Satan in the modern world — that’s why Michael Walsh wrote The Devil’s Pleasure Palace: The Cult of Critical Theory and the Subversion of the West. Is Critical Theory that bad? Hear him out in an interview with National Review Online. — KJL
Kathryn Jean Lopez: “When reason sleeps, monsters follow.” How best to keep the lights on?
Michael Walsh: By reading further into what Goya meant by his famous work of art: “Fantasy abandoned by reason produces impossible monsters: United with her, she is the mother of the arts and the origin of their marvels.” Human beings are attracted to both the dark and the light; the trick is not to lose yourself in darkness.
Lopez: “It is the thesis of this book that the heroic narrative is not simply our way of telling ourselves comforting fairy tales about the ultimate triumph of Good over Evil, but an implanted moral compass that guides even the least religious among us.” How can that be so? How can that be reclaimed/renewed/reestablished?
Walsh: Art, as I argue in these pages, is the gift from God, the sole true medium of truth. The 19th-century German biologist Ernst Haeckel famously declared that “ontogeny recapitulates phylogeny,” meaning that in growing from embryo to adult, the individual organism goes through stages that mimic the evolutionary stages of the species. But perhaps it is, in an artistic and religious sense, precisely the opposite: It is phylogeny that recapitulates ontogeny. The evolutionary development of the species — its teleology — was adumbrated in the first moment of life. Think of art, therefore, as the Big Bang Theory applied to the soul instead of the body; by imagining the creative process in reverse, we can approach the instant of our origins and then beyond.