opposed to the theological element of religion, in however questionable a guise it comes.

But why not leave it at that, you may ask, and, seeing religion’s aesthetic and sociological credentials, say ‘Pass friend, all’s well?’. Just because religion, to be religion, formulates its sociological and aesthetic beliefs in terms of science, of external reality. So that on the one hand art is held back from developing, made to accept the outworn forms of yesterday, and, on the other hand, man, mistaking social relations for divinely ordained permanences, is held back to the social groupings of yesterday. So the Greek, cramped into the City State, was torn by internecine warfare and fell victim to the barbarians he despised. So we, with our national formations, and national churches, are involved in imperialistic wars, in which ministers preach from the pulpit the divine approval of a just war. And it is no answer to say that genuinely religious people are pacifists, for we can only take religion as it appears, and to do otherwise is to mean by the adverb ‘genuinely’—‘religious in a way we approve’, which, from a historical view­point, taking religion as it has manifested itself, turns out to be not religious at all, but people who put social reality before theological formulations—heretics, prophets, and rebels.

SOURCE: Caudwell, Christopher, Letter to Paul [Beard] and Elizabeth [Beard]. 21 November 1935 (from London), in Scenes and Actions: Unpublished Manuscripts, selected, edited, and introduced by Jean Duparc and David Margolies (London: New York: Routledge & Kegan Paul, 1986), extract: pp. 220-221.

Studies in a Dying Culture now on ThinkTwiceRadio

You are invited to listen to my Internet radio show newly named "Studies in a Dying Culture," on "Think Twice Radio", recorded in the awesome metropolis of Buffalo, New York. The latest program was recorded on 19 July: Episode 3: "A Dying Culture, Raggedy Poets, a Farewell to Martin Gardner, and the Historical Trajectory of Secular Humanism".

Episode description:

This episode begins with an introduction and explanation of the show's new title, "Studies in a Dying Culture," borrowed from the title of a book by Christopher Caudwell in the 1930s. Ralph next reads his poem "Raggedy Poet Society", a poem about the elder generation's attempt to express itself at a time when it has become culturally obsolete. Next comes a tribute to the recently deceased writer Martin Gardner, best known for his publications on mathematical recreations and on fringe "science" and extraordinary knowledge claims. The balance of this show is devoted to setting the historical stage for the evaluation of the ideologies of the atheist/humanist/skeptical movement(s) in the USA and current controversies dividing different factions of atheists and humanists.

The theme of this radio show, borrowed from my blog also titled Studies in a Dying Culture:

What is to become of critical culture in this dumbed-down millennium? We aim to provide historical, social, and philosophical perspective.

Read the Introduction to my blog for a somewhat fuller explanation. See my Christopher Caudwell bibliography for more information on the author of Studies in a Dying Culture (1938) and Further Studies in a Dying Culture (posthumous publication, 1949), wherefrom my upbeat title originates. Now is not a replay of the 1930s, but we too approach a civilizational crisis.

The bulk of Episode 3, setting the stage for an historical perspective on atheism, freethought, humanism, and skepticism, begins at 13:15.

The 26 minute mark is where discussion of the history of "humanism" and "atheism" in the USA in the 20th century begins.

At 40 minutes I ask: why these humanist manifestos, and I say a few words about the historical context probably relevant to each.

At the 44 minute mark, I question Paul Kurtz's Neo-Humanist Statement of Secular Principles and Values: Personal, Progressive, and Planetary and his Institute for Science and Human Values newly founded in the wake of the recent crisis within the Center for Free Inquiry. Fred Mohr adds some remarks on programs presented at CFI and the perspectives of Kurtz and other CFI members presented in these encounters.

George Bernard Shaw (1856-1950): from realism to mysticism

In my post on Gary Sloan, I linked to his interesting article:

George Bernard Shaw: Mystic or Atheist?

At the same time I discovered this book review by a leading ideologue of the Communist Party of Great Britain:

Dutt, R. Palme. "Back to Plotinus," Labour Monthly, July 1921, Vol. I, No. 1.
Review of: Back to Methusela: A Metaphysical Pentateuch, by Bernard Shaw.

Both of these articles deal with Shaw's regression to mysticism. For a general critical study of Shaw's weaknesses, see:

Caudwell, Christopher (pseudonym of Christopher St. John Sprigg). "George Bernard Shaw: A Study of the Bourgeois Superman," Chapter 1 of Studies (1938), in Studies and Further Studies in a Dying Culture, introduction by Sol Yurick. New York: Monthly Review Press, 1971. [Reprint of Studies in a Dying Culture (1938) & Further Studies in a Dying Culture (1949)]

One can get a usable snapshot of Shaw's life, work, and development from Wikipedia.

Several decades ago I noted discrepancies between and in Shaw's works. The Quintessence of Ibsenism (1891) was soberly down-to-earth, puncturing the illusions of ideals and idealists. Man and Superman (1903), perhaps the summa of Shaw's philosophy, manifests Shaw's characteristic intermixing of nonsense about the life force into otherwise harshly realistic, often cynical, exposes of social reality.

I lack the patience to enumerate Shaw's crackpot views on various subjects. A couple years ago I stumbled on to his piece on Lysenkoism, in which Shaw shows his regret that Lysenko gave vitalism a bad name:

Shaw, George Bernard. "The Lysenko Muddle," Labour Monthly, January 1949.