The Outsider

Starting one’s journey toward self-realization

This is one of those rare books by a contemporary author, or author of any era, which helps one understand the works of celebrated writers, philosophers, and a few artists, in this case, by putting them into perspective with each other and within a conceptual framework that gives the reader an overall comprehension of their respective contributions to man’s understanding of himself.

Another book which I found to be similarly helpful, although different in tone and approach, is one by philosopher and academic Philip H. Rhinelander.

I have long admired the written work of Colin Wilson and have also listened to him on taped radio interviews which, unfortunately, I have lost through being so peripatetic.

I believe the first book of Wilson’s I read is The Mind Parasites, around thirty-five years ago. Since then I have read many more of his books, having lent some out indefinitely, it seems. The ones I have managed to retain, in addition to The Mind Parasites, are:

The Outsider, first published in 1956 when Wilson was 24, rocketed him to fame, yet I hadn’t read his most widely known book until recently. Here is a synopsis:

…an insightful work of literary and philosophical criticism—a timeless preoccupation which perhaps garners more mainstream attention than his subsequent writings on the occult and crime. The book is structured in such a way as to mirror the outsider’s experience: a sense of dislocation, or of being at odds with society. These are figures like Dostoevsky’s “Insect-Man” who seem to be lost to despair and non-transcendence with no way out.

More successful—or at least hopeful—characters are then brought to the fore. These include Steppenwolf and even the hero of Hesse’s book of the same name—and these are presented as examples of those who have insightful moments of lucidity in which they feel as though things are worthwhile/meaningful amidst their shared, usual, experience of nihilism and gloom. Sartre’s Nausea is herein the key text—and the moment when the hero listens to a song in a cafe which momentarily lifts his spirits is the outlook on life to be normalized. Wilson then engages in some detailed case studies of artists who failed in this task and tries to understand their weakness—which is either intellectual, of the body or of the emotions. The final chapter is Wilson’s attempt at a “great synthesis” in which he justifies his belief that western philosophy is afflicted with a needless “pessimistic fallacy”—a narrative he continues throughout his oeuvre under various names… [Source].

Colin Wilson (1931 – 2013)

The Outsider has been and will continue to be, especially valuable to me because in it Wilson discusses many of the authors and their works I have read, some mentioned in the pages of this journal, including:

In no way have I given you the essence of The Outsider in this brief discussion. It is a very important book to start one on one’s journey to self-realization or to help the older of us to make course corrections toward realizing our fullest possible potential.

I can say that engaging in armchair philosophy might be helpful, but insufficient. One must act.

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Absolute Certainty

A Fictional Take on the French Revolution

Within the last few years my delayed education in history has been improved by my reading of books about and involving the French Revolution, such as Fatal Purity: Robespierre and French Revolution by Ruth Scurr and The Roads to Modernity: The British, French and American Enlightenments by Gertrude Himmelfarb.

raseroNow I have come upon a book entitled Rasero. Although the word is given as the name of the main character of the book, it is not a proper noun and, in Spanish, means “leveller.” I received the book in exchange for another I gave to a correspondent in the United Kingdom. We met, online, through BookCrossing.

Rasero, by Francisco Rebolledo and translated from the Spanish by Helen R. Lane, is well-reviewed here.

The book turned out to be a page-turner for me. Through a fictional character we are introduced, intimately, with major characters in the era of The Enlightenment, and those leading to and participating in the French Revolution of 1789. The major sections of the book are entitled: Diderot, Damiens, Voltaire, Mozart, Mariana (a fictional character), Madame de Pompadour, Lavoisier, Robespierre, and Francisco Goya.

The author uses a clever device to lead us into the future to see the putative results of the Enlightenment, namely, the uses of science and technology to improve, and make more disastrously efficient, warfare. The device used is Rasero’s visions of the future upon achieving orgasm, which he has with many lovely partners, but no visions with the one love of his life. Although somewhat ribald, the author’s depiction of the pleasures of the flesh are not, in my view, to the main point of the book and are offered in a pleasant, almost poetic, manner.

The voice in which the novel is written was strange to me at first. There is an omniscient observer describing to the main character what he is experiencing, and the reader is witness to this one-way conversation. “You” is constantly used by the narrator to tell Rasero how he is feeling and what he is experiencing. There is a twist on this near the end which I will not reveal.

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A depiction of the event wherein the head of King Louis XVI was severed from his body by The Guillotine, his public execution having been ordered by “The Committee of Public Safety”

The main point, I feel, is made in this passage where Rasero is hotly criticizing Robespierre for not stopping “The Committee of Public Safety” from executing Pierre Lavoisier, the eminent scientist and chemist:

Power…has corrupted you. No one has yet been born who, reaching power, is not corrupted, and you…are very far from being the exception…You’ve acquired absolute power. a power that allows you to cut off lives, the way one snips flowers in the countryside. And that power has corrupted you absolutely…

Rasero ponders elsewhere in the book that Robespierre’s vision of the correct society, one based on rational principles, is so “correct” in Robespierre’s mind that it overtakes all other considerations. Even as he is led to the guillotine to lose his own head where countless others through his agency have lost theirs, Robespierre has absolute certainty he was and is right (my emphasis).

A scholar on the subject summarizes thus:

Robespierre’s failure can be viewed as that of a man so narrow-minded in his views that eventually he cannot conceive of anything outside of them, a man so firmly convinced of his own absolute rightness that he cannot see the glaring errors he makes. It had grown inconceivable to him that anyone should oppose him successfully, and when someone did, the blow numbed him into inaction for a while. Although he started out with the best of motives, it came to the point where protection of the ideals for which he stood was everything to him, whereas protection of the people whom the ideals were originally to protect meant nothing. [Source]

 

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