Today we post under Pages (listed at the top of our margin), essay number 13 in Part Two of the series titled The Darkness of This World, by Jillian Becker.

It continues the discussion of French writers whose works are concerned with Evil, praise it, and argue passionately that it should be done.

The title of this essay is The French Pandemonium (Three). Its subjects are the twentieth century writers Michel Foucault and –  to a lesser extent – Jean Genet.  

Here is part of the essay:

When the Second World War was over in Europe in 1945, and the enormities perpetrated by the Nazis had been fully revealed à tout le monde, Evil did not lose any of its popularity among the anti-bourgeois intelligentsia of France. If those who had survived war and occupation, deprivation and terror, and in some cases confinement, had a sense of being supped full with horrors, it seems to have been short-lived. Their appetite for blood, for torture, and even for mass murder, soon revived.

Most of the novels and plays of Jean Genet – works in which he “explored the potentialities of evil” – were published or performed after the war. He wrote fascinatingly about criminals. His play Haute Surveillance, first performed in 1949, is about a prisoner who, sentenced for committing only small crimes, murders a fellow convict in order to be recognized as someone capable of doing far worse. The bourgeois audiences found it shocking, but not the intellectual elite. In 1952 Jean-Paul Sartre published an essay about him titled Saint Genet. What made Genet a saint in Sartre’s eyes was his criminality. He was a saint because he was a thief. And – even more glamorously romantic – he was a homosexual prostitute in the days when that too could land a man in jail.

All convicted prisoners were victims of the bourgeois and his civilization, in the opinion of Michel Foucault, another of our demons. He declared: “Delinquency, solidified by a penal system centered upon the prison, thus represents a diversion of illegality for the illicit circuits of profit and power of the dominant class.” …

Foucault, the French demon par excellence, was a disciple of Georges Bataille. Their tastes were the same. Foucault endorsed the master’s praise for “erotic transgression”, rhapsodized over “the joy of torture”, and longed to assist his hero in carrying out human sacrifice as a holy act and a thrilling work of art. Together they schemed – but did not institute – a “theatre of cruelty” (as had the clinically mad Antonin Artaud before them), in which actual murder would be performed for an audience. They saw a profound moral value in murder – if the murderer gets a buzz out of it.

Some ideas emerge from Foucault’s writings distinctly enough to be examined. Among them, that the law-abiding bourgeois should be punished with violent oppression; mass reprisals are preferable to individual trials; and cruelty should be a normal way of life. Yet he is praised for being “always ready to protest the fate of the wretched and powerless”.

Even if some of his works can be interpreted as “protesting the fate” of the criminal, the lunatic and the sadist, “always” is going much too far. The mass of his oeuvres proclaims his enthusiasm for rendering anybody and everybody wretched and powerless, preferably maimed, and best of all dead.  

He did not except himself. To “redeem existence” from “unbearable banality”, he hankered to be caught up in what he called “limit experiences” of pain, terror, madness, and fatal illness: “the overwhelming, the unspeakable, the creepy, the stupefying, the ecstatic”, embracing “a pure violence, a wordless gesture”. All this he sought for himself, and – though an intensely self-obsessed man – generously desired for others too; and if others did not want it, well, they should be forced to endure it. And even if the victims could not raise their consciousness so as to be overjoyed, the inflictions would not be wasted, because Foucault could wring for himself from their suffering, the last drop of excruciating pleasure.

And this pleasure should not – he fantasized – be only an occasional treat. A demon such as he should not have to perform acts of torture and life-endangerment only for a rare thrill, but such experience should be continually on tap. He believed, like Bataille, that cruelty should be a way of life – the only way of life, a constant part of everybody’s everyday life. “We can and must,” he wrote, “make of man a negative experience, lived in the form of hate and aggression.” …

Foucault sought pleasure in the pain of both body and mind. He mutilated his body and terrified his mind. As nothing was more terrible than death, he desired it most passionately. “Complete, total pleasure,” he declared, “is related to death.” He contemplated suicide, thought of it often through the greater part of his life, and claimed to have “attempted” it many times. He expected and intended that suicide would be the way he’d die. He made “lifelong preparation for it”. It would be “a simple pleasure”, a “suffering pleasure”. It would be a way of “exploring experience in its negativity”.

To take his death into his own hands would not only hasten that crowning moment of “complete, total pleasure”, it might also bring about, at last, the release of his other Self. The “other” Michel Foucault would be emancipated in his own death-throes, to experience “a moment of free existence in suicide”.

He fantasized about participating in a “suicide orgy”, and eventually, in full consistency, that was the way he chose. He went, equipped with instruments – or “toys” – of torture, to orgies of sex, drugs, pain, cruelty, and terror, knowing that they were a way to his death, and intending that that’s what they should be. He endured and wallowed in them in the bathhouses of San Francisco where homosexual men congregated, many of them infected with the HIV virus. And when he knew he had AIDS – incurable at that time – he returned to the bathhouses deliberately to infect as many other men as he could. It was slow suicide and slow murder; according to his philosophy, the transcendent “limit experience”. How much he really enjoyed the prolonged period of slow physical disintegration to which he condemned himself no one of course can know. But he did not try to cut it short by some swifter means to death in order to achieve that moment of exquisite agony in which he expected to feel himself – or his hidden Self – liberated by death. …

Absurdly hyperbolic praise has been heaped upon him. Paul Veyne, professor of History at Vincennes, said of Foucault that he was “the most important event in the thought of this [20^th] century”. Yet far from contributing to the advancement of mankind, his example was atavistic: to live by the dictates of the instincts, the appetites, and the emotions – in other words to be savage. …

The immense popularity of Bataille and Foucault, the rapturous reception accorded their demonic works, could only mean that France itself was turning away – continuing to turn away – from reason and civilized values.

On the European battlefields of literature, philosophy, and politics, Romanticism has won an overwhelming victory. The “horrible workers” predicted by Rimbaud, have been elevated by public (bourgeois!) taste into the intellectual giants of contemporary thought. And they have influenced taste everywhere in the pan-European world. Now, in the early twenty-first century, in most of the faculties of the humanities, in most of the academies of the West, the French cult of Evil is virtually an orthodoxy – even in America.

You can find all of it here.