THE FATHER DEARTH PARADIGM
Dr. Eugene
Narrett, Ph.D
March 1, 2013
NewsWithViews.com
Many years ago I wrote a series of essays discussing family dynamics in Star Wars[1] and related films. Now there is an entire Star Wars culturetainment industry: a series of illustrated children’s books titled Darth Vader and Son, a “Darth Vader theme played in the style of Beethoven” and much more. In today’s money, the original trilogy grossed about $4 trillion per official inflation not John Williams’ true numbers.[2] Star Wars and its dark father are cultural icons and culture-killers.
The dyad of Vader and son is fundamental, a window to the world those who manage major institutions have made. It is intrinsic to key institutions and images of this dying nation or, to use Spengler’s terms, this “petrifact” of what once was a wonderful culture and that since 1964 has been an increasingly moribund civilization.[3] In the era of global Cosmopolis, meaning drains from all traditions and institutions and society regresses to primitive superstitions and economic subsistence.
The name “Darth Vader” and the father-son conflict perfectly mirror the traumas wrought on America by the divorce industry and the relentless degrading of fathers throughout culturetainment or, as I also call it, screen world or “the distraction machine.” Darth Vader is simply a bi-lingual German-English pun on dearth father or father lack, loss or absence, precisely what the divorce industry creates. The media sell this as the result of uninvolved or immature fathers epitomized by Tom Cruise, one of Hollywood’s signature man-boys (the first was the young Brando but he was macho compared to the adolescent feminized Cruise), for example in Stephen Spielberg’s version of H.G. Wells’ The War of the Worlds.[4] Cruise or ‘Ray’ in this soul-killing eye-candy has nothing to eat in his apartment and looks barely five years older than his teen-aged son who hates Dad and his failure to be there for them. His first job is to get scolded by his ex-wife for delaying her weekend. The goal of the movie is to return to Mom who lives in a chic brownstone with her chic boyfriend when not in their suburban mansion. The invidious stereotypes are utterly familiar. Institutions strain to create them and not fully succeeding, screen world sells them, grinding them into the souls and identity of the masses. The same cadres that pretend to lament father loss model and sell it, molding humans to fit the scripted fiction.
This dynamic also inheres in the tormented and vague bond between Batman and the Joker in films like “The Dark Knight Rises” and the Jason Bourne films in which the disturbingly effeminate and vacant protagonist plays a young veteran searching for manhood by killing and finding only treacherous, exploitive and homicidal father substitutes. It is like Hawthorne’s many parables on failed mentoring but hyped to total disorientation and mass violence suiting the postmodern spirit. These films and the social relations they reflect and exaggerate facilitate the frustrated, enraged and occasionally murderous subsurface of our times which the image-makers also pretend to hate. This is the social substrate tortured and blamed by public schools, psychology and, in due course, government that never tires in seeking pretexts to punish in the cause of therapeutic intervention.
There is nothing from which America suffers more these past thirty-five years than the father dearth imposed by Family Law and amplified through every media channel, social sciences and government. Long ago I exposed the true nature of Family Law with the term “lawless law.” It is a serial mass murderer that kills by damage that grows over time. Like other killers the ruling cadres of our oligarchic collective empowers them while disabling or silencing any resistance to them. Culturetainment – civilization has “limitless hostility for anything that is more than itself” or shows health against its imposed disease. Power is the subtext of its digitally enhanced spectacles. It commands worship through the mind-numbed gaze through which it disseminates its stereotypes that make fiction into virtual reality mimed by people in the process of losing their humanity. This is the pattern from which all zombie films derive. Digital technology destroys “cultural conservatism’s distinctions between the genuine and artificial.”[5] The world ends in triumphant fictions mirrored in cyborg assassin films.
Of course fathers did not truly “go over to the dark side.” They have been represented as doing so by the masters of the machine whose overriding method and goal is facilitated management of generic human inventory, that is, “pod people” as I long ago termed those brainwashed and made over by screen world. The forgers of the multicultural world disorder know that by debasing the image, erasing norms and disempowering fathers they can destroy families and attach the alienated and traumatized individuals that result to the State the surrogate daddy that is a de facto hermaphrodite, the punitive ostensibly therapeutic Nanny State. Lucas who either intuited this or was helped to find this pattern in Western civilization (it inheres in Hesiod’s myth of family relations and erotic love)[6] identified a basic aspect in this last phase of the West’s collapse, the period dominated by “the damned Anglomania of modern ideas” and its “overall depression of the European” and Western spirit.[7] “The English are the people of consummate cant”[8] who in subordinating America to their inimitable will to global rule have made fathers the chief target of their subversion of the West and the regression to hysteria-as-norm, a condition wrongly ascribed as specific to totalitarian regimes like Soviet Russia.[9] The sly insertion of this debasement of fathers and adult tradition and authority was the Aquarian-feminist “British invasion.” When it broke, this term was omnipresent and celebrated like its later geopolitical type, “the twitter revolution.” By the time its horrible results became apparent the term fell, as if by magic, into dis-use in the very media that initially spread it like a veil over the disruptive and culturally destroying effects it successfully achieved.
