Yesterday, I was reading Flannery O'Connor's mail and was stricken with guilt. She wrote that Sarte was wrong when he asserted that 'hell is other people' and that we ought to see Christ present in every other person. On my way out of the library the other night, I had been almost praying that Sarte quote - that's how fervently I believe in the wickedness of social interaction.
But then, I came upon a note that O'Connor had apparently run in and out of a church around the corner from her for three years, never stopping to greet anyone, sneaking out the side door. 'Well,' I thought to myself, 'at least we are courageous enough to use the front door, even with the obnoxious greeters, those minions of the devil, standing guard lest any meek soul should try to enter.' Or lame souls.
In spite of this redemptive experience, she is still going to play an integral role in what may possibly be my most public humiliation yet. I don't know how horrible it will be, but I am going to read a paper that talks about her. Not the whole time, but just for a while. I'm not sure what I was thinking when I wrote it. It fails to conform to the contemporary American trend of saying something - everything, that is - clearly. This is the same trend that leads my professors to condemn the writing style of just about everyone we read as inadequate for our enlightened and pragmatic age. Anyhow, sometimes I like this paper and sometimes I don't.
In the novel Elizabeth Costello (yes, I read them on occasion), the protagonist planed to give a speech at a conference in Belgium which would denounce another novelist for writing too vividly of Nazi horrors. However, on the night before he was to be betrayed, she discovered that this author was present at the very conference. This would not do, so she stayed up late the night before rewriting and rewriting, then she stuck with what she had already written. I wish I knew the Latin for 'What I have written, I have written,' because that would be really quite impressive.
In my case, however, I have a respondent who is even now poring over those possibly terrible pages I wrote. Well, I know that they are terrible, but I hope that they are terrible in a mysterious and revelatory sense.
Regardless of all this, I have no inclination toward the condemnation of novelists, but much prefer Ms. Costello's animal rights speeches. Those, I believe, are instructive for us all. As I cannot remember much about their contents, I will instead tell you about a place.
As you drive along the highway that runs through Delmarva, you will quickly notice a certain kind of building. It's not the Redeemed Holiness Church of the Lord With the Sign of Tongues; nor is it the occasional Wal Mart or funeral home. It is a plant - five plants, or maybe even six - where the carcasses of chickens are 'processed.' It stays lit up all night long like a refinery and is set back from the road, lest passers-by contract the miasmic guilt which it exudes like the fumes of incinerated body parts. Trucks drive in and trucks drive out, little pieces of a magnificent killing machine. North to Salisbury and further on to an eagerly carnivorous world.
Perhaps you aren't one to be disturbed by such things. Countless self-proclaimed vegetarians, after all, eat chicken. As long as you eat it with a salad, your soul will remain guiltless, I suppose. But this is the terror within which we are all enmeshed, the real and not imagined terror.
If the human mind is a factory for idols (Calvin), producing idolatries beyond the reach of feebler imaginations, then the human heart is a factory for murder and for factories for murder, producing 'processes.' I'm not sure if it's the spirit or the letter or some sort of wicked metal contraption that kills, but I do know with certainty that something does kill. And even if I won't yet state that publicly, I will never take it back.