Reasons to like Hakim Bey
by Adam Robbert
“What does it mean that we have invented a way to destroy all life on Earth? Nothing much. We have dreamed this as an escape from the contemplation of our own individual deaths. We have made an emblem to serve as the mirror-image of a discarded immortality. Like demented dictators we swoon at the thought of taking it all down with us into the Abyss.
The unofficial version of the Apocalypse involves a lascivious yearning for the End, & for a post-Holocaust Eden where the Survivalists (or the 144,000 Elect of Revelations) can indulge themselves in orgies of Dualist hysteria, endless final confrontations with a seductive evil…
We have seen the ghost of Rene Guenon, cadaverous & topped with a fez (like Boris Karloff as Ardis Bey in The Mummy) leading a funereal No Wave Industrial-Noise rock band in loud buzzing blackfly-chants for the death of Culture & Cosmos: the elitist fetishism of pathetic nihilists, the Gnostic self-disgust of “post-sexual” intellectoids.
Are these dreary ballads not simply mirror-images of all those lies & platitudes about Progress & the Future, beamed from every loudspeaker, zapped like paranoid brain-waves from every schoolbook & TV in the world of the Consensus? The thanatosis of the Hip Millenarians extrudes itself like pus from the false health of the Consumers’ & Workers’ Paradises.
Anyone who can read history with both hemispheres of the brain knows that a world comes to an end every instant–the waves of time leave washed up behind themselves only dry memories of a closed & petrified past–imperfect memory, itself already dying & autumnal. And every instant also gives birth to a world–despite the cavillings of philosophers & scientists whose bodies have grown numb–a present in which all impossibilities are renewed, where regret & premonition fade to nothing in one presential hologrammatical psychomantric gesture.”
– Hakim Bey