By Julius Rowan Raper
Booklet through Raper, Julius Rowan
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In the language of John Fowles, they came to know exactly what they hated, and they fought to put it behind them for all time. But in saying no to one role, they inadvertently said yes to another. Hamlet became a half-sane hesitater, Ahab, the mad destroyer of his crew, Prometheus, a bound god, Achilleus, the murderer of his best friend, Jim, a recaptured slave, and Bigger Thomas, an executed murderer. Even James Weldon Johnson's Ex-Colored Man ends with regrets and guilt for deserting the cause of his race.
Constance Webb, Richard Wright:A Biography (New York, 1968), 279, 281; Jean-Paul Sartre, Being and Nothingness: An Essay on Phenomenological Ontology (New York, 1956), 405406. 11. See Ada Aharoni, "Bellow and Existentialism," Saul Bellow Journal, II (1983), 4254, and Robert Alter, "The Stature of Saul Bellow," Midstream, X (December, 1964), 315. 12 For Sartre's concept of freedom as an open field of becoming strikes a very deep and ancient chord in the American psyche, the cherished sense that Americans have always been free to become New Men simply by pressing westward into the New Eden.
Husserl, according to Levenson, "speaks with scorn of 'our psychologically obsessed age'" and bitterly contests J. S. Mill's contention that logic itself takes its theoretical grounds wholly from psychology. "1 In short, such logical purity carries a distinct cost. It is a cost, however, that modernist thinkers and artists were ready to pay. Levenson goes on to describe how eagerly Hulme, Ezra Pound's model Imagist poet and theoretician of the Imagist aesthetic, embraced Husserl's phenomenological view of logic as a way to get rid of the anthropomorphism that Hulme believed threatened to swamp logic, mathematics, ethics, and other intellectual endeavors in a subjectivity that had no validity beyond reference to the human mind.