The artist’s aim, we saw at the beginning of this book, is to turn his audience into his accomplices. Complicity does not exclude violence — but it must be based on a shared secret.
Don’t forget the real business of war is buying and selling. The murdering and violence are self-policing, and can be entrusted to non-professionals. The mass nature of wartime death is useful in many ways. It serves as spectacle, as diversion from the real movements of the War. It provides raw material to be recorded into History, so that children may be taught History as sequences of violence, battle after battle, and be more prepared for the adult world. Best of all, mass death’s a stimulus to just ordinary folks, little fellows, to try ‘n’ grab a piece of that Pie while they’re still here to gobble it up. The true war is a celebration of markets.
I was wondering what to post about today and then I got this brilliant idea that I should just make another post about art. You just can’t go wrong with that.
One has, I think, to reckon with the fact that there are present in all men destructive, and therefore anti-social and anticultural, trends and that in a great number of people these are strong enough to determine their behaviour in human society.