Via the punitive ministrations of the Divorce Industry the father is forcefully separated from his children by the State acting under color of law. The vanished father becomes a villain, a demon thanks to the relentless coaching of media, public schools and the new class of ‘single moms,’ too tutored by glossy magazines. They are so nurturing, you know: such victims as Dad is turned from home and made into a slave and villainous phantom all are conditioned to hate. Thus “monsters of the id” fill this society. In comic and not so comic culturetainment like “War of the Worlds” above the father is adolescent, clueless or sometimes, as in increasing numbers of real estate ads, simply absent. The rulers of society make Dad into dearth father and condition children to resent and hate the man who struggled against impossible odds to save them. The Joker is the image of the father children are taught to hate but can’t quite kill though the audience roots for them to do it, the ‘father’ is so hateful.
Dad deserves to die since he’s just an adolescent who can’t cook or a sexually ambiguous lumpy CIA manager, or someone who gets kicked in the crotch while the director cues the laugh track, etc. Then the State moves into the vacuum. Thus America dies of father dearth, a lack and vilification embedded in formation of the West. Given its decadent late Classical Gnostic origins,[10] its Greek-inherited father-fear and hate it had to end like this. It had to be mediated and directed by the British who disenchanted by empiricism became the most domineering, utilitarian and managerial of peoples, driven by terror of their inner emptiness.
| Subscribe to the NewsWithViews Daily News Alerts! |
That’s how it is; that’s how a culture dies. The latest sensation, the female race car driver and female ‘heroes” in combat units are more facets of this lethal social disease and disinformation campaign of the dogmatic monoculture our supposedly diverse civilization has become. Monocultures don’t thrive: they invite disease and sterility. Even if one could gain power (impossible) and heal fiscal policy thus allowing the economy to recover; even if one could disengage the military from the body, soul and nation-wasting pattern of endless attrition wars justified by a war on terror our British masters prepared and still manage; even if we could banish the spectacle of postmodern professional sports with its grotesque cultural dominance, salaries and role in selling cultural decay via the ads for which it is a vehicle; even if all this was done this nation would be and has been destroyed by the dual thrust of public education and the divorce industry along with their handmaiden, “the casuistry of psychologists” that “seek advantages over other people,”[11] to diagnose, label and drug them. This boosts a managerial - penal model of society. From de-humanizing and dumbing-down like this there is no return.
Those who wish to strengthen family members of friends against the effects of this ruin should visit www.stareduconsulting.com for a full range of educational, literacy, financial and life counseling services.
Eugene Narrett blogs on literature, cultural identity & dynamics.
Eugene Narrett’s recent book Culture of Terror: The Collapse of America, on Amazon.
© 2012 Eugene Narrett - All Rights Reserved
Footnotes:
1.
George Lucas, The New Hope (20th Century Fox 1977-83 first
trilogy, ‘prequel’ trilogy 1999-2005)
2.
Walter ‘John’ Williams, www.shadowstats.com and see
this link
3.
Oswald Spengler, The Decline of the West (1921; NY 1962 Abridged
edition of Helmut Werner arranged by Alan Helps from the English translation
of Charles F. Atkinson), 24-40, 378-81
4.
War of the Worlds (Paramount Pictures 2005), opening &
closing benediction by the divine Morgan Freeman, a social type Americans
have been conditioned to adore. H.G. Wells (Heinemann 1898)
5.
T. Adorno & M. Horkheimer, “Enlightenment as Mass Deception”
in Dialectic of Enlightenment (1944; Stanford University
2002, Edmund Jephcott translation), 108-09 inter alia
6.
Hesiod, Theogony (c.625 BCE; University of Michigan, Lattimore
translation 1973), lines 126-210
7.
Friedrich Nietzsche, Beyond Good & Evil (1886; NY 1967,
W. Kaufmann translation), 381, section 253
8.
Nietzsche, Twilight of the Idols (1888: NY Kaufmann translation
1954), “Skirmishes of an Untimely Man” section 12 inter
alia
9.
Andrew Lobaczewski, Political Ponerology: a Science on the Nature
of Evil Adjusted for Political Purposes (1984; translation by
A. Chciuk-Celt 1985 corrected by the author 1996)
10.
About
the Nag Hammadi Library (The Nag Hammadi Scriptures)
11.
Nietzsche, Twilight of the Idols, op. cit, section 15, in
The Portable Nietzsche, pp 523-4
Share
This Article